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Mad men and strong women: Elisabeth Moss’s winning hand

Acknowledging her own involvement in the #TimesUp movement, Moss says there is a “slightly more pres..

Acknowledging her own involvement in the #TimesUp movement, Moss says there is a "slightly more present relevance" for her in the second season of The Handmaid's Tale. "I feel a sense of responsibility to tell the story of a person who is a survivor of assault so [this] feels very present."

Moss plays Offred – an assigned name which reflects her status as the property of Commander Fred Waterford (Joseph Fiennes); her real name was June Osborne – who is a "handmaid" to Waterford and his wife Serena (Yvonne Strahovski).

To briefly recap, and warning: spoilers ahead, in case you did not watch the first season: there is a growing resistance movement within Gilead. Waterford's driver Nick is an "Eye" (that is, an informant against traitors). He becomes involved with Offred and she falls pregnant, more likely to Nick than Fred.

The second season moves past the text of the original The Handmaid's Tale novel and into somewhat uncharted territory, though the production has included Atwood in story discussions and she has given the show's new storytelling her public endorsement.

Offred (Elisabeth Moss) and Commander Waterford (Joseph Fiennes) in The Handmaids' Tale.

Photo: George Kraychyk/Hulu)

"It's a mix of new things and it's also a mix of things from the book that we haven't done yet," Moss says. "So even though we are moving past the book in a certain way, there are things that we never did. There's things that I feel like we're still taking from the book."

One of the most potent themes of the series, Moss says, is that of motherhood. "There's so many different ways that you can be a mother and a father, and the different approaches that people have to it and what it really means," she says.

Elisabeth Moss with her awards for outstanding lead actress in a drama series and outstanding drama series for "The Handmaid's Tale" at the 69th Primetime Emmy Awards in 2017.


"I think that for us is about how you want to raise a child in this world, but the kind of world that you want to bring them into," she says. "And making sure there is a place [for them] and that there is freedom for them. That's a huge part. So it's not just about motherhood but what kind of world do we want to bring this child into?"

It's hard not to see Moss an unusually blessed actress, having worked her way through some of the most challenging and fascinating characters in recent memory, including Zoey Bartlet in Aaron Sorkin's The West Wing and Peggy Olson in Matthew Weiner's critically acclaimed Mad Men.

The Handmaid's Tale.

Photo: Take Five

She made her Broadway debut in the revival of David Mamet's Speed-the-Plow, and on the West End in Lillian Hellman's The Children's Hour. On top of that she starred in Detective Robin Griffin in Foxtel's critically acclaimed Top of the Lake.

"The character is obviously important [to me, as an actress] but it's almost secondary to the actual script itself," she says. "When you get both, when you get a really good character and a really good script, that's amazing. It's just all about what is the best material, I don't care if it's a TV show, or a play or movie, or big or small."

She is cautious about the label "feminist" when it comes to the performances she has given, and the characters she has played. "I feel like any time you've got to play a strong, complicated woman then it tends to start [being labelled] a feminist role and, actually, it's just a strong woman," she says.

"Obviously in Mad Men there's a very specific feminist story there and then, of course, with The Handmaid's Tale, you can't get much more feminist than that," she says.

"I guess I am just attracted to strong, complicated characters and I think that, unfortunately, we've been living in a man's world for so long so our challenges are often overcoming the patriarchy. That's a lot of our drama sometimes, unfortunately, so that is going to be kind of main thrust of the story."

There is a certain delicacy in the delivery of The Handmaid's Tale, particularly in striking a balance between the moral gravity of the storytelling and the shades of grey it finds between the light and the dark.

"Our first episode, the subject matter that it [explores] and being where we are in the story, it is pretty full on and it is a bit more of a darker, violent episode," she says. "[But] there is another, where I could say it's so romantic and beautiful and elegant and sad. I was watching an episode the other day and it was making me laugh out loud.

"I think we temper it a lot of times and I think that you have to, but I also think that if we were to shy away from the reality of this world, meaning Gilead, that wouldn't work either," she says. "I think as long as [violence] is never gratuitous and as long as we are truthful and telling a story, then we're doing what we're supposed to be doing."

But perhaps the most challenging aspects of The Handmaid's Tale, Moss says, is how it explores – or at times, fails to explore – the absence of solidarity between the various classes of women in its world.

"I think the hardest, saddest thing about season one for me and Yvonne [Strahovski] was Serena not having solidarity with Offred or with any of the handmaids," she says. "Any scene where I got to play [that], just not understanding how she could turn her back on her fellow women, was always very moving for me and for her.

"Without spoiling anything, we do get into that more in season two and start raising the question more and more of, why are you doing this? Not just with Serena but with the other wives as well, why are you turning against your fellow women? Don't you see how you're standing in solidarity with the oppression by not standing up for these women?"

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Michael Idato

Michael Idato is a Senior Writer based in Los Angeles for The Sydney Morning Herald.

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So, we guess this means Beyonce and Jay-Z are OK then

The first couple of pop music took the world by surprise by dropping their first album together last..

The first couple of pop music took the world by surprise by dropping their first album together last weekend. As you'd expect, it's a statement.

There is arguably no couple better at controlling their own press than Beyonce and Jay-Z. When a video surfaced in 2014 showing Bey's younger sister Solange attacking her brother-in-law in an elevator, rumours of a strained marriage proliferated.

Rather than battle the tabloids, the spouses used the gossip to fuel the creation of two critically beloved, commercially successful records: Beyonce's Lemonade and Jay-Z's 4:44. And, in them, they offered just as many details about their private lives as they chose.

Beyonce and Jay-Z on stage in France for the 2014 On the Run tour.

Photo: Rob Hoffman

Now the couple have continued their domination of pop music, surprising the world last Saturday by releasing their joint album Everything Is Love, which is something of a sequel to those two solo records. Though they have collaborated for at least 15 years, this marks their first joint album, which they dropped under the name The Carters.

The record is a victory lap from a couple who have mined their relationship for universal truths and then presented them as art. It's a fierce love letter to success, to family, to blackness – but, most of all, to each other.

Artwork for the album Everything is Love by The Carters, aka Beyonce and Jay-Z.

Photo: Karl Quinn


Lyrically, it primarily focuses on two aspects of the Carters' lives: their marriage and their success. (more…)

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Rachel Griffiths: female characters are finally getting real on screen

Almost a year into the #MeToo era, Rachel Griffiths believes the likes of Mystery Road, Wentworth, P..

Almost a year into the #MeToo era, Rachel Griffiths believes the likes of Mystery Road, Wentworth, Picnic at Hanging Rock and Top of the Lake show that female characters are finally coming of age on Australian screens.

In a spirited speech at the launch of a new state government scheme to support more women directors in television, the actor-turned-director said it was exciting to see female characters move beyond "the typical tropes of 'likable, f—able, adorable'" to "more complex depictions of female experience" recently.

Happy to see "more complex depictions of female experience": Rachel Griffiths (left) with Leah Purcell at the launch of #SheDirects.

Photo: Louie Douvis

While she acknowledged there were male directors who created fresh and compelling women characters, Griffiths said the "male gaze" often reduced them to colouring the characters of their male counterparts.

"[They are created to] make him hot, make him authentic, make him empathetic, make him fatherly, make him conflicted, make him grieve," she said. "In the male gaze, we are so often not the gatekeepers; we're not the ferryman. Sometimes the mentor but usually only ironically, like Judi Dench's M…

"Under-written and under-observed, brought into our sexual awareness precociously and prepubescent in order to accommodate the male libido.


"Often in television we're used by lazy writers and producers who can think of nothing more interesting this week than 'let's have her have sex with X' or 'discover she's a lesbian – for an episode'."

Griffiths, who is about to begin editing the Melbourne Cup drama Ride Like A Girl after finishing the shoot, endorsed Hollywood star Sandra Bullock's recent comment that it was time for women to "stop being polite" about gender equality. (more…)

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Rachel Maddow breaks down on air over Trump immigration policy

US television host Rachel Maddow has broken down on live air as she delivered the latest development..

US television host Rachel Maddow has broken down on live air as she delivered the latest developments in the Trump administration's controversial "zero tolerance" immigration policy.

Maddow, who hosts her own show on MSNBC, was reading from a breaking news release from the Associated Press that revealed government officials have been sending babies and toddlers to what are being called "tender age" shelters in the US.

The youngsters are some of the 2,300 children who have been forcibly separated from their parents at the US-Mexico border since the White House announced a zero-tolerance policy on migrant families in May.

"The AP has just broken some new news," Maddow started.

"Um, this has just come out from the Associated Press, this is incredible. Trump administration have been sending babies and other young children – oh, hold on," she said, her voice breaking.


Maddow attempted to get through the breaking news piece one more time before moving the show over to a guest. "To at least three – three tender age shelters in South Texas. Lawyers and medical providers… I think I'm going to have to hand this off. Sorry."

Maddow took to Twitter shortly after the segment aired to say sorry to her viewers. "Again, I apologise for losing it there for a moment," she wrote. "Not the way I intended that to go, not by a mile."

She also tweeted out what she had been trying to say in her live read, writing out what was presented in the AP story. "Lawyers and medical providers who have visited the "tender age" shelters described play rooms of crying preschool-age children in crisis…" she wrote.

"Decades after the nations child welfare system ended the use of orphanages over concerns about the lasting trauma to children, the administration is standing up new institutions to hold Central American toddlers that the government separated from their parents." (more…)

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