TORONTO Margaret Atwood has expressed her discomfort about the parallels between reality and the fictional world of her novel, "The Handmaid's Tale," as the television adaptation concludes. The show, which premiered its final episode on Crave this week, is based on Atwood’s acclaimed 1985 novel and was primarily filmed in and around Toronto.
Elisabeth Moss stars as June Osborne, a woman forced into reproductive servitude within a brutal theocratic regime. Set in a totalitarian society that systematically strips women of their rights and autonomy, "The Handmaid's Tale" has resonated with real-world political issues, especially accentuated during Donald Trump’s presidency. The series debuted just as societal discussions surrounding reproductive rights and authoritarianism were intensifying, and its imagery became intertwined with protest movements, notably seeing women’s rights activists donning the show's iconic red robes and white bonnets as a form of protest.
Atwood highlighted the uncanny nature of the show's emergence, particularly noting the timing of Trump's election in 2016, which coincided with the filming of the show's first season. She recalled how the shift in political landscape altered the audience's perception of the narrative. “We all woke up the next day and said, ‘We’re in a different series,’” Atwood stated while receiving an honor at The Hollywood Reporter’s Women in Entertainment Canada Awards in Toronto.
Despite the original script remaining unchanged, Atwood remarked that the lens through which people viewed the story transformed dramatically after Trump's victory. If Hillary Clinton had won, she suggested, the response would have been one of relief, but Trump’s election ignited fears about impending disaster. Reflecting on the series' conclusion amidst Trump’s return to office, Atwood admitted, “It’s very weird.” However, she also mentioned that Hulu will be launching "The Testaments" Season 1 in under a year, adding to the peculiarity of the moment.
"The Testaments" takes place after "The Handmaid's Tale" and explores the growth of resistance within Gilead. Atwood’s thoughts also extend to the current political climate between Canada and the United States, highlighting a resurgence of anxieties around trade disputes and cultural sovereignty, which she believes have reached an unprecedented level of urgency. Citing historical references, she remarked, “I think this is the most direct threat we’ve had since the War of 1812.”
The author noted a renewed sense of patriotism in Canada that she has not seen for years, suggesting it could be a novel experience for younger generations who may be questioning their perceptions of their country's standing in the world. “There’s a degree of ‘yay Canada’ that I haven’t seen since the 1980s,” she noted, while assuring that Canadians need not panic at this point.
Atwood reassured her audience about the protections afforded by international alliances, explaining that being part of NATO means that any hostile actions by the U.S. would entail significant repercussions, thereby safeguarding Canada. "So how much of a world war do you want to get into?” she quipped.
As discussions around cultural protectionism intensify, some Canadians are urging domestic artists to respond. Atwood, however, expressed her belief that true artistic expression cannot be legislated. “You can’t order artists to do anything,” she stated. “If you are ordering them and they’re obeying you, they’re just propaganda tools. So let the artists rip, they’ll make their own decisions, and then you can decide what you think about them.”
Ultimately, Atwood holds a cautiously optimistic view regarding society’s ability to heed warnings before dystopian scenarios become a reality. “I don’t see people running around in red outfits with bonnets yet, so we still have hope,” she concluded, accompanied by a smile.
