The Herald of Coatzacoalcos – BAD MANNERS / The Handmaid’s Tale / JULIO PATÁN

Yes, lately there are strong disappointments for fans of the series, as those who have tried to go through the tangle of pretentious dialogues of The Rings of Power, a pre-prequel to The Lord of the Rings that is a kind of Avatar marathon, will have discovered. that is, a nightmare that does not deserve even the worst of criminals and especially that Tolkien does not deserve, or the palace intrigues told at a kilometer per hour in The House of the Dragon, the sleepy prequel to Game of Thrones.

But Dr. Muttley came into this world to fill their lives with reasons to live. Good news, then. The good news, here, is that the fifth and apparently penultimate season of The Handmaid’s Tale, or The Handmaid’s Tale, aims in its first chapters not to lower the level of the previous four a little bit, and that level is really high.

The origin of the series, known, is a novel by Margaret Atwood about a presumably near future in time, and especially in spirit, in which the United States government has fallen into the hands of a sect of Christian fundamentalists, something like the Taliban of the cross, who reduce women to the status of slaves, and specifically reproductive or – actually – sexual slaves, in a world in which fertility has been dramatically reduced.

What the series has is what all adaptations of good literary pieces should have: it is disrespectful enough with the original to be paradoxically faithful to it. Made of restrained dialogue and terrifyingly precise in its hatred and rebellious spirit, filmed with an elegant and oppressive aesthetic, mixed with an I don’t know what of repressed sexuality, like a distillate from the Old Testament, it would be worth it only for the duel of restrained performances and terrifying that sustain Elisabeth Moss, whom you will remember for Mad Men, who makes her character a concentrate of resistance and spirit of revenge, and the no less notable Yvonne Strahovski, as her enemy, a religious fanatic with capacities level the Florence of the Renaissance for manipulation and intrigue.

Published in 1985 and followed, in 2019, by a sequel, Los testamentos, la novela, which talks about motherhood without traces of idealism or demonization, of masculinity at its worst although – be careful with this – also in its best facets, of totalitarianism, of extreme religiosity and of sexist violence, is, in effect, and with it the series, of a disturbing actuality, between the ultra-conservative turn of half of the United States and the moving, brave, exemplary rebellion of Iranian women . From Mexico, with its record of femicides, better not even talk. Seriously, don’t miss it.


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