Country: USA, Canada

Jay Roach

Margot Robbie, John Lithgow

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Charles Randolph

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"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, not realizing at the time that. and love are interconnected.
"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 for the first time as an ally, instead of foe. Although Jay Roach's "Bombshell" may not be the film about the controversial cable news network the public wants, it'll have to do in the interim. The filmmaker only half-addresses the elephant in the room, and the zookeepers who defend this mammal from beltway poachers. "Bombshell" is about a cable news network whose frat house environment desensitizes its executives to the misogyny that our future president displayed so often on the campaign trail. He's one of us, they thought. They couldn't see the forest for the trees.
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's Tale" the audience wonders how a woman would allow herself to be complicit in a systemic operation so diabolical.
"Compliance" directed by Craig Zobel, is a 2012 thriller based on a real-life incident, in which a middle-age female restaurant manager, under the spell of a male authority figure; a bank manager impersonating a cop on the phone, conducts an illegal strip-search of her employee, a nubile. Serena, in "The Handmaid's Tale" resents June(Offred's real name) because of her baby-making capabilities. The institutionalization of rape that the denizens of Gilead practice can be read as state-sanctioned revenge exacted by the menopausal over the menopausing. Cruelty is the point. Sandra Frum(Ann Dowd. the manager of a franchised fast-food joint, wants to be one of the girls, but gets laughed at by Becky(Dreama Walker) an actual girl, who thinks her boss is out of earshot after the older woman overshares about her love-life. This humiliation, although not explicitly addressed, arguably, plays a part when the voice on the other end of the line urges Sandra to be his surrogate, a dirty cop. Since Becky rejects the restaurant manager as one of the girls, Sandra becomes one of the guys instead, chatting amiably with "Officer Daniels" Pat Healy) the fake policeman, soaking in his praise for a job well-done. Faye, similarly, because she is a woman of a certain age working at Fox News, where youth and beauty are hot commodities in such a highly-sexualized workplace atmosphere, the old-timer can't help but feel a little resentful towards the long-legged beauties that march through the organization's doors and inevitably co-opts her boss' anti-feminist ideology. Faye knows that Roger's casting couch is still fully operational. The cable news network needs a mother figure, not a stepmother type who puts women in harm's way; a stepmother is less likely to care about the victimization of somebody like Kayla, and her ilk. Cynical and ironically misogynistic, Ailes' enabler is something akin to a cultist; a true believer in the wrongheaded notion that all high-profile hirings are transactional affairs. "Bombshell" however, sends the audience a mixed message, suggestive of Faye being a starmaker instead of a madam. Sure, the filmmaker defends Gretchen Carlson and Megyn Kelly, but Kayla, a nobody, reinforces a stereotype about successful women in the entertainment/news industry when she excitedly tells Jess(Kate McKinnon) about an upcoming screen test for "Fox Business" inspiring her cubicle mate to remark on the seemingly untouched woman's "Anchorwoman Barbie" outfit. Later on, presumably, after Kayla doesn't land her dream job, she calls Jess and recounts in graphic detail the sleazy encounter with Roger, causing the closeted lesbian to widen her eyes, symbolic of the audience's eyes, because we're all wondering the same thing: What if 'Fox Business' hired her?
"The Word" Episode 13 from Season 2 of "The Handmaid's Tale" Emily(Alexis Bledel) stabs Aunt Lydia(Ann Dowd) in the back as part of her escape from Gilead. Lydia, clearly, enjoys the power she holds over the handmaids. Being an unnatural woman holds more currency than being a natural woman. That's not the case for Roger Ailes' administrative assistant or the fast-food restaurant owner, for now.

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