The Handmaid’s Tale’s third season came to an end with another terrific climactic episode. “Mayday” was written by showrunner Bruce Miller and was directed by Mike Barker. June’s (Elisabeth Moss) journey has certainly had its ups and downs this season. She’s had to do things – and has done things – that will no doubt leave an indelible mark on her going forward. We are left wondering if she will survive – physically because she’s been shot – but also whether the triumph of getting so many children out of Gilead will balance off the other things – like Eleanor’s death (murder?). Meanwhile, have we seen the end of Serena (Yvonne Strahovski) and Fred (Joseph Fiennes)? Strahovski has really been fantastic as the woman we love to hate. I’ll hate to lose her from the show, but is it time for the story to go on without her?
Let’s take a deep dive into the final episode. The episode begins by ramping up our anxiety by starting with an alarm going off. Once again, the episode begins with a shot of June – and in opposition to last week’s shot of her with a gun in her hand – the June that has fought and acquired power – we are hear reminded of how far June has come and what she is fighting to save the children from. We begin with a flashback to June’s being taken by Gilead. She and the other women move slowly and fearfully in the dark, brushing through plastic curtains. This is echoed in the escape through the woods at the end of the episode. We see June watching young girls with downs syndrome being ushered in a different direction. It feels chillingly like the Nazi death camps.
June finally can’t watch anymore and closes the curtain and her eyes. Finally, her cage is opened and she is herded with the other women past rooms – and this is clearly a slaughter house – in which naked women are being examined. Their dignity and power completely and utterly stripped away. We get a quick glimpse of Brianna (Bahia Watson) being herded in another direction. The women are told no talking, but June is desperate for any information on Hannah and begs a guard for information. He isn’t unkind, but he won’t help her. He simply presses his finger to his lips and moves away. He watches as the women are herded onto an animal transport truck. He seems almost as helpless – at least to help – and confused as the women.
As the doors close, the last one on is Janine (Madeline Brewer) – they have to force her on and she’s even more defiant than when we first saw her in the series. She curses at them and threatens to sue them all! June grabs her and gets her to hold on. Unlike the others, Janine is in handcuffs. There is an obvious parallel in the stories of the two women. Janine has had the fight stripped out of her, while June has had the fight grow from within her. In voiceover, June tells us that she thought at the time that they were ruthless.
In the present, June pauses to look at a display in a window. It’s a mannequin dressed as a wife standing by a tea set. It’s hard to imagine what wives would even discuss over tea, but the image of the mannquin is apt - they are meant to be seen and not heard. But June, meanwhile, muses on where the talent for ruthlessness comes from. It seems so easy for these men, men like these. She muses that that’s all they want. As June stands at the window, Alma (Nina Kiri) joins her briefly – seemingly also to look – but in reality, dropping a bar of soap, which is a signal, surreptitiously into June’s shopping bag.
As June turns away from the window, she continues to muse on ruthlessness. It isn’t about being right or having God or the people on your side. It isn’t anything that grandiose. In the end, victory goes to the hardest heart. And that is what June has been striving for. To the ruthless go the spoils. Her words are underlined as her guard (Steve Coombes) grows tired of waiting and roughly grabs her by the arm, forcing her away from the window and on with her errands.
June continues walking, telling the audience that 52 children will come to the Lawrence house and that they will move in darkness. As she walks, other handmaid’s pass close enough to drop more bars of soap into her bag. June tells us that they can hide in the dark – but there’s also a concern that it is all a trap by the Eyes, yet they are all still willing to take this chance – for the children. These are the mothers after all. They have something greater than themselves to think about. June tells us that she will get the children to the airport – because she IS ruthless. This is what her journey has been.
June meets Janine, who isn’t the least bit circumspect as she giggles and drops her soap in June’s bag. But the June’s Guard pays her no attention. However, Aunt Lydia (Ann Dowd) is also on the bridge as June makes her way home, and she does notice and wants to know what’s going on. June brushes it off as just Janine. And it’s interesting that Aunt Lydia doesn’t correct June using Janine’s real name. But Aunt Lydia does want to take a look at June. Aunt Lydia wants to make sure that she hasn’t acquired too many bad habits (hilarious considering what all the handmaid’s wear) at the Lawrences’. As they talk, Brianna passes and gives June a worried look – and obviously can’t pass her own bar of soap.
Aunt Lydia notices and points out to June that the other “girls” look up to June. Popularity isn’t a contest but a responsibility. She poses the rhetorical question that June wouldn’t want to put any of her friends in danger – but this is ruthless June. She tells Aunt Lydia, of course not, but she also turns her head, so that again all we see is her chin, much like the final shot of her in last week’s episode with Lawrence (Bradley Whitford) by Eleanor’s grave. She’s learning to hide herself. Meanwhile, the other handmaid’s keep walking past and shooting worried looks June’s way.
Aunt Lydia then brings up June’s “next” Commander – who will be unlikely to turn a blind eye to June’s “subversive” ways. And June does look worried. There’s no question that any of this could have happened if Lawrence wasn’t her Commander. But in the present, June is really only thinking about the next 24 hours – or really only the next 12. She tells Aunt Lydia that she will keep the subversive nonsense to a minimum. Aunt Lydia tells her to watch herself – and June smiles and tells her “You got it!” There’s no formal response here – or rote answers. And of course, this conversation occurs on a bridge. June has one final obstacle (well, it’s not final), but June knows what’s at stake. This is her only chance, and she smiles as she continues across the bridge and we know that there is no going back.
Back at the Lawrences, preparations are well underway. The soap isn’t a signal, but part of the plan. Beth (Kristen Gutoskie) is throwing up because she’s so terrified by what they are doing. Sienna (Sugenja Sri) wants to help, but Beth won’t let her – Beth is trying to protect Sienna by keeping her at arm’s length from everything, but June has no such reservations – she’s ruthless, don’t forget. Sienna insists that she’s not a “fucking child,” and June tells her fine – do something but don’t wait for someone to hold your hand.
The two are interrupted by Lawrence (Bradley Whitford), who asks Sienna to unwrinkle his jacket. She says yes, but then changes her answer, saying she doesn’t have time because OfJoseph needs her help. She commits herself by openly disobeying her Commander in deference to his handmaid! June smiles and tells Sienna to take things downstairs. As Sienna parrots “Praise be” and leaves, Lawrence comments that she’s a bit “prickley.” June doesn’t agree and suggests that he’s forgotten what a strong woman looks like. But this is a big change from the Sienna we’ve seen up to this point.
Lawrence comments that Beth is sick, and June corrects, just nerves. Lawrence points out that Beth is afraid of dying – not an unreasonable fear! He also remarks that that doesn’t appear to trouble June. She smiles and tells him that she is a woman of faith. Lawrence tells her that he’s called a senior staff meeting that should draw security out of their area. June thanks him, and Beth returns to the kitchen. She asks Lawrence if there’s anything she can get him even as she returns to her work with June. Lawrence tells her no – clearly resigned to having a wrinkled coat. He tells them, “May God guide your steps” and June responds, “Go in grace, Commander Lawrence.” In this instance, it doesn’t feel like mere rote responses, but the two do truly care about what they are saying to the other. June can appreciate what Lawrence is doing without forgiving him for his role in getting them to where they are.
The three women work to pack lunches and water into knapsacks for all the children. June uses the soap to soap the windows where the children will gather and to quiet the hinges of the gate they will pass through. Beth places a light in one window with a red cloth – of course! – over it as a signal.
As June soaps the gate, she sees the first problem arrive. Martha Maggie (Joanne Boland) has jumped the gun and panicked, arriving with a young girl. June ushers them into the kitchen and Beth remarks they aren’t supposed to move until dark. The Martha asks if this is Mayday. This is a beautifully shot scene. June moves between Beth and Sienna to take center stage as she answers, “Yes. It is.” This is all her doing and she takes ownership of it at that moment. She also takes ownership of all those who have committed themselves to her cause.
Back in Toronto, Serena is still at the detention center, but is outside – check out the nice shot of the CN Tower in the background. She’s joined by Tuello (Sam Jaeger), who brings her coffee. He tells her that there will be another session the next day to go over her written testimony and the American de-brief will start next week. She asks if there any invitations she can politely decline, and he reminds her that she surrendered any right to do so – it’s a subtle reminder that she is still a prisoner here. He sympathizes that it is exhausting and suggests that he could push some of the sessions. He clearly doesn’t realize who he’s talking to!
Serena assures him it’s fine. She is not a weak, shrinking violet. She gets right up in his face – again another beautifully shot sequence as she starts sitting with him standing over her – clearly in the stronger power position. Here, Serena gets right up in his face as she tells him that she didn’t surrender her rights, she traded them for her daughter. He respects her. He tells her that he does have something for her – have to keep the informant happy, right? He gives her a gate badge. Starting next week, she’ll be able to leave the facility. She’ll have a chance to explore the city and maybe decide where she’d like to live. Serena looks at the badge – and for a moment looks almost fearful, remarking, out in the world without an escort. Tuello tells her that he’s sure she’ll find a way. And the last shot is of Serena looking hopeful and happy.
In the Lawrence’s basement, June looks after Kiki (Kate Moyer) who has a terrible blister from walking so far to get there. The two share a moment – June remarking that the little girl is tough when she doesn’t even flinch as she cleans and bandages the wound. Kiki asks if June knows what it’s like to be “out.” June tells her it’s like before Gilead, but Kiki doesn’t remember before. June tells her that she’ll be free – she can wear whatever she wants. No one will hurt her for reading or tell her what to think or who to love or what to believe in. June tells her that she won’t have to be a wife or a mother if she doesn’t want to be. Kiki asks what she’d be then, and June tell her “you.” Kiki asks if God will still love her, and June tells her yes. There is clearly a lot of damage that has to be undone.
June asks her if she’s hungry and gives her one of the packed lunches. Kiki grabs June’s hands and presses them together like hands in prayer between her own. And Kiki says grace over the food. Again, this is a beautifully shot scene. It is backlit from the window and June and Kike bow their heads together over the their hands as Kiki thanks God for food in a world where many go hungry (and there is more than hunger from lack of food), for faith in a world where many walk in fear (yet Gilead’s form of faith is a wrathful God meant to keep people afraid and obedient – and this speaks back to the earlier scene with June and Lawrence), for family where many walk alone (and you can still be alone in a crowd of people who are not truly your friends or family). June joins in the fervent amen as she clearly understands the true ramifications of the words.
The two are interrupted by Sienna, Beth, and Maggie who has changed her mind. Sienna tries to reassure Maggie that June has a plan, but Maggie is determined that the wife will be forgiving. Beth reminds her that she drugged her and stole her kid – she’ll call the Eyes 100%. Maggie insists that she is fair and forgiving. She’ll tell her the truth. June sees her plan falling apart and goes for the gun which she’s hidden under her mattress. She stops Maggie and Kiki just before they are about to leave the kitchen.
Again, the sequence is beautifully shot. Beth is taken aback by June having the gun on Maggie. June is shot with her arm extended, holding the gun, but backlit in a parallel to the last scene with Kiki. Her hand is unwavering. Maggie insists that they are going home – Kiki belongs here. June insists that no one belongs here – in Gilead. She assures Maggie that she’ll shoot her if she tries to run. She swears to God. At the last moment, June pulls Kiki away from Maggie, and Maggie bolts. June follows her outside, but in the end, can’t shoot as Maggie disappears into the woods. Kiki runs out after Maggie, and unthinking, June rounds on her with the gun, pointing it in Kiki’s face. June is, after all, forcing Kiki into an unknown future. June can’t guarantee that Kiki will be any happier there – we can all suppose she will be, but there are no guarantees, and in the end, Kiki is given no more of a choice than June was given to get on that truck in the first scene.
Moss is terrific here as her face reflects her own shock at what she has done. Beth grabs Kiki away, but June remains frozen and eventually sinks to the ground.
In the next scene, June sits in front of the gun which is displayed on a white cloth so that the black color pops. We see June’s white wimple and her red dress, her arms crossed in front of her, the entire picture forming a cross of sorts. Is this the church of ruthless violence? The gun is clearly the black of the guardians, Eyes, and Commanders. We get another close up of June’s eyes – her chin on her hands – as she focuses on the gun. Did she do the right thing in not shooting the Martha? The noise would surely have brought unwanted attention, but has her hesitation completely scuttled their plans?
Her reverie is interrupted by Lawrence, and it’s another inversion of their typical power relationship – with him reporting to her, sitting at the head of the table. I love Whitford in this role. He remarks that it’s been a busy morning. She says he had a meeting, and he tells her that he made a regretful exit. She tells him that he has to be there, and he assures her that it’s ok. He asks about the child, and she tells him that she’s fine. And then corrects herself. She’ll be fine because they’re going to get her out of there. Lawrence tells her that they’ll get her home safely – back to Lexington. There’s a close up of Lawrence’s hand – and his wedding ring. A reminder of what June has done and sacrificed to get to this point. June sits up, hands beside the gun on the table. She insists that Kiki is not going back to Lexington. Lawrence tells her that someone spotted Maggie and Kiki and they shouldn’t have been moving in daylight. A search was being started and roadblocks would be going up soon. June wants to know how far the airport is. He must have maps.
Lawrence insists that he’s pulling the plug. Beth will get a message to the Martha’s. June refuses. Kiki is not going “home” so that she can get married off at 14. She’s not doing that. She’s not sending Kiki back so that she can get raped and maimed in the insane world that Lawrence helped to build. Lawrence insists that as a Commander’s daughter, she’ll be protected. June asks, “So she won’t get her clit cut off when she falls in love?” It’s a nice reminder of Emily (Alexis Bledel) – as well as Eden. What if Kiki falls in love with someone who isn’t her husband – or even a man. Even a Commander’s daughter can’t be protected from everything – and isn’t given a choice in even who to love. June insists it’s too much – Mrs Lawrence, Ofmatthew, Frances – these are the people that June feels responsible for having gotten killed. As she says their names, she picks up the gun. These are the sacrifices that have made her ruthless now.
Lawrence insists that the universe doesn’t have a balance sheet. June insists that it does. Again, I loved the way this scene was shot. We get close ups of June – her face, her eyes, her hands. Lawrence is shot off to the lower, left of the screen in a static shot. He remains aloof and logical, while June is passionate about her mission. She looks up at Lawrence and confesses that she almost shot Kiki – a 10 year old girl – for crying. Her Hannah is 10. She insists that this can’t have been for nothing.
Lawrence is clearly also overcome with emotion as he says he’s made his decision and moves closer to the table to take the gun. We get a close up of just the side of his face in echoes of June turning her face away from him and Aunt Lydia. June is not in focus, but the focus shifts to her as she picks up the gun and stands up. She looks him in the eyes and tells him that it’s not his decision: “Men. Fucking pathological. You. Are not in charge. I am. So. Go to your office, and find me a fucking map. Thank you.”
Lawrence insists that she’s still in his house, but again, Whitford is terrific here. Lawrence is afraid of June. He’s not sure of himself. He tries calling her “young lady” in an attempt to demean her and put her back in a subservient position. But June is having none of it, and tells him, “Do you really think this is still your house?” She laughs and walks away, checking out the front window. Life seems to be going on. She tucks the gun into her boot and pulls her dress down over it.
Back in Toronto, Fred is giving testimony as to the inner workings of Gilead. It’s insult to injury as he is interviewed by women. There’s even a female guard. They ask him if he was in charge – a nice segue from the last scene. Fred is clearly trying to save his own skin. He denies being in charge, diminishing his role where he can. The session comes to an end when Tuello shows up. Fred indicates that they’ve gotten under his skin by asking if Tuello has worked with MS Murray (Jennifer Baker) before, emphasizing the Ms – which is a non-entity to Gilead, an insult. Fred rolls it back a little and says he finds her very smart and thorough. The power imbalance is again emphasized as a clearly tired Fred sits back in his chair and Tuello stands over him. Tuello isn’t concerned with how much Fred has to get through.
The power imbalance shifts again as Fred stands up. He tells Tuello – ingenuously – that he’d hate to add something else to his plate. Fred has uncomfortable information about war crimes committed by Serena. Clearly, Fred is jealous, suspecting something between Tuello and Serena – on top of wanting revenge on Serena. Tuello warns Fred that Serena has a plea agreement. He clearly sees her as only a victim. Fred has been making use of their excellent law library in order to find a hole in Serena’s immunity agreement – and he has. Tuello says that anything Serena did in Gilead was under duress. She had no power and was subject to the state. This should also set off warning bells about what might happen to June if she were ever to get out. Power is truly a double edged sword… Fred assures Tuello that what Mrs Waterford did was beyond the laws of Gilead and beyond the laws of God.
Back in Lawrence’s basement, the women pour over the maps. Beth suggests taking Lawrence’s car, but it’s too many trips. Sienna suggests going through the woods – it’s shorter than the 5 miles by road, but they’d have to mark the way. June agrees. They could walk. A dog barking signals the beginning of the arrivals after dark, but there are also cars out with search lights. Rita (Amanda Brugel) arrives with a Martha with a baby who had to kill the family in order to get away. June, Beth, Sienna, and Rita mark the trail through the woods.
In a scene that really speaks to both the writing and the acting of Strahovski, Serena’s visitation with Nichole is interrupted by Tuello. It’s amazing that a scene in which Serena gets her comeuppance is both satisfying and heart-wrenching. She gave up a great deal – including a lot of her humanity – in order to get this baby – so having her physically pulled away is possibly the worst thing that could happen to her. Yet, we know what she’s done to get this baby – and now Tuello does too. He places her under arrest for crimes against humanity, sexual slavery, and the rape of June Osborne.
She insists that she has immunity for what the state made her do, but this charge has nothing to do with that. It has everything to do with her forcing June to have sex with Nick. Serena insists that Nick and OFFRED had a relationship. She still doesn’t think of June as a person – and her use of Offred only underscores that. June was always just a means to an end for Serena. What happened after the initial rapes means nothing. And Tuello is clearly disappointed that Serena clearly doesn’t understand that – or care. Strahovski is terrific here as she clearly shows on her face when she realizes that she’s lost Tuello’s support.
When they return from marking the trail, the light in the window is out and the backdoor is open. The house is dark. Fearing the worst, they make their way through the dark house, only to find Lawrence surrounded by children reading Treasure Island to them from the light of a single candle. Rita remarks that it’s a lot more than 52. June walks through the crowd to stand beside Lawrence and smiles at him.
Janine arrives and tells them that they arrested Maggie two miles away. The wife woke up and reported Kiki missing, and there’s going to be a house to house search. June looks out front and there are already cars and guardians everywhere. June declares that they have to go now. She tells them to get the bags and use both doors.
As the last of the children are ushered out, Lawrence joins June. The two are framed in the doorway. Lawrence reminds her that she said she wasn’t going to be any trouble. June says, “yeah. I lied.” The two clearly mean this as light-hearted banter. Lawrence knew all along that June would be trouble – but clearly not this much – and June herself never would have imagined herself capable of this. June tells Lawrence to come with them. She clearly means to get out herself at this point. She also tells him that Eleanor would have wanted him to get out. Lawrence tells her that he’s not a big fan of flying or children, but more importantly, he says that Eleanor would have wanted him to stay and clean up his own mess. June smiles, and says, “May God grant you peace, Joseph.” And Lawrence replies, “And you, June Osborne.” He, unlike Serena, never forgot who she really was.
The group moves in slow motion through the woods. We see that Rita is carrying a baby, Janine is helping move the children, and June is keeping a watchful eye on Kiki. It’s also important to note that they aren’t just saving female children – there are lots of boys who would be denied the freedom to grow up to respect women and treat them as equals – or to know them as equals. The group comes to a tunnel – which somewhat heavy-handedly is like a re-birth for all of these children – and the women with them. At one point a car appears at the top of an embankment and everyone scurries to press up against the embankment so as not to be seen. Was anyone else reminded of the first Lord of the Rings movie when the hobbits are almost caught by Nazgul?
They make it to the airport and June and Rita share a triumphant smile. Was anyone else thinking about June’s last attempt to leave by plane?? Things quickly get complicated, however, when guardians suddenly show up and take up position on the road and at the gates. June tells Beth to take the children and find a safe place to cross the road. Beth insists that they’ll see them, but June tells her that she’ll make sure that they don’t.
June takes a moment to apologize to Kiki. She tells her that she’s sorry it’s been so hard and that it’s not fair to Kiki that it has been this hard. Kiki tells her “sometimes you have to do the things that you have to do.” June agrees – because she’s about to do what she has to do. June asks Rita to look after Kiki – and take charge – to get them all on the plane. Rita begs June not to do “this.” Rita knows that June intends to sacrifice herself to get the others free. Janine asks her if she’s sure, and June insists she is. Once again, God is invoked in a sincere and Christian way – Rita asks God to protect June. I liked the way the show very clearly emphasized that while Gilead might have used religion as an excuse and a weapon, they in no way truly embraced the real ideology of religious beliefs.
In another wonderful parallel, June finds the perfect distraction – a pile of rocks. We’ve already seen that the Handmaids are trained to use rocks as weapons. And as June steels herself to sacrifice herself, she is joined by Janine, Sienna, Beth and a host of the Marthas, who all open fire with rocks on the guards. They all duck as the searchlight scans their hiding place, but then the guards open fire. Marthas are hit and killed, but the others keep up the barrage despite their terror. The others get the children across as the distraction rages. Once again, June takes care of Janine as she did at the beginning, kissing her and telling her it will be ok. She sees that Janine and Sienna are both terrified. June walks out to draw the fire and attention of the guards.
In another parallel – this time to the beginning of the series, we see June running through the woods, followed by guardians, shouting at her to stop, only this time they are also shooting at her. June keeps running. It’s hard to shoot accurately while you are moving, but one bullet finally finds June and takes her down. As she’s rolled over, however, she’s ready, and she shoots the guardian. She only wounds him, however, and holds the gun on him until he tells them it’s all clear. She even tells him it’s ok, gently encouraging him that it’s ok. She tells him thank you after he says it was just a false alarm – and then she kills him. Her face and white wimple are splattered with his blood. She’s unable to move as she’s overcome by her own wound, but she watches, smiles and laughs as the plane takes off over her head.
As a Canadian, I’m not gonna lie. I had a little squee of pride and patriotism seeing that gigantic Canadian flag flying in the airplane hanger as the plane arrives. We see Moira (Samira Wiley), Luke (O-T Fagbenle), and Emily (Alexis Bledel) all there to help and greet the refugees. Moira is the first one on, and every inch of the plane is full of the children. She tells them that her name is Moira and she’s there to help them. Kiki asks if this is the place where she can wear what she wants, and Moria tells her yes – she’s the first one off, and Luke is the first to greet the at the bottom of the stairs.
Moira puts a blanket on Kiki because she must be cold and asks her name. Before she can answer, a man (Mark Waters) calls out “Rebecca?” It’s her father, and she strips of the blanket to be warmed by her father’s embrace. Luke watches and Moria grabs his arm in support. He watches, hoping that the next child will be Hannah.
Rita is one of the last off, still carrying the baby in her charge. She is reluctant to give her up to one of the other helpers. Rita is overwhelmed and kneels. Emily sees her and calls out to her – she reminds her of her old name and then Rita realizes who she is. The two embrace.
Fagbenle has little to do in this episode, but he’s utterly fantastic. The devastation on his face as he looks at the now empty doorway is clear. Emily calls out to him, and Rita realizes who he is. She tells him that it’s really good to meet him and embraces him. Luke is utterly confused. He has no way of knowing who Rita is or how she knows him. Rita tells him that June did this. Luke is clearly overwhelmed – but it’s of no comfort to him. It proves what Fred said to him – this is not a June that he knows. And why wouldn’t she have saved their child?
Back in the woods, it’s morning. We pan up the body of the dead guard – did she really shoot him through the EYE? Isn’t that a bit on the … nose? We see the Handmaid’s coming through the woods, and June is lying there with her eyes open. We have a moment to wonder if she’s dead, but then she blinks. She looks at the sky and remembers a day in the park. Again, the show’s ending sequence is accompanied by a perfect musical choice, “Into Dust” by Mazzy Star – the lyrics are perfect. She and Hannah (Raven Riley Duporte) lie in the center of a playground roundabout as Luke sits beside it. Is this dream of her past now an unreachable dream?
And then June’s friends are there: Brianna, Janine, and Alma are there to bring her home. We get another of the wonderful crane shots. The Handmaids circle June in an echo of the roundabout and then we see them carrying her through the woods on her cloak. And this echoes the crane shot earlier of them running through the forest at night. In voiceover, we hear June: “And the Lord said, I have seen my people in bondage and I have heard their cry. I know their sorrows, and I am come to deliver them from the hand of evil men. And to lead my people out of that sorrowful place to a land flowing with milk and honey.” She’s quoting from Exodus. There’s a gradual close up of June’s face – which we’ve seen so often this season. This time her face is peaceful as she looks up and smiles, but we fade to dark as her eyes close.
We are left with a lot of questions. Will June survive the gunshot? How can they explain it? Can June avoid reassignment now that Mrs Lawrence is dead? Will Lawrence be able to save her? Could he break all the rules again and insist that he still wants a child or even marry June? Who will they blame for rescuing the children? Who will take the credit – they can’t say it was June is she’s still alive. Could they devise a story that she tried to stop it? What of the Waterfords? Will we see either Serena or Fred again? This was another wonderful season, and I can’t wait for the next. This show delivers on every level – acting, writing, directing, cinematography, music. And it has a unique ability to really speak to what is happening in our own society today. What are your thoughts on this season and your hopes for next? Thanks for reading my incredibly long reviews! Please join the conversation below!
