Bombshell
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teiyakuna "A Woman's Place" Episode 6 from Season 2 of "The Handmaid's Tale" adapted from the Margaret Atwood novel, puts the First Amendment to the United States Constitution under a microscope. "A Woman's Place" is highlighted by flashbacks, scenes from a hegemonic shift in the makings. Serena Joy Waterford(Yvonne Strahovski) the commander's wife, grapples with an angry mob of college students unwilling to give the Gilead movement a platform at their campus. These boisterous protesters, and others like them, saw democracy in its death throes before everybody else, and knew that by mainstreaming ultra-conservative advocates such as Serena would only expedite the change in political ideologies. To be fair and balanced, the emcee at the liberal college fights for Serena's constitutional right to share her vision of a fascist theocracy that sanctions systemic rape as a higher calling for potential neo-nuns, the fertile women who are designated to be handmaids. Serena, an extrapolated pro-lifer, saddles lesbians with the appellation "gender traitor" without any awareness of the inherent hypocrisy of women like herself subjugating other women to aid men in their devaluation. Color-coded green, as wife to The Commander(Joseph Fiennes) Serena played a part in conceiving the "ceremony" a ritualization of forced. congress for the greater good; an antidote to declining birth rates. Offred(Elizabeth Moss) color-coded red, lies down in Serena's lap, as The Commander, in clinical fashion, impregnates the designated. slave without any objection from neither the handmaid herself, a gender victim, nor the architect, a gender traitor. The commander departs, without any indication of a crime having been committed. Mother and. are left alone. The mother cries, but tears are not enough. It's the price she has to pay for pledging allegiance to Gilead. Being an accessory to the patriarchy isn't what Serena thought it would be. The mother. binary which her policies split in half; she misses it, no
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teiyakuna "My loyalty is to the company." Gretchen Carlson(Nicole Kidman) looks at Kayla(Margot Robbie) one of her staffers, as if she stabbed her in the heart with a very sharp knife. The ex- Fox and Friends" co-host, recently demoted to the less-desirable afternoon time-slot, impresses upon Kayla that she can be her mentor, when Bill O'Reilly's people woos the starry-eyed young woman away. This defection should not come as a surprise to Gretchen. Fox News CEO Roger Ailes(John Lithgow) her boss, prevents the formation of a sisterhood by playing women against each other; a competition he created to see which female touches the glass ceiling first. Working for Bill O'Reilly(Kevin Dorff) in Kayla's estimation, gets her closer to Roger, more so than a woman approaching middle-age whose star at the network is in decline. When the cable news network fires Gretchen Carlson, the ousted anchorwoman looks for other women to come forward and help bolster her sexual harassment lawsuit against Ailes. Megyn Kelly(Charlize Theron) to Gretchen's surprise, would lend this potentially career-killing case the credibility it needed by the host of the Fox's top-rated show coming out with her own allegations. The women were virtual strangers to each other. The deafening silence throughout the elevator scene involving Megyn, Gretchen, and Kayla, is the white noise of patriarchal slavery. "Wings" the bonnet that completes a handmaid's regulation uniform, hinders the woman's peripheral vision, in which she sees only what's in front of her. Instead of wings, the female on-air talent have legs, exposed by short skirts, and can relate to each other only as "jezebels" competing for the attention of male bosses, colleagues, and viewership. Gretchen rebels, going on-air without makeup, and emancipates herself from within, and then without Fox, when she gets fired and files her class-action lawsuit against Roger Ailes, her commander, who oversees the meat market. Without wings, Gretchen sees Megyn Kelly fo
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teiyakuna The ladies get out on the same floor, the second floor; Roger's lair. They disperse in three different directions, predictably, since they're not friends, or even on speaking terms. Faye(Holland Taylor) Roger's administrative assistant, first deals with Gretchen, who bemoans about the time that passed since their last lunch date. This pleasantry lingers in the dead office air for a sister-in-arms-like response, but the amiable utterance dies, turning into ghost words by the time it reaches the pasted-on smile of a real-life gender traitor. Faye doesn't have to say: My loyalty is to the company, like Kayla, especially when Gretchen sees her former staffer going into Roger's office. The grey-haired secretary not only enables the Fox CEO, she scouts potential "talent" for her septuagenarian boss with the walker to sexually harass. "Doesn't it ever stop? Gretchen asks, before she makes her exit. A chance meeting brought the aspiring television personality to Faye's attention. She sized Kayla up, and was deemed pretty enough for a private meeting with her boss. Like Roz(Elizabeth Wilson) Mr. Hart's "eyes and ears" in Colin Higgins' 9 to 5" Roger Ailes' own eyes and ears, who is old enough to be Kayla's mother, prefers being close to corporeal power over female power, which falls on the side of abstractness at a place where women are regularly objectified on- and off-camera without any consequences. Roz is out of the game. She could care less if Mr. Hart(Dabney Coleman) and Doralee(Dolly Parton) are having an extramarital affair. Being a topical, but ultimately, routine comedy, the 1980 film about secretaries in revolt(Lily Tomlin, Jane Fonda, and the aforementioned Parton) who orchestrate their male chauvinist boss' removal from his seat of power, lacks the gravitas to label the cartoonish toadie as a bonafide gender traitor. Faye, on the other hand, is evil; she knows what her boss puts these women through behind closed doors. Like the commanders' wives in "The Handmaid