The Handmaid's Tale Season 4 Trailer Looks Like a Completely New Show

Things are getting even more intense on The Handmaid’s Tale.
Things are getting even more intense on The Handmaid’s Tale.
Photo: Hulu

A few years ago, The Handmaid’s Tale was one of the biggest shows in the world. It was dominating awards shows with its eerily timely tale of a near-future America transformed into a misogynistic, barbaric new society. Since then, though, the show has lost a bit of its public momentumand many viewers, myself included, have fallen off.


Which is why this new trailer for season four is such a shock.

Season four of The Handmaid’s Tale begins in a few weeks and it does not look like that headline-grabbing show from a few years ago. The show looks more like a post-apocalyptic survival movie with June (Elizabeth Moss) caught in the middle, doing her best to destroy the world that keeps trying to destroy her. This looks intense.

Besides the show’s locations and clothing adding to a whole new look, the other thing that stands out here is that season four seems to be teasing things that viewers have been craving since the startespecially a reunion between June and her long-estranged husband, Luke (O.T. Fagbenle). It also looks like there’ll be a reckoning for Serena Joy (Yvonne Strahovski), the wife of June’s former “commander.” And yet, this isn’t the end. Hulu has already renewed the show for a fifth season.

Here’s the official description for season four. Maybe this is the season that brings more casual fans back. It debuts April 28.

In the upcoming fourth season of The Handmaid’s Tale, June (Elisabeth Moss) strikes back against Gilead as a fierce rebel leader, but the risks she takes bring unexpected and dangerous new challenges. Her quest for justice and revenge threatens to consume her and destroy her most cherished relationships.

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I can’t help but think about the ending to the book, which is basically the last few minutes of the first season, and then the epilogue, which is a post-script where a bunch of multiracial professors, many of them women, look back on the artifacts of the past and Gilead as a failed state, and realize this is as close to a satisfactory sequel as the book would have gotten.

Because the book’s conceit is that Gilead is brutal, all-encompassing, and wholly unsustainable. Expanding the world outward to show how it’s just this backward third-world country seized at gunpoint, put under absolute domination, and given a lifespan of maybe eight years, pays off a lot of the threads that book laid out, and this persistently revolutionary vein has a lot more vitality to it than the anodyne and submissively brooding plot of the previous adaptation that doesn’t even consider that Gilead doesn’t survive the novel.