The Handmaid’s Tale Season 6 Episode 8 Review: Exodus Isn’t Quiet
“Tonight, we will use these robes to start a war.”
That line — delivered in a voiceover as blood-red fabric is dyed, as the handmaids don their veils, as Radiohead’s “The National Anthem” thrums in the background — isn’t just a declaration. It’s a manifesto. And after everything that’s come before, The Handmaid’s Tale finally unleashes the rage it’s been holding back.
The Handmaid’s Tale Season 6 Episode 8 wasn’t just an exodus. It was a reckoning.
Dipped in Blood, Steeped in Rage
The episode opens with June narrating the absurdity of fashion — how we once believed clothes could define us, until they were weaponized to destroy us.
Gilead assigned color-coded identities. Women became wombs, wives, and workers. But those same robes were about to be knives in the dark.
Literally.
Blades are hidden in sleeves. A dropped one almost ruins the plan. Still, Serena Joy and Gabriel’s wedding proceeds with hollow pomp and ceremonial rot, an utterly joyless affair.
Serena walks alone, veiled in denial. Nick — ever the obedient puppet — escorts Rose like he’s proud to be part of it all before becoming the master of ceremonies. June watches with cold fury. The handmaids hold their knives. The cake is served. The countdown begins.
Lydia, who sensed something — enough to skip Joseph’s carefully laid plans in Washington — doesn’t see it. Nick doesn’t see it. And I wonder, do any of them really pay attention to one another? How can they be so blind?
The Red Cake, the Red Flag
The wedding reception is grotesque. Gilead, once again, dresses its cruelty as divinity. Serena makes her pitch to the handmaids. It’s heartfelt in her way, but she mistakes her presence for empowerment.
She thanks them, tells them they matter, declares her friendship with June, and wants to take a portrait with their faces revealed. It’s like watching a woman convince herself that the cage she helped build is just a well-decorated sanctuary.
But the cake is drugged, and it does its job.
As guests return home to fall into heavy slumber, the handmaids slip away to finish what they started. The visual is striking: women in identical robes peel off one by one into the night, becoming individual agents of revolution.
And yet, Lydia remains at the reception, proud of her “girls,” oblivious to what they’ve planned. Until the cake crumbs — or rather, the lack of them — give it all away.
Serena’s Wake-Up Call
I didn’t expect to feel anything for Serena Joy. And yet, I did. Ironically, I’m not much different than she is. She falls for Gabriel; I fall for her — every time.
Gabriel carries her over the threshold into her new home, and she seems like a woman convinced she’s finally done something right. She’s chosen a better man. She’s finally being rewarded.
Then she meets her new handmaid and all of the air is sucked out of the room. Gabriel calls her OfGabriel.
And suddenly, Serena realizes that the man she trusted, the man she believed was different, is exactly what she’s been trying to dismantle — a monster in soft-spoken sheep’s clothing. She’s been here before, but she fell for it again.
He’s no longer interested in her ideals or her protestations. He says he’s bent to her liberal attitudes and compromised; he’s changed.
And then he locks the door.
I know that moment. The moment you realize someone’s been playing you while you convinced yourself it was love. That pit-of-the-stomach recognition that you were never in control. That your gut was right, and you didn’t listen. Serena’s face says it all. I’ve worn that face.
She tells Christina, the handmaid — no, a human being — to run, never to return. She stands up to Gabriel, gathers her baby, and demands to leave. What’s he going to do? She’s already been through it. She has lost a finger and been beaten before. She will survive.
Gabriel lays it on thick. He’s not someone to be survived. He’s a good man. Waa waa. God. The whining and the lies Gileadean men tell themselves are exhausting. Serena is not persuaded. Instead, she says he can’t be those things. “You’re a commander.”
Chills. Finally, she gets it. One last time, I fall for Serena. Maybe this time, I’ll be right.
The Army in Red
While Serena flees, the handmaids are executing their plan. It’s violent. Silent. Methodical. One after another, they eliminate their captors. June, the last to go, comes face to face with Commander Bell.
She stabs him between the eyes, takes his seat, drinks his liquor, and waits.
Janine enters. They exchange greetings. “Hi.” “Thank you.”
It’s quiet. It’s not triumphant. They’re not giddy. They’re exhausted.
Because even carefully planned survival isn’t a celebration. And as freeing as the moment is, many more are to come. They must pace themselves.
Lydia’s Final Stand
Back at the handmaid compound, Lydia discovers the truth. She screams, threatens Phoebe, and demands answers. It’s dramatic. She calls on the God of vengeance for their punishment.
And then Moira steps out of the shadows. Lydia doesn’t even recognize her. But she knows June is behind it all. She’s certain of it.
What follows is one of the most powerful confrontations of the series. June emerges and finally lays it out, everything Lydia refuses to admit: the beatings, the rape, the mutilation, the stolen children. She tells Lydia the truth:
They aren’t fallen women. They are rising.
Janine, Lydia’s Achilles Heel, seals it. Lydia was an instrument of torture in Gilead’s hands. She was the vessel that helped destroy their lives.
“You gave us to them,” she says. “If you want to save us… let us go.”
And Lydia breaks. For real this time.
She lowers Peter’s gun. She sobs into Janine’s arms. She drops to her knees when June walks away, begging God for help. And maybe — maybe — we finally saw the woman behind the monster.
Exodus as Transformation
This wasn’t just an escape. This was a transformation — a shedding of skins. The very dresses they were forced to wear became their armor, their camouflage, and finally, their liberation.
As June said:
The dress became our uniform. And we became an army.
Watching that, especially after a day when I didn’t feel like myself, when I was lost in exhaustion and frustration, I felt something stir. These women — crushed, tortured, erased — used the system’s own rules to burn it down.
There’s something holy in that, something gut-wrenching and life-giving all at once.
And it made me think about how much of our lives, even in freedom, are lived in performance. How much time we waste trying to be the version of ourselves that pleases others. How, even outside of Gilead, we play dress-up in costumes that define us.
This is as real and raw as it gets. It’s a declaration. They’re not playing anymore. We shouldn’t, either.
Stray Questions and Final Sparks
- Can Serena ever be accepted into the resistance? Will she be found asleep in the street, baby in her arms, and lifted up and into the army?
- Did Christina get a knife too? Did Gabriel eat the cake? Will his guard thwart his slaying?
- Will Nick’s handmaid take him out? Will we see it? Or is seeing him so perfectly playing the Gilead game all we needed to see to strike him out of our lives forever?
- What about the wives who sat by and smiled while the world burned? Are they joining their husbands or shown grace because their game, however cruel, was also a form of survival?
- Will this moment matter — or will it be swept away in the next wave of cruelty? Can Boston be set free, the first domino to fall?
There are only two episodes left, and for the first time in a while, I’m not just watching. I’m ready. Watching The Handmaid’s Tale is a movement unto itself, and I’m not falling back in line.
You could be reading literally anything, but you’re here.
Thank you. If you feel like helping out, say something below or share this around. It means the world.
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The post The Handmaid’s Tale Season 6 Episode 8 Review: Exodus Isn’t Quiet appeared first on TV Fanatic.
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