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In terms of intrigue, that's about it all, aside from the brief flashbacks, most of which show June surrounded by Luke, Moira and Holly's grandmother during the last months of her first pregnancy. But just look at Moss's body language to understand how "Holly" is important to the story of Offred. The way she breathes and blinks in the close-up of the episode is enough to contain the torrent of emotions – terror, hope, confusion, exhaustion, desperation – that she must feel when she's in the mood. she realizes that she is alone. Last day, she was raped, held her daughter for the first time in years and saw the father of the child that she is being shot at and taken away. He could be hurt, if not dead. Even if she panics silently, you can feel a plan forming in the ingenious mind of Offred.
The following scenes are just as beautiful. While she is pointing her gun at the Waterford, too busy tearing herself up to notice her upstairs, Offred is so at war with her that she's shaking. Would she have shot at them, her serial rapist and her accomplice, had they found them? Her exhalation of the whole body when they finally move away suggests relief that she may never have to discover. And the look that crosses Moss' features when she finally pulls the gun, a mixture of determination and satisfaction, suggests a feeling of liberation and personal agency that goes far beyond sending 39, a wolf in the woods.
What Offred does and does not do with his weapon says a lot about who she is now. She's not a predator like the Waterford and the Wolf; it will not inflict unnecessary pain. But she is not a defenseless victim either. In the first of the two – part season, it 's Nick who facilitated his escape (though the only way to remove a piece of his own ear was the only one from Offred). Now he is the lover in distress, and she has the power to save herself. As Holly's grandmother reminds her in a flashback, Offred is stronger than she thinks.
She is, for example, strong enough to deliver her own baby in the light of fire. The birth scene is primitive, powerful – and, without Moss's fault, a bit difficult to swallow. Some epic cries and there is a little holly, deposited in the hands of Offred, which seems relatively clean, after a gargantuan rush? Stranger things happened on this show, and clearly too much gore could have spoiled the poignant character of the scene, but it's not like "The Handmaid's Tale" for everything to be done. easy air.
This is a small complaint in the grand scheme of things, however. "Holly" is easily among the best hours of the show so far. It's a testament not only to Moss (who might have just sewn another Emmy) but also to the episode's director, Daina Reid. His first contribution to the show uses Moss's talents to describe an exciting struggle between hope and fear, silence and shouting, giving up and freeing oneself. Reid also directs the episode next week, which is sure to break the serenity surrounding Offred and Holly when we see them for the last time, snuggling in the dark.
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