document_title: Monsters, Inc.

question_text: who does mike's voice in monsters inc

question_tokens: who does mike 's voice in monsters inc

text: Monsters, Inc.

text: Plot[edit]

text: The city of Monstropolis in the monster world is powered by energy from the screams of human children. At the Monsters, Inc. factory, skilled monsters employed as "scarers" venture into the human world to scare children and harvest their screams, through doors that activate portals to children's bedroom closets. It is considered dangerous work, as human children are believed to be toxic. Energy production is falling because children are becoming less easily scared, and Monsters, Inc.'s chairman, Henry J. Waternoose, is determined to find a solution.

text: James P. "Sulley" Sullivan and his partner, Mike Wazowski, are the organization's top employees, but their chief rival, Randall Boggs, is close behind. One day, Sulley discovers that Randall has left a door activated on the scare floor and a small girl has entered the factory. After several failed attempts to put her back, Randall sends the door back into the factory's door vault and Sulley conceals her and takes her out of the factory. He interrupts Mike's date with his girlfriend, Celia, at a sushi restaurant, and chaos erupts when the child is discovered. Sulley and Mike manage to escape with the child before the Child Detection Agency (CDA) quarantines the restaurant. They soon discover that she is not toxic after all; Sulley grows attached to her and calls her "Boo," while Mike is just anxious to be rid of her.

text: The two smuggle her back into the factory disguised as a baby monster in an attempt to send her home. Randall discovers Boo and tries to kidnap her, but mistakenly kidnaps Mike instead. He straps Mike to a large machine called "The Scream Extractor", which he intends to use to revolutionize the scaring industry and solve the monster world's energy problems by forcefully extracting screams from kidnapped human children. Before Randall can use the machine on Mike, Sulley disables the machine, frees Mike and reports Randall to Waternoose. Waternoose, who is secretly in league with Randall, initially indicates anger at hearing of Randall's actions, but instead exiles Mike and Sulley to the Himalayas after revealing he is involved in Randall's plot. The two meet the Abominable Snowman, who tells them about a nearby village, which Sulley realizes he can use to return to the factory. Sulley prepares to return, but Mike refuses to go with him.

text: Meanwhile, Randall is preparing to use the Scream Extractor on Boo, but Sulley suddenly arrives and saves her, destroying the machine in the process. Randall and Sulley battle, and after Mike returns and helps Sulley overpower Randall, the two reconcile, take Boo, and flee.

text: Randall pursues them to the door vault, and a wild chase ensues among the millions of doors as they move in and out of the storage vault on rails to the factory floor. Boo's laughter causes all the doors to activate at once, allowing the monsters to freely pass in and out of the human world. Randall attempts to kill Sulley, but Boo overcomes her fear and attacks him, enabling Sulley to catch him. Sulley and Mike then trap Randall in the human world, where two residents at a trailer park mistake him for an alligator and beat him with a shovel.

text: Sulley and Mike take Boo and her door to the training room. Waternoose appears and demands Sulley surrender Boo to him. Sulley inadvertently baits Waternoose into shouting "I'll kidnap a thousand children before I let this company die, and I'll silence anyone who gets in my way"; the confession is videotaped by Mike, who then plays the recording to the CDA, who quickly arrest and imprison Waternoose. Roz appears, revealing herself to be the CDA's director who worked for nearly three years to expose Waternoose as a fraud and kidnapper. She thanks Mike and Sulley for revealing his true colors, but orders the CDA to destroy Boo's door; they do so and Sulley is left saddened by Boo's departure.

text: With the factory temporarily shut down, Sulley is named the new CEO of Monsters, Inc. Under his leadership, the energy crisis is solved by harvesting children's laughter instead of screams, as laughter has been found to be ten times more potent. Mike takes Sulley aside, revealing he has rebuilt Boo's door. It needs one final piece, which Sulley took as a memento, in order to work. Sulley puts the door chip into place, enters and joyfully reunites with Boo.

text: Voice cast[edit]

text:
John Goodman as James P. "Sulley" Sullivan, a large, furry blue monster with horns and purple spots. Even though Sulley excels at scaring children, he is a gentle giant by nature. At the film's beginning, Sulley has been the "Best Scarer" at Monsters, Inc. for several months running.
Billy Crystal as Michael "Mike" Wazowski, a short, round green monster with a single big eyeball and skinny limbs. Mike is Sulley's station runner and coach on the scare floor, and the two are close friends and roommates. Mike is charming and generally the more organized of the two, but is prone to neurotics and his ego sometimes leads him astray. He is dating Celia Mae, who calls him "Googly-Bear".
Mary Gibbs as Boo, a two-year-old[3][4][5] human girl who is unafraid of any monster except Randall, the scarer assigned to her door. She believes Sulley is a large cat and refers to him as "Kitty". In the film, one of Boo's drawings is covered with the name "Mary". The book based on the film gives Boo's "real" name as Mary Gibbs, the name of her voice actress, who is also the daughter of one of the film's story artists, Rob.[6]
Steve Buscemi as Randall Boggs, a purple, eight-legged lizard monster with a chameleon-like ability to change his skin color and blend in completely with his surroundings. He is a snide and preening character who makes himself a rival to Sulley and Mike in scream collection.
James Coburn as Henry J. Waternoose III, an arthropodic monster with a crab-like lower body. Waternoose is the CEO of Monsters, Inc., a job passed down through his family for three generations. He acts as a mentor to Sulley, holding great faith in him as a scarer.
Jennifer Tilly as Celia Mae, a gorgon-like monster with one eye and tentacle-like legs. Celia is the receptionist for Monsters, Inc. and Mike's girlfriend.
Bob Peterson as Roz, a slug-like monster with a raspy voice who administrates for Scare Floor F where Sulley, Mike, and Randall work. At the end of the movie, it is revealed that Roz is "Agent Number 1" of the CDA, and has worked undercover at Monsters, Inc. for two and a half years.
John Ratzenberger as Yeti[7] a.k.a. The Abominable Snowman,[8] a furry white monster who was banished to the Himalayas. He was inspired by the Abominable Snowman from the 1964 Rankin/Bass animated special Rudolph the Red-Nosed Reindeer.[9]
Frank Oz as Jeff Fungus, Randall's red-skinned, three-eyed, beleaguered assistant.
Dan Gerson as Smitty and Needleman, two goofy monsters with cracking voices, who work as janitors and operate the Door Shredder when required.
Steve Susskind as Jerry Slugworth, a red, seven-fingered monster, who manages Scare Floor F and is a good friend of Waternoose.
Bonnie Hunt as Ms. Flint, a female monster, who trains new monsters to scare children.
Jeff Pidgeon as Thaddeus "Phlegm" Bile, a trainee scarer for Monsters, Inc.
Samuel Lord Black as George Sanderson, a chubby, oranged-furred monster with a sole horn on top of his head. A running gag throughout the film involves George repeatedly making contact with human artifacts (such as socks and the like which cling to his fur via static), prompting his scare coach to trigger "23–19" incidents with the CDA resulting in him mobbed, shaved bald, and sterilized.  He is good friends with Pete "Claws" Ward.
Phil Proctor as Charlie, George's assistant with sea-green skin and tendrils for limbs. He is friends with George, Mike, and Sulley, but is quick to call the CDA on his scarer at the drop of a hat.
Joe Ranft as Pete "Claws" Ward, a blue monster with razor-sharp claws and horrifying breath.

text: Production[edit]

text: Development[edit]

text: The idea for Monsters, Inc. was conceived in a lunch in 1994 attended by John Lasseter, Pete Docter, Andrew Stanton and Joe Ranft during the production of Toy Story.[10] One of the ideas that came out of the brainstorming session was a film about monsters. "When we were making Toy Story", Docter said, "everybody came up to me and said 'Hey, I totally believed that my toys came to life when I left the room.' So when Disney asked us to do some more films, I wanted to tap into a childlike notion that was similar to that. I knew monsters were coming out of my closet when I was a kid. So I said, 'Hey, let's do a film about monsters.'"[11]

text: Docter began work on the film that would become Monsters, Inc. in 1996 while others focused on A Bug's Life (1998) and Toy Story 2 (1999). Its code name was Hidden City, named for Docter's favorite restaurant in Point Richmond.[12] By early-February 1997, Docter had drafted a treatment together with Harley Jessup, Jill Culton, and Jeff Pidgeon that bore some resemblance to the final film. Docter pitched the story to Disney with some initial artwork on February 4 that year. He and his story team left with some suggestions in hand and returned to pitch a refined version of the story on May 30. At this pitch meeting, longtime Disney animator Joe Grant – whose work stretched back to Snow White and the Seven Dwarfs (1937) – suggested the title Monsters, Inc., a play on the title of a gangster film Murder, Inc.,[13] which stuck.[14] The film marks the first Pixar feature to not be directed by Lasseter instead being helmed by Docter, as well as Lee Unkrich and David Silverman who served as co-directors.[15]

text: Writing[edit]

text: The story line took on many forms during production.[16] His original idea featured a 30-year-old man dealing with monsters that he drew in a book as a child coming back to bother him as an adult. Each monster represented a fear he had, and conquering those fears caused the monsters eventually to disappear.[17]

text: After Docter scrapped the initial concept of a 30-year-old terrified of monsters, he decided on a buddy story between a monster and a child titled simply Monsters, in which the monster character of Sulley (known at this stage as Johnson) was an up-and-comer at his workplace, where the company's purpose was to scare children. Sulley's eventual sidekick, Mike Wazowski, had not yet been added.[16][18][18]

text: Between 1996 and 2000, the lead monster and child went through radical changes as the story evolved. As the story continued to develop, the child varied in age and gender. Ultimately, the story team decided that a girl would be the best counterpart for a furry, 8-foot-tall (96 in) co-star.[16] After a girl was settled upon, the character continued to undergo changes, at one point being from Ireland and at another time being an African-American character.[14] Originally the character of the little girl, known as Mary, became a fearless seven-year-old who has been toughened by years of teasing and pranks from four older brothers.[14] In stark contrast, Johnson is nervous about the possibility of losing his job after the boss at Monsters, Inc. announces a downsizing is on the way. He feels envious because another scarer, Ned (who later became Randall), is the company's top performer.[14] Through various drafts, Johnson's occupation went back-and-forth from being a scarer and from working in another area of the company such as a janitor or a refinery worker, until his final incarnation as the best scarer at Monsters, Inc.[14] Throughout development Pixar worried that having a main character whose main goal was to scare children would alienate audiences and make them not empathize with him. Docter would later describe that the team "bent over backwards trying to create a story that still had monsters " while still solving the problem,[15] A key moment came when the team decided "Okay, he's the BEST scarer there. He's the star quarterback" with Docter noting that before that moment "design after design, we really didn't know what he was about."[15] Disney noted to Pixar early on that they did not want the character to "look like a guy in a suit."[15] To this end Johnson was originally planned to have tentacles for feet; however, this caused many problems in early animation tests. The idea was later largely rejected, as it was thought that audiences would be distracted by the tentacles.[19] Mary's age also differed from draft to draft until the writers settled on the age of 3. "We found that the younger she was, the more dependent she was on Sulley", Docter said.[11]

text: Eventually Johnson was renamed Sullivan. The name was suggested by an animator who had attended Texas A&M University, inspired by one of Texas A&M's historic icons, Lawrence Sullivan Ross, nicknamed "Sulley" by students. Sullivan was also planned to wear glasses throughout the film. However, the creators found it a dangerous idea because the eyes were a perfectly readable and clear way of expressing a character's personality; thus, the idea was rejected.[19]

text: The idea of a monster buddy for the lead monster emerged at an April 6, 1998 "story summit" in Burbank with employees from Disney and Pixar. A term coined by Lasseter, a "story summit" was a crash exercise that would yield a finished story in only two days.[20] Such a character, the group agreed, would give the lead monster someone to talk to about his predicament. Development artist Ricky Nierva drew a concept sketch of a rounded, one-eyed monster as a concept for the character, and everyone was generally receptive to it.[11] Docter named the character Mike for the father of his friend Frank Oz, a director and Muppet performer.[14] Jeff Pidgeon and Jason Katz story-boarded a test in which Mike helps Sulley choose a tie for work, and Mike Wazowski soon became a vital character in the film.[11] Originally, Mike had no arms and had to use his legs as appendages; however, due to some technical difficulties, arms were soon added to him.[11]

text: Screenwriter Dan Gerson joined Pixar in 1999 and worked on the film with the filmmakers on a daily basis for almost two years. He considered it his first experience in writing a feature film. He explained, "I would sit with Pete [Docter] and David Silverman and we would talk about a scene and they would tell me what they were looking for. I would make some suggestions and then go off and write the sequence. We'd get together again and review it and then hand it off to a story artist. Here's where the collaborative process really kicked in. The board artist was not beholden to my work and could take liberties here and there. Sometimes, I would suggest an idea about making the joke work better visually. Once the scene moved on to animation, the animators would plus the material even further."[16]

text: Casting[edit]

text: Bill Murray was considered for the voice role of James P. "Sulley" Sullivan. He screen tested for the role and was interested, but when Pete Docter was unable to make contact with him, he took it as a "no".[21][22] The voice role of Sulley went to John Goodman, the longtime co-star of the comedy series Roseanne and a regular in the films of the Coen brothers. Goodman interpreted the character to himself as the monster equivalent of a National Football League player. "He's like a seasoned lineman in the tenth year of his career," he said at the time. "He is totally dedicated and a total pro."[23] Billy Crystal, having regretted turning down the part of Buzz Lightyear years prior, accepted that of Mike Wazowski, Sulley's one-eyed best friend and scare assistant.[24][25] The casting of Steve Buscemi as Randall, Sulley's rival, saw a reunion between himself and John Goodman; they had previously worked together on The Big Lebowski and Barton Fink.

text: Animation[edit]

text: In November 2000, early in the production of Monsters, Inc., Pixar packed up and moved for the second time since its Lucasfilm years.[23] The company's approximately 500 employees had become spread among three buildings, separated by a busy highway. The company moved from Point Richmond to a much bigger campus in Emeryville, co-designed by Lasseter and Steve Jobs.[23]

text: In production, Monsters Inc. differed from earlier Pixar features, as every main character in this movie had its own lead animator – John Kahrs on Sulley, Andrew Gordon on Mike, and Dave DeVan on Boo.[26] Kahrs found that the "bearlike quality" of Goodman's voice provided an exceptionally good fit with the character. He faced a difficult challenge, however, in dealing with Sulley's sheer mass; traditionally, animators conveyed a figure's heaviness by giving it a slower, more belabored movement, but Kahrs was concerned that such an approach to a central character would give the film a "sluggish" feel.[26] Like Goodman, Kahrs came to think of Sulley as a football player, one whose athleticism enabled him to move quickly in spite of his size. To help the animators with Sulley and other large monsters, Pixar arranged for Rodger Kram, a University of California, Berkeley expert on the locomotion of heavy mammals, to lecture on the subject.[26]

text: Adding to Sulley's lifelike appearance was an intense effort by the technical team to refine the rendering of fur. Other production houses had tackled realistic fur, most notably Rhythm & Hues in its 1993 polar bear commercials for Coca-Cola and in its talking animals' faces in the 1995 film Babe.[26] This film, however, required fur on a far larger scale. From the standpoint of Pixar's engineers, the quest for fur posed several significant challenges; one was to figure out how to animate a large numbers of hairs – 2,320,413 of them on Sulley – in a reasonably efficient way,[26] and another was to make sure that the hairs would cast shadows on other ones. Without self-shadowing, either fur or hair takes on an unrealistic flat-colored look (e.g., in Toy Story, the hair on Andy's toddler sister, as seen in that movie's opening sequence, is hair without self-shadowing).[26]

text: The first fur test allowed Sulley to run an obstacle course. Results were not satisfactory, as such objects would catch and stretch out the fur due to the extreme amount of motion. Another similar test was also unsuccessful, because, this time, the fur would go through the objects.[19]

text: Pixar then set up a Simulation department and created a new fur simulation program called Fizt (short for "physics tool").[27] After a shot with Sulley in it had been animated, this department took the data for that shot and added Sulley's fur. Fizt allowed the fur to react in a more natural way. Every time when Sulley would have to move, his fur would (automatically) react to his movements, thus taking the effects of wind and gravity into account as well. The Fizt program also controlled the movement of Boo's clothes, which provided another "breakthrough".[27] The deceptively simple-sounding task of animating cloth was also a challenge to animate thanks to those hundreds of creases and wrinkles that automatically occurred in the clothing when the wearer moved.[28] Also, this meant they would have to solve the complex problem of how to keep cloth untangled – in other words, to keep it from passing through itself when parts of it intersect.[29] Fizt applied the same system to Boo's clothes as to Sulley's fur. First of all, Boo would be animated shirtless; the Simulation department then used Fizt to apply the shirt over Boo's body, and every time she would move, her clothes also would react to her movements in a more natural manner.

text: To solve the problem of cloth-to-cloth collisions, Michael Kass, Pixar's senior scientist, was joined on Monsters, Inc. by David Baraff and Andrew Witkin and developed an algorithm they called "global intersection analysis" to handle the problem. The complexity of the shots in the film, including elaborate sets such as the door vault, required more computing power to render than any of Pixar's earlier efforts combined. The render farm in place for Monsters, Inc. was made up of 3500 Sun Microsystems processors, compared with 1400 for Toy Story 2 and only 200 for Toy Story.[29]

text: Release[edit]

text: The film premiered on October 28, 2001, at the El Capitan Theatre in Hollywood, California.[30] It was theatrically released on November 2, 2001 in the United States, in Australia on December 26, 2001, and in the United Kingdom on February 8, 2002.[31] The theatrical release was accompanied with the Pixar short animated film For the Birds.[32]

text: As with A Bug's Life and Toy Story 2, a montage of "outtakes" and a performance of a play based on a line from the film were made and included in the end credits of the film starting on December 7, 2001.[33]

text: After the success of the 3D re-release of The Lion King,[34] Disney and Pixar re-released Monsters, Inc. in 3D on December 19, 2012.[35]

text: Home media[edit]

text: Monsters, Inc. was released on VHS and DVD on September 17, 2002.[36] It was then released on Blu-ray on November 10, 2009,[37] and on Blu-ray 3D on February 19, 2013.[38]

text: Reception[edit]

text: Box office[edit]

text: Monsters, Inc. ranked number 1 at the box office on its opening weekend, grossing $62,577,067 in North America alone. The film had a small drop-off of 27.2% over its second weekend, earning another $45,551,028. In its third weekend, the film experienced a larger decline of 50.1%, placing itself in the second position just after Harry Potter and the Philosopher's Stone. In its fourth weekend, however, there was an increase of 5.9%, making $24,055,001 that weekend for a combined total of over $525 million. As of May 2013, it is the eighth-biggest fourth weekend ever for a film.[39][40]

text: The film made $289,916,256 in North America, and $287,509,478 in other territories, for a worldwide total of $577,425,734.[1] The film is Pixar's ninth highest-grossing film worldwide and sixth in North America.[41] For a time, the film surpassed Toy Story 2 as the second highest-grossing animated film of all time, only behind 1994's The Lion King.[29]

text: In the U.K., Ireland, and Malta, it earned £37,264,502 ($53,335,579) in total, marking the sixth highest-grossing animated film of all time in the country and the thirty-second highest-grossing film of all time.[42] In Japan, although earning $4,471,902 during its opening and ranking second behind The Lord of the Rings: The Fellowship of the Ring for the weekend, it moved to first place on subsequent weekends due to exceptionally small decreases or even increases and dominated for six weeks at the box office. It finally reached $74,437,612, standing as 2001's third highest-grossing film and the third largest U.S. animated feature of all time in the country behind Toy Story 3 and Finding Nemo.[43]

text: Critical response[edit]

text: Monsters, Inc. received critical acclaim. Review aggregator Rotten Tomatoes gave the film a score of 96% based on 194 reviews, with an average score of 8/10. The critical consensus was, "Clever, funny, and delightful to look at, Monsters, Inc. delivers another resounding example of how Pixar elevated the bar for modern all-ages animation."[44] Metacritic, which assigns a normalized rating out of 100 top reviews from mainstream critics, calculated a score of 78 based on 34 reviews, indicating "generally favorable reviews."[45] According to CinemaScore, audiences gave the film a rare "A+" grade[46], becoming the second Pixar film to gain an "A+" grade, after Toy Story 2[47]

text: Charles Taylor from Salon.com stated, "[i]t's agreeable and often funny, and adults who take their kids to see it might be surprised to find themselves having a pretty good time."[48] Elvis Mitchell from The New York Times gave it a positive review, praising the film's use of "creative energy", saying "There hasn't been a film in years to use creative energy as efficiently as Monsters, Inc."[49] Although Mike Clark from USA Today thought the comedy was sometimes "more frenetic than inspired and viewer emotions are rarely touched to any notable degree," he also viewed the film as "visually inventive as its Pixar predecessors."[50]

text: ReelViews film critic James Berardinelli gave the film 31⁄2 stars out of 4 and wrote that the film was "one of those rare family films that parents can enjoy (rather than endure) along with their kids."[51] Roger Ebert from the Chicago Sun-Times gave the film 3 out of 4 stars, calling it "cheerful, high-energy fun, and like the other Pixar movies, has a running supply of gags and references aimed at grownups."[52] Lisa Schwarzbaum from Entertainment Weekly gave the film a "B" grade and praised the film's animation, stating "Everything from Pixar Animation Studios – the snazzy, cutting-edge computer animation outfit – looks really, really terrific and unspools with a liberated, heppest-moms-and-dads-on-the-block iconoclasm."[53]

text: Accolades[edit]

text: Monsters, Inc. won the Academy Award for Best Original Song (Randy Newman, after fifteen previous nominations, for "If I Didn't Have You").[54] It was one of the first animated films to be nominated for Best Animated Feature (lost to Shrek).[54] It was also nominated for Best Original Score (lost to The Lord of the Rings: The Fellowship of the Ring) and Best Sound Editing (lost to Pearl Harbor).[54] At the Kid's Choice Awards in 2002, it was nominated for "Favorite Voice in an Animated Movie" for Billy Crystal (who lost to Eddie Murphy in Shrek).[54]

text: Music[edit]

text:
Monsters, Inc.Soundtrack album by Randy NewmanReleased
October 23, 2001Recorded
2000–2001Genre
ScoreLength
1:00:30Label
Walt DisneyRandy Newman chronology

Meet the Parents(2000)Meet the Parents2000

Monsters, Inc.(2001)

Seabiscuit(2003)Seabiscuit2003

Pixar soundtrack chronology

Toy Story 2(1999) Toy Story 21999

Monsters, Inc.(2001) Monsters, Inc.2001

Finding Nemo(2003) Finding Nemo2003

text: Professional ratingsReview scoresSourceRatingAllMusic[55]Empire[56]Filmtracks.com[57]Movie Wave[58]Soundtrack.net[59]

text: Monsters Inc. was Randy Newman's fourth feature film collaboration with Pixar. The end credits song "If I Didn't Have You" was sung by John Goodman and Billy Crystal.[16]

text: The album was nominated for the Academy Award for Best Original Score and a Grammy Award for Best Score Soundtrack for Visual Media.[54] The score lost both these awards to The Lord of the Rings: The Fellowship of the Ring, but after sixteen nominations, the song "If I Didn't Have You" finally won Newman his first Academy Award for Best Original Song.[54] It also won a Grammy Award for Best Song Written for Visual Media.[54]

text: Track listing[edit]

text: All tracks written by Randy Newman.

text: No.TitleLength1."If I Didn't Have You" (performed by Billy Crystal and John Goodman)3:412."Monsters, Inc."2:093."School"1:384."Walk to Work"3:295."Sulley and Mike"1:576."Randall Appears"0:497."Enter the Heroes"1:038."The Scare Floor"2:419."Oh, Celia!"1:0910."Boo's Adventures in Monstropolis"6:2311."Boo's Tired"1:0312."Putting Boo Back"2:2213."Boo Escapes"0:5214."Celia's Mad"1:4115."Boo Is a Cube"2:1916."Mike's in Trouble"2:1917."The Scream Extractor"2:1218."Sulley Scares Boo"1:1019."Exile"2:1720."Randall's Attack"2:2221."The Ride of the Doors"5:0822."Waternoose is Waiting"3:1423."Boo's Going Home"3:3424."Kitty"1:2025."If I Didn't Have You" (performed by Newman)3:38Total length:1:00:30

text: Chart positions[edit]

text:
Chart (2001)

Peakposition

US Top Soundtracks (Billboard)[60]

25

text: Lawsuits[edit]

text: Shortly before the film's release, Pixar was sued by children's songwriter Lori Madrid of Wyoming, stating that the company had stolen her ideas from her 1997 poem "There's a Boy in My Closet."

text: Madrid mailed her poem to six publishers in October 1999, notably Chronicle Books, before turning it into a local stage musical in August 2001. After seeing the trailer for Monsters, Inc., Madrid concluded that Chronicle Books had passed her work to Pixar and that the film was based on her work.[62] In October 2001, she filed the suit against Chronicle Books, Pixar, and Disney in a federal court in Cheyenne, Wyoming. Her lawyer asked the court to issue a preliminary injunction, that would forbid Pixar and Disney from releasing the film while the suit was pending.

text: In a hearing on November 1, 2001 – the day before the film's scheduled release on 5,800 screens in 3,200 theaters across the country – the judge refused to issue the injunction. On June 26, 2002, he ruled that the film had nothing in common with the poem.[63]

text: In November 2002, Stanley Mouse filed a lawsuit, in which he alleged that the characters of Mike and Sulley were based on drawings of Excuse My Dust, a film that he had tried to sell to Hollywood in 1998.[64] The lawsuit also stated that a story artist from Pixar visited Mouse in 2000, and discussed Mouse's work with him.[64] A Disney spokeswoman responded, by saying that the characters in Monsters, Inc. were "developed independently by the Pixar and Walt Disney Pictures creative teams, and do not infringe on anyone's copyrights".[61] The case was ultimately settled under undisclosed terms.[65]

text: Prequel[edit]

text: A prequel, titled Monsters University, was released on June 21, 2013. John Goodman, Billy Crystal, and Steve Buscemi reprised their roles of Sulley, Mike, and Randall, while Dan Scanlon directed the film. The prequel's plot focuses on Sulley and Mike's studies at Monsters University, where they start off as rivals but soon become best friends.

text: Other media[edit]

text: An animated short, Mike's New Car, was made by Pixar in 2002 in which the two main characters have assorted misadventures with a car Mike has just bought. This film was not screened in theaters, but is included with all home video releases of Monsters, Inc., and on Pixar's Dedicated Shorts DVD.[66] In August 2002, a manga version of Monsters, Inc. was made by Hiromi Yamafuji and distributed in Kodansha's Comic Bon Bon magazine in Japan; the manga was published in English by Tokyopop until it went out of print.[67] A series of video games, including a multi-platform video game were created based on the film. The video games included Monsters, Inc., Monsters, Inc. Scream Team and Monsters, Inc. Scream Arena.[68] A game titled Monsters, Inc. Run was released on the App Store for iPhone, iPod Touch, and iPad on December 13, 2012.[69]

text: Feld Entertainment toured a Monsters, Inc. edition of their Walt Disney's World on Ice skating tour from 2003 to 2007.[70] Monsters, Inc. has inspired three attractions at Disney theme parks around the world. In 2006 Monsters, Inc. Mike & Sulley to the Rescue! opened at Disneyland Resort's Disney California Adventure in Anaheim, California.[71] In 2007, Monsters, Inc. Laugh Floor opened at Walt Disney World Resort's Magic Kingdom in Lake Buena Vista, Florida, replacing The Timekeeper. The show is improvisational in nature, and features the opportunity for Guests to interact with the monster comedians and submit jokes of their own via text message.[72] In 2009 Monsters, Inc. Ride & Go Seek opened at Tokyo Disney Resort's Tokyo Disneyland in Chiba, Japan.[73]

text: In 2009, Boom! Studios produced a Monsters Inc. comic book mini-series that ran for four issues. The storyline takes place after the movie and focuses on Sulley and Mike's daily struggles to operate Monsters Inc. on its new laughter-focused company policy. At the same time, their work is impeded by the revenge schemes of Randall and Waternoose, as well as a human child (indirectly revealed to be Sid Phillips from the Toy Story franchise) who has hijacked the company's closet door technology to commit a string of toy thefts throughout the human world.[74]

text: A world based on the film will make its debut appearance in the Kingdom Hearts series in Kingdom Hearts III,[75][76] making it the second Disney-Pixar movie featured in the series after Toy Story.[77][78] Sulley, Mike, Randall, and Boo are slated to appear, so far, with Sulley and Mike serving as temporary party members.

text: TV series[edit]

text: On November 9, 2017, while commenting the plans for a new Star Wars trilogy and live-action TV show, Disney CEO Bob Iger spoke about plans to develop TV spin-off shows of Monsters, Inc as well with Disney Channel's High School Musical and Marvel Entertainment's Marvel Cinematic Universe.[79] It was also confirmed that this announcement is just part of the plans that Disney has for the new streaming platform that they will launch in 2019 following their announcement to exit from Netflix.[80][81]


document_title: The Handmaid's Tale (TV series)

question_text: how many episodes in season one handmaids tale

root

text: The Handmaid's Tale (TV series)

text: Plot[edit]

text: In the near future, fertility rates collapse as a result of sexually transmitted diseases and environmental pollution.[5] With this chaos, the totalitarian, theonomic government of "Gilead" establishes rule in the former United States in the aftermath of a civil war.[6][7][8] Society is organized by power-hungry leaders along with a new, militarized, hierarchical regime of fanaticism and newly created social classes, in which women are brutally subjugated, and by law are not allowed to work, own property, handle money, or read.[8]

tag: p

text: Worldwide infertility has resulted in the conscription of the few remaining fertile women in Gilead, called "Handmaids", according to an extremist interpretation of the Biblical account of Bilhah.[8] They are assigned to the homes of the ruling elite, where they must submit to ritualized rape by their male masters in order to become pregnant and bear children for those men and their wives.

text: Alongside the Handmaids, much of society is now grouped into classes that dictate their freedoms and duties. Women are divided into a small range of social categories, each one signified by a plain dress in a specific color: Handmaids wear red, Marthas (who are housekeepers and cooks, named after the biblical figure) wear green, and Wives (who are expected to run their households) wear blue and turquoise.

text: Econowives, the lower-class women who still have minimal agency, are a sort of mixture of all these categories, and they wear gray (a departure from the book in which Econowives wear clothing striped with the aforementioned colors). Women prisoners are called Unwomen and are worked to death clearing toxic waste in the Colonies.

text: Another class of women, Aunts (who train and oversee the Handmaids), wear brown. Additionally, the Eyes are a secret police watching over the general populace for signs of rebellion, Hunters track down people attempting to flee the country, and Jezebels are prostitutes in secret brothels catering to the elite ruling class.

text: June Osborne, renamed Offred (Elisabeth Moss), is the Handmaid assigned to the home of the Gileadan Commander Fred Waterford (Joseph Fiennes) and his wife Serena Joy (Yvonne Strahovski). Offred is subject to strict rules and constant scrutiny; an improper word or deed on her part can lead to brutal punishment.

text: Offred, who is named after her male master ("Of Fred") like all Handmaids, was married and had a daughter, a job, a bank account, and her own name and identity in the "time before", but all she can safely do now is follow the rules of Gilead in hopes that she can someday live free again and be reunited with her daughter. The Waterfords, key players in the rise of Gilead, have their own conflicts with the realities of the society they have helped create.

text: Cast and characters[edit]

text: Main[edit]

text:
Elisabeth Moss as June Osborne / Offred, a woman who was captured while attempting to escape to Canada with her husband, Luke, and daughter, Hannah. Due to her fertility, she is made a Handmaid to Commander Fred Waterford and his wife, Serena Joy, and is named "Offred".
Joseph Fiennes as Commander Fred Waterford, a high-ranking government official and June's master. Both he and his wife played an instrumental role in Gilead's founding. He wishes to have more contact with June outside of what is lawful between a Handmaid and her master, and starts inviting her to play nightly games of Scrabble.
Yvonne Strahovski as Serena Joy Waterford, Fred's wife and a former conservative cultural activist. She appears to have accepted her new role in a society that she helped create. She is poised and deeply religious, but capable of great cruelty and is often callous to June. She is desperate to become a mother.
Alexis Bledel as Emily / Ofglen / Ofsteven, June's shopping partner. Although June is initially wary of her, it is revealed Ofglen is not as pious as she seems, and the two become friends. Ofglen had a wife and son, and was a university lecturer in cellular biology. Being homosexual is punishable by death in Gilead, and most university professors are sent to labour camps, but Ofglen was spared and made a Handmaid, due to her fertility. She is later captured and cruelly punished for her relationship with a Martha, and is sent to another household where she becomes "Ofsteven". She is involved with a resistance movement called "Mayday".
Madeline Brewer as Janine / Ofwarren / Ofdaniel, a Handmaid who entered the Red Center for training at the same time as June and considers June a friend due to her kind treatment. Initially non-compliant, Janine's right eye is removed as a punishment. She becomes mentally unstable due to her treatment and often behaves in temperamental or childlike ways. She gives birth to a child for Warren and Naomi Putnam, whom they name "Angela", but Janine insists the baby's name is "Charlotte". Janine is later reassigned and becomes "Ofdaniel".  She was temporarily assigned to the Colonies until a bombing at the new Rachel and Leah Center.
Ann Dowd as Aunt Lydia, a woman in charge of overseeing the Handmaids in their sexual reeducation and duties. She is brutal and subjects insubordinate Handmaids to harsh physical punishment, but she also cares for her charges and believes deeply in the Gileadean mission and doctrine. She appears to have a soft spot for Janine, and even goes so far as to address her by her given name on occasion.
O. T. Fagbenle as Lucas "Luke" Bankole, June's husband from before Gilead. Because he and June began their relationship before his divorce from his first wife, their union is considered invalid in the new society. June is considered an adulteress and their daughter, Hannah, is considered illegitimate. Initially, June believes he has been killed, but it is later revealed Luke managed to escape to Canada.
Max Minghella as Nick Blaine, Commander Waterford's driver and a former drifter from Michigan who has feelings for June. June and Nick develop an intimate relationship and she eventually discovers that he is an Eye, a spy for Gilead.
Samira Wiley as Moira / Ruby, June's best friend since college. She is already at the Red Center when June enters Handmaid training but escapes before being assigned to a home. She is recaptured and becomes "Ruby", a Jezebel. She seems to have given up hope of ever being free, but on meeting June again regains the conviction to escape.
Amanda Brugel as Rita, a Martha at the Waterford home. She had a son who died fighting in the civil war when he was 19 years old.[9]

tag: ul

text: Recurring[edit]

text:
Ever Carradine as Naomi Putnam, Commander Warren Putnam's wife.
Tattiawna Jones as Lillie Fuller / Ofglen No. 2, who replaces Emily in the position after Emily is captured by the Eyes. She initially follows the rules and does not wish to upset the status quo, but this is because she believes her life as a Handmaid is better than the difficult, impoverished life she led prior to Gilead, rather than out of religious piety.
Nina Kiri as Alma / Ofrobert, another Handmaid who trained at the Red Center with June, Moira, and Janine. She is frank and chatty, and often trades gossip and news with June. She is also involved with Mayday and becomes June's first contact with the resistance group.
Jenessa Grant as Dolores / Ofsamuel, a local Handmaid with a friendly and talkative nature.
Bahia Watson as Brianna / Oferic, another local Handmaid who is friends with June.
Jordana Blake as Hannah Bankole, June and Luke's daughter. She is later renamed Agnes.
Erin Way as Erin, a young, apparently mute, woman who was being trained to become a Handmaid but managed to escape to Canada.[10]
Sydney Sweeney as Eden Spencer (season 2), a pious and obedient girl who was Nick's wife.[11]
Bradley Whitford as Commander Joseph Lawrence (season 2), the founder of the Colonies.[12]
Greg Bryk as Commander Ray Cushing (season 2)
Rohan Mead as Isaac (season 2), a Guardian assigned to the Waterford home.
Julie Dretzin as Eleanor Lawrence (season 2), Joseph's wife.

text: Guest[edit]

text:
Kristen Gutoskie as Beth (season 1), a Martha at Jezebel's. She has an arrangement with Nick whereby she trades illegal alcohol and other contraband for drugs, which the Jezebels use. She has a casual sexual relationship with him and is aware that he is an Eye.
Marisa Tomei as Mrs. O'Conner (season 2), a Commander's wife who is sent to the colonies as punishment for having sex with another man.[13]
Cherry Jones as Holly Maddox (season 2), June's mother, an outspoken feminist.[14]
Clea DuVall as Sylvia (season 2), Emily's wife.[15]
Yahya Abdul-Mateen II as Omar (season 2) a man who helps June attempt to escape.
John Carroll Lynch as Dan (season 2), Emily's boss at the university where she worked.
Kelly Jenrette as Annie (season 2), Luke's ex-wife.
Rebecca Rittenhouse as Odette (season 2), a Doctor and Moira's fiancée.
Sam Jaeger as Mark Tuello (season 2), a mysterious stranger who Serena encounters in Canada.
Oprah Winfrey (uncredited) as Newsreader (season 2) on a car radio.[16]

text: Episodes[edit]

text: Series overview[edit]

text: SeasonEpisodesOriginally releasedFirst releasedLast released110April 26, 2017 (2017-04-26)June 14, 2017 (2017-06-14)213April 25, 2018 (2018-04-25)July 11, 2018 (2018-07-11)

tag: table

text: Season 1 (2017)[edit]

text:
No.overallNo. inseasonTitleDirected byTeleplay byOriginal release date11"Offred"Reed MoranoBruce MillerApril 26, 2017 (2017-04-26)
A family is pursued by a group of armed men. The woman is caught, and separated from her young daughter and husband as shots are fired in the distance. She is now known as Offred, the Handmaid to Commander Fred Waterford. While walking with another Handmaid, Ofglen, they pass by a wall on which men have been hanged for crimes such as being gay, working in an abortion clinic, and being a Catholic priest.[17] In a flashback, various women are indoctrinated into their Handmaid roles by Aunt Lydia, and Offred notices Moira, a woman she knew in college. Handmaid Janine taunts Aunt Lydia and is shocked with a cattle prod, later her right eye is removed as punishment. In the present, Commander Waterford tries to impregnate Offred during "the Ceremony" as she lies in the lap of his wife, Serena Joy. The next day, the Handmaids are encouraged to beat a man to death after Lydia announces he raped a pregnant Handmaid. Janine tells Offred that her friend Moira is dead. On the way home, Ofglen tells Offred that she had a wife and son, and warns her there is an Eye in the Waterford house. Offred affirms to herself that her true name is June and that she intends to survive to find her daughter.
22"Birth Day"Reed MoranoBruce MillerApril 26, 2017 (2017-04-26)
Offred and Ofglen go shopping, and they reveal more personal information about themselves to each other. While they are walking, they see St. Paul Catholic Church, their local church, being destroyed by the new régime.[18][17] Ofglen tells Offred that the régime also bulldozed St. Patrick's Cathedral in Manhattan to try to "erase" the fact that it ever existed. When Offred asks how Ofglen knows this information, she reveals that she is part of a resistance movement against the government, but Offred declines to join.[19] Commander Waterford's driver, Nick, tells Offred that the Commander wants to see her alone later that night, which is forbidden, and warns her that Ofglen is dangerous. Offred and other Handmaids visit a home to witness the birth of Ofwarren (Janine)'s child, named Angela by the Puttnams, but Charlotte by Ofwarren. In flashbacks, June (Offred) remembers the birth of her and Luke's daughter, Hannah. At that time healthy births were already rare, and a woman who tried to kidnap baby Hannah was arrested. Warily, Offred goes to the Commander's office, but he just wants to play Scrabble, to her relief. The next day, when Offred prepares to tell Ofglen what happened that night, a different woman introduces herself as Ofglen.
33"Late"Reed MoranoBruce MillerApril 26, 2017 (2017-04-26)
In flashbacks, the rise of Gilead is detailed. June and all the other women at her office were fired, and the government froze women's bank accounts and ruled they could no longer own property. In the present, Serena takes Offred to see Ofwarren and the baby, and Offred fears Ofwarren is delusional. Back home, Offred is interrogated by an Eye and Aunt Lydia about her knowledge of Ofglen. Offred eventually reveals she knew Ofglen was gay and for this, Aunt Lydia shocks Offred with a cattle prod. Before she can leave the room, Offred quotes one of the Beatitudes from the Bible, which would have earned her a much more serious beating, but Serena intervenes, believing that Offred is pregnant. When Offred later tells Serena that she's not pregnant, Serena angrily locks her in her room. In a flashback, June and Moira attend a protest against the new laws amidst automatic gunfire and explosives. In the present, Ofglen and the Martha she's in a relationship with are charged with "gender treachery". The fertile Ofglen receives a lesser sentence, but the Martha is executed by hanging as Ofglen watches, sobbing and horrified. Later, Ofglen (now referred to by her "old" name, Emily), to her grief and anger, undergoes female genital mutilation surgery as explained by Aunt Lydia.
44"Nolite Te Bastardes Carborundorum"Mike BarkerLeila GersteinMay 3, 2017 (2017-05-03)
Banished to her room, Offred retreats to her closet where she finds what appears to be a Latin phrase, Nolite Te Bastardes Carborundorum, scratched discreetly into the wall. When Rita, the Commander's housekeeper, finds Offred lying on the closet floor, Offred tells her that she fainted. Serena then has Offred sent to the hospital for a check-up. During the examination the physician remarks that the Commander is most likely sterile, as is common. He offers to personally impregnate her but she declines. In flashbacks, Aunt Lydia teaches the Handmaids about The Ceremony in which a Commander endeavours to fertilize a Handmaid. Later, June and Moira assault Aunt Elizabeth, and Moira takes Elizabeth's outfit. June and Moira plan to escape via train to Boston, which has safe houses. Moira manages to catch the train without June, who lets Moira know it's okay. June is later caught and punished by having her feet whipped. Commander Waterford has an unsuccessful Ceremony night with Offred, but later that night, they have another game of Scrabble. She asks him about the Latin phrase, and he tells her it means, Don't let the bastards grind you down. When she inquires about the previous Offred, he tells her that she committed suicide because life was unbearable. He then releases Offred from her solitary confinement.
55"Faithful"Mike BarkerDorothy FortenberryMay 10, 2017 (2017-05-10)
Serena suggests to Offred that she have sex with Nick in case Commander Waterford is sterile. Later that day, Serena leads Offred up to Nick's room and waits by the door while Offred and Nick have detached sex. Flashbacks detail Luke and June's first meeting and courtship. At the grocery store, Offred talks to the original Ofglen, now called Ofsteven, but Ofsteven is not as responsive as she used to be. During a Ceremony night, the Commander touches Offred's thigh, which she later tells him never to do again. In their ensuing conversation, the Commander admits that while they thought they were building a better world, they knew that "better never means better for everyone." Nick reveals to Offred that he is indeed an Eye. At an open-air market, Offred questions Ofsteven about the resistance group called Mayday. Ofsteven jumps behind the steering wheel of a security car and drives erratically around the plaza. She hits a guard, and is caught and put into a black van. Offred returns to Nick's coach house alone, and they have passionate sex.
66"A Woman's Place"Floria SigismondiWendy Straker HauserMay 17, 2017 (2017-05-17)
Mexican trade delegates visit the Commander's home to evaluate the effects of the Gilead cultural movement. The female head of the delegation questions Offred about her experience, but she lies, saying that she is happy. Offred visits the Commander's office later, but there is tension. She reluctantly obeys his demand to kiss him, but ferociously brushes her teeth afterward. The Handmaids and children are then taken to a function to demonstrate Gilead's success. Offred's friend remarks that the delegates are only interested in fertile women. The next day, as the delegates are leaving, Offred tells them the brutal truth about Gilead. She pleads for their help, but in response, the Mexican ambassador explains her own country's dire situation. However, the ambassador's assistant quietly claims June's husband is alive and that he can deliver a message to Luke. A flashback details Serena and Fred's life at the beginnings of the Gilead movement when Serena was a conservative cultural activist with passion and intelligence equal to her husband's. Serena Joy wrote a book about her beliefs, titled A Woman's Place. However, after the takeover, she is completely shut out of the new government planning and accepts her new limited role in the society she helped create. A copy of her book is seen being thrown out with the trash.
77"The Other Side"Floria SigismondiLynn Renee MaxcyMay 24, 2017 (2017-05-24)
A flashback chronicles Luke's story after he becomes separated from his wife and daughter. Luke is shot by Gileadan guards, but he escapes when the ambulance crashes, and he takes some medical supplies. He reaches a small abandoned town and, after passing out from his wounds, is rescued by a resistance group traveling to Canada. These survivors included a Roman Catholic nun, a seemingly mute escaped Handmaid, a homosexual man, and a daughter of a US Army soldier.[20] Initially reluctant, Luke joins them after one of the survivors, Zoe, shows him that Gileadan authorities hanged townspeople from the rafters of their church for resisting.[21][22] As they board a boat, Gileadan guards open fire, killing several members of the group, but Luke and Erin, the escaped Handmaid, survive. A further flashback shows Luke, June, and their daughter Hannah before they were separated. June and Luke are helped by Mr. Whitford, a man who knew June's mother. He leaves them at a secluded cabin in the woods while he arranges documentation for them to escape to Canada. Later, a local hunter tells them Whitford has been caught and hanged, but the hunter helps them cross the border. Three years later, in the present, Luke and Erin live safely in "Little America", based in Toronto, Ontario. While in the main administrative office, Luke receives the letter from June, which reads "I love you so much. Save Hannah."
88"Jezebels"Kate DennisKira SnyderMay 31, 2017 (2017-05-31)
Commander Waterford gifts Offred with makeup and a dress as he is taking her out for the night. Nick drives them to Boston to an underground brothel, where prostitutes (known as "Jezebels") work. Offred spots Moira working in the club, and they briefly reunite. Nick trades drugs and pregnancy tests for alcohol with one of the brothel's Marthas. Offred goes to see Moira again, and she explains to Offred how Quakers tried to help her escape but were caught.[23][24] Moira had the choice of being sent either to the colonies or one of the brothels.[24] Moira tells Offred, "Forget about escaping. This is Gilead. No one gets out." Offred reveals to Moira that she knows Luke is alive. Flashbacks detail how Nick got involved with the Gilead movement and how he became an Eye after reporting a Commander for breaking protocol with his Handmaids. There are other flashbacks to the suicide of the previous Offred, with Serena pointedly saying to her husband, "What did you think was going to happen?" In the present, after Nick drives Waterford and Offred home, he ends his relationship with Offred, which upsets and angers her. Offred receives a gift from Serena, a music box. The episode closes with Offred etching "You are not alone" into the closet wall.
99"The Bridge"Kate DennisEric TuchmanJune 7, 2017 (2017-06-07)
Ofwarren's daughter is handed over to Commander Putnam and his wife, and Ofwarren is transferred to another couple and renamed Ofdaniel. However, Offred is worried about Ofwarren/Ofdaniel's mental state. During the first Ceremony night with her new Commander, Ofdaniel forcefully stops it. At the market, Alma pulls Offred aside, tells her that she is involved with the resistance group Mayday, and requests that Offred retrieve a package from the bar at Jezebel's. Offred convinces Waterford to take her to Jezebel's again that night. After Offred and Waterford have sex in their room, Waterford presents Moira, as he believes they have a sexual attraction. Offred asks Moira to retrieve the package, but she refuses, seemingly resigned to her fate. The next day Offred is taken to a bridge where Ofdaniel is standing on the edge with baby Charlotte, while Gileadan guards, the Putnams, the Waterfords, and Aunt Lydia stand fearfully by. Ofdaniel shouts that Commander Putnam promised to leave his wife for her. Offred convinces Ofdaniel to give her the child, and Ofdaniel then jumps into the icy water below. Later, while Ofdaniel lies comatose in hospital, Commander Putnam is led away by guards. When Serena Joy tries to offer comfort to Mrs. Putnam, she reminds Serena of the first Offred's fate, causing Serena to doubt her husband's loyalty. At the market, Offred is given a package by the butcher, sent by Moira from Jezebel's. At the brothel, Moira kills a client and takes his clothes, then jubilantly drives off in his car.
1010"Night"Kari SkoglandBruce MillerJune 14, 2017 (2017-06-14)
A flashback shows June's capture and indoctrination by Aunt Lydia at the Red Center.  After Serena discovers Fred's trips to Jezebel's, she slaps Offred hard and forces her to take a pregnancy test. It is positive. Serena then angrily accuses her husband, telling him the child is not his. Upon learning the news, Nick shares a brief, tender moment with Offred. Serena takes Offred to where Hannah now lives, but Offred is kept in the car, and unable to attract her daughter's attention. Serena warns Offred that Hannah will be cared for as long as the unborn child is safe. Fred participates in Commander Putnam's trial advocating leniency, but Mrs. Putnam wants the harshest punishment possible, and ultimately Putnam's left arm is amputated at the elbow. The package from Jezebel's contains letters from women who have lost family members and been enslaved in the Gilead takeover. Later, an emotional Aunt Lydia gathers the Handmaids for the execution of Janine/Ofdaniel. The Handmaids hesitate, and Ofglen No. 2 is brutally beaten when she voices her angry refusal. Offred, then the other Handmaids, drop their stones. One of the guards threatens to kill Offred, but Aunt Lydia saves her, although assuring the handmaids that there will be consequences. Not long afterward, a black van comes for Offred. Nick urges her to trust him and go with them.  Offred's transfer is unusual, as neither of the Waterfords have any idea this would be happening.  As Offred leaves, she whispers to Rita where to find the hidden letters. In a side story, Moira reaches Canada and is reunited with Luke.

text: Season 2 (2018)[edit]

text:
No.overallNo. inseasonTitleDirected byTeleplay byOriginal release date111"June"Mike BarkerBruce MillerApril 25, 2018 (2018-04-25)
Offred and other handmaids are taken to a dilapidated Fenway Park, where they are made to believe they will be hanged, but it turns out to be a ruse to frighten them. During another punishment, Offred is freed after Aunt Lydia is told of her pregnancy. When she rejects a meal Aunt Lydia gives her, she is shown a pregnant handmaid, Ofwyatt, chained in a prison room due to her attempt to kill herself by drinking drain cleaner. Offred agrees to eat, and during her meal Aunt Lydia, who had told her that her friends would be punished for their disobedience, but her pregnancy would mean that she would be exempted, brings the other handmaids into the room. One by one they each have a hand burned over an open gas flame.  Later, Offred is at a pregnancy check-up, where she is visited by Fred and Serena, but afterwards finds a key in one of her boots, which she uses to escape to a van parked underneath the hospital. The van drops her off to a safe house in Back Bay, where she meets Nick, while Fred authorizes a highly resourced search for her. He tells her to change out of her handmaid outfit, and to cut her hair. After stripping off her handmaid's dress, she burns it before cutting the red cattle tag out of her ear. In flashbacks throughout the episode, Hannah is admitted to the hospital for having a fever while in school; June is questioned by one of the hospital workers about giving Hannah medication to bypass the school's fever policy, as well as about June and Luke's fitness as parents. Later, they arrive home to a news story about the Capitol Building and the White House being attacked.
122"Unwomen"Mike BarkerBruce MillerApril 25, 2018 (2018-04-25)
June has been transported to the abandoned former headquarters of The Boston Globe, another safe place arranged by Mayday.[25] Emily has been taken to the Colonies, where disobedient and lower-class infertile women ("unwomen") are forced to dig on highly toxic land.[26] Many of the unwomen are becoming sick, and Emily is doing what she can to help them. A commander's wife arrives at the Colonies and is not welcomed by the unwomen: Emily befriends her and finds that she was sent to the colonies for committing a "sin of the flesh." Emily holds her in contempt for "holding a woman down while her husband rapes her". She feigns giving her pills for her ailments that are in truth poison, which leads to her death. [25] The unwomen are warned that there will be consequences for this death. Janine arrives at the Colonies, where she is briefly greeted by Emily. June is visited by Nick at the Globe and gets upset when he tells her she needs to wait for several weeks before she can leave because everyone is looking for her. Nick ends up giving her the keys to a car and a gun but she decides to stay, and they have sex. In a flashback, after the attack on the Capitol Building and the White House, Emily is told by her boss, Professor Dan, that she will not be teaching the following semester at the university, giving her a lower profile to avoid attracting criticism for her sexual orientation. Professor Dan is later seen hanged at the university with the word "faggot" spray painted underneath him. While Emily, along with her wife Sylvia and son Oliver, attempt to emigrate to Canada, she is unable to leave the country because their same-sex marriage is no longer recognized, and it becomes known that she is the biological mother of Oliver. June makes a news-clipping memorial for The Boston Globe employees who were executed at the newspaper's former headquarters and prays to God to send an angel to watch over it.[25]
133"Baggage"Kari SkoglandDorothy FortenberryMay 2, 2018 (2018-05-02)
Having spent two months at The Boston Globe offices, June has found evidence in their archives of the early emergence of the Gilead movement. Nick visits occasionally. She is abruptly moved to a different place where she meets Omar, who tells her he is bringing her to a safe house near an airstrip in order to fly to Canada. He receives a message that the safe house has been compromised, and tries to leave without her, but she stands in front of his van to make him take her. He takes her to his apartment, where she meets his wife, Heather, and their son, Adam. Left alone when his family goes to church, June finds a hidden Qur'an and prayer rug under the bedsprings; Omar and his family do not return. She dons Heather's Econowife outfit and leaves the apartment, blending in with other Econowives. After a train ride, June runs into the woods. She realizes she has no way of rescuing Hannah and advances to the airstrip that Omar had told her of; however, the plane is intercepted before take-off, the pilot is executed, and June and another fugitive are apprehended by the Guardians. Meanwhile, Moira, now living with Luke and Erin (who is no longer mute) in Canada, gives a tour to a new co-worker but he has a breakdown, traumatized by what he did as a Guardian. In a flashback, June as a child is taken to a Take Back the Night rally by her mother, Holly. When she grew up, Holly was disappointed at June's career choices and plan to marry Luke, hoping that she would have been an activist.  Moira and June learned  during their training at the Red Center that Holly had been declared an Unwoman and was sent to the Colonies to be worked to death.
144"Other Women"Kari SkoglandYahlin ChangMay 9, 2018 (2018-05-09)
June is taken back and chained in a room where Aunt Lydia explains that she must choose between this imprisonment, followed by execution after the birth of her child, or return as a handmaid to the Waterfords.  She chooses the latter and is under close supervision from Lydia. The Waterfords, who still employ Nick, publicly treat Offred's disappearance as a kidnapping, but privately Serena is furious and grabs Offred by the throat. Rita returns the letters she found and tells Offred that she will no longer be involved.  A baby shower is held for Serena, incorporating prayer and a ritual binding of Offred to Serena. Offred learns from Alma that Ofglen's tongue was removed for speaking up to save Ofwarren (Janine) as she was about to be stoned and that Mayday has now gone silent. Aunt Lydia takes Offred out to show her what is presumed to be Omar's hanging corpse. She tells June that Omar's wife, Heather, is now a handmaid and that their child, Adam, was given away to another family. Aunt Lydia tells Offred that this was her fault, and Offred accepts the blame. Aunt Lydia encourages June to distinguish between Offred's identity and June's, saying June is to blame not Offred. In a flashback, June sees Luke's first wife Annie, who tells her that they made wedding vows before God, but Luke rejects her attempts to come between him and June. A few years later, Annie sees Luke and June in a restaurant with their child, Hannah. Offred has collapsed emotionally under the knowledge of Omar's family's fate. June prays that Hannah forget her. Ignoring Nick the following day, Offred appears to be conforming to the expectations of a handmaid.
155"Seeds"Mike BarkerKira SnyderMay 16, 2018 (2018-05-16)
Offred is very subdued, and starts to burn the letters she had been keeping for Mayday.  She notices vaginal bleeding, which continues and gets worse but does not inform anyone, although Rita notices her unsteadiness. Nick notices Offred's apparent depression and lets Mrs. Waterford know about it. Mrs. Waterford becomes alarmed at Nick's interest in Offred and informs Commander Waterford, who arranges for him to be married at a Prayvaganza where loyal Guardians are issued a wife as a reward for their work. Nick's new bride, Eden, moves into his room. Nick later finds Offred unconscious and drenched in the bushes outside the Waterfords' house and she is taken to the hospital. Offred, still pregnant, promises to her baby that they both will escape Gilead. Meanwhile, in the Colonies, Janine assures Emily that God is protecting them through their struggles in Gilead, and helps to arrange a small wedding for a dying worker, officiated by another Unwoman who is a rabbi. Emily, who has begun to lose her teeth, argues with her for attempting to bring brightness to a place that otherwise seems so bleak. When the newlywed Unwoman dies, the rabbi officiates at the burial as she is lowered into her grave in a cemetery adorned with crosses.
166"First Blood"Mike BarkerEric TuchmanMay 23, 2018 (2018-05-23)
Advised by a doctor that a harmonious household would be good for the child, Serena shows increased care for Offred, giving her the sitting room as a bedroom and inviting some handmaids to have brunch with her. When Serena shows Offred the nursery for the baby, Offred asks to see Hannah, upon which Serena moves her back to her previous room, and sets about humiliating her.  Eden reveals to Offred that she fears Nick may be a "gender traitor" due to his reluctance to have sex with her, so Offred warns him and he has sex with Eden to avoid suspicion, but only after he tells Offred that he loves her. Fred visits Offred in secret and gives her a photograph of Hannah, and wants to have sex with her, but Offred refuses. At the opening of the Rachel and Leah Center, a construction and ceremony overseen by Waterford, Nick asks Commander Pryce to be reassigned, and that Offred be protected, to which he agrees. Ofglen runs toward the stage, and detonates a bomb: only Handmaids are seen to have escaped. Flashbacks show Serena being verbally attacked while promoting her book A Woman's Place, and being shot by a protester, and Fred's punishment of those he believes to have been involved.
177"After"Kari SkoglandLynn Renee MaxcyMay 30, 2018 (2018-05-30)
31 handmaids and 26 commanders, and an unspecified number of civilians, have been killed in Ofglen's attack on the Rachel and Leah Center, including Commander Pryce, while others, such as Commander Waterford, were seriously injured. Following the attack, Commander Cushing takes Commander Pryce's role, instituting an increased number of checkpoints and having numerous people summarily executed. He questions Offred, asking who aided her when she tried to flee the country. Offred responds that she was kidnapped, an answer that Commander Cushing does not believe. Mrs. Waterford is alarmed at the possibility of her household being targeted, and is angry at his heavy-handed response to the bombing. She forges orders from her husband to have Commander Cushing arrested for treason and apostasy. Because so many handmaids were killed, some fertile women are taken back from the Colonies and are made to serve as handmaids once again, including Janine and Emily. Both reunite with Offred in the grocery store, with Janine happily telling her that it was God's plan that she be rescued. Offred, who had been sad to discover that none of the handmaids had known Ofglen's name, tells her real name, June, to Emily and another handmaid and following this, several of the handmaids whisper their real names to one another, which Eden overhears. Later, Mrs. Waterford enlists Offred's help in illicitly performing the Commander's work for him while he is in the hospital. At the refugee center, Moira looks through records to try to confirm whether her fiancée, Odette, has died. Through flashbacks Moira is revealed to have been a surrogate for a couple before the war. She met Odette, an obstetrician, during this process. In the present, Moira eventually finds photographs showing Odette was killed.
188"Women's Work"Kari SkoglandNina Fiore & John HerreraJune 6, 2018 (2018-06-06)
June has been helping Serena to complete Fred's work for some months while he is too ill from his bomb injuries to do so himself, but as soon as he returns home he excludes Serena from his office. Serena tells June that the Putnams' child, Angela, (called Charlotte by Janine, who is her biological mother) is sick. June advocates for Janine to be able to see the baby, and Serena agrees to ask about it for the baby's sake. Naomi Putnam dislikes the idea, but she is overruled by her husband, Warren. Serena petitions Fred to allow the sick child to be seen by a Martha who, prior to the Sons of Jacob coup, was one of the nation's top neonatologists. Fred denies the request, saying that whatever happens to the child must now be left to God's will. A dismayed Serena forges Fred's signature to a written order that transfers the Martha to the hospital for a day. Aunt Lydia tells June that she will hold her personally responsible if anything goes wrong with Janine's visit to the hospital. The neonatologist can find no physical explanation for the child's deterioration and can recommend no further treatment. She advises them to unplug the baby from all of the machines and help her to feel safe and warm. When Fred discovers that Serena forged his signature on an order to temporarily transfer the physician/Martha, he beats Serena with his belt as June is forced to watch. Serena later tearfully rejects June's offer of sympathy.  Meanwhile, Eden is working hard to please Nick, but after she rearranges his garret and uncovers the bundle of handmaids' letters he recovered from June, he becomes angry, demanding that she never touch his belongings. The episode ends in the hospital with Janine, partly undressed, singing "I Only Want to Be with You" to her child and bouncing her as her baby gurgles happily.

This is the first episode in this series that does not have scenes from before the formation of Gilead.
199"Smart Power"Jeremy PodeswaDorothy FortenberryJune 13, 2018 (2018-06-13)
Fred and Serena travel to Canada on a diplomatic mission accompanied by Nick, while a Guardian, Isaac, is to be left responsible for the household. Much to Offred's distress, Serena tells her that she will be transferred as soon as the baby is born. In Toronto, Serena is reminded of the time before Gilead, and the Waterfords are ambivalently greeted by Canadian officials. Later, Serena is approached by Mark Tuello, who works for the remnant of the US government in Hawaii, and offers to help her defect from Gilead, but Serena declines. At the Waterford's residence, June tells Rita that when Hannah was baptized, she and Luke chose godparents for her and wishes for Rita to be the godparent of her expected child as soon as it is born.[27] Rita states that she will try her best, though the government of Gilead has prohibited baptisms and severely restricts Marthas. June makes a similar request to Aunt Lydia, prompting her to reveal she was previously godparent to her sister's baby, who died in infancy.[27] At a protest, Luke confronts Commander Waterford. Afterwards, Nick finds Luke and tells him June is pregnant by Waterford, but safe, and gives him the bundle of letters from women enslaved in Gilead. Luke, Moira, and Erin make the letters public, causing an outcry that prompts the Canadians to cancel the rest of the summit. Moira holds a sign up to the Waterfords' car that says "My name is Moira" and Fred recognises her from Jezebel's. Serena burns the Hawaiian matches Mark left her. Meanwhile, Nick gives June news of Luke and Moira, and tells her that the letters were instrumental in getting the talks curtailed. June reveals that Moira is Hannah's godmother and is happy that she escaped to Canada.[28] Nick tells June that he loves her, and tries to kiss her, but she does not allow him to.
2010"The Last Ceremony"Jeremy PodeswaYahlin ChangJune 20, 2018 (2018-06-20)
The commander to whom Emily is newly assigned as handmaid collapses and dies during the Ceremony. June suffers contractions while shopping, forcing her home and to endure a "birthing ceremony" as everyone awaits the birth of the child. However, it turns out to be a false alarm and everyone is dismissed. Following the false alarm, June pleads to Fred to be positioned closer to her daughter Hannah after the eventual birth. After Fred denies this request, June implies that the child she is carrying is not his and that he will never have a biological child of his own. Later, Fred rapes June with Serena holding her down, under the guise of inducing the labor. Eden finds herself attracted to Isaac, a guard, and meets with him late at night. They kiss, but she breaks off once she sees Nick watching. She begs his forgiveness, which he readily gives with a detachment that infuriates her. She accuses Nick of liking Offred. Fred then arranges Nick to take June to an empty and remote house for a short visit with Hannah, who is now named Agnes. After they are once again separated, Guardians take Nick captive, and June is left behind, having hidden in the house.
2111"Holly"Daina ReidBruce Miller & Kira SnyderJune 27, 2018 (2018-06-27)
After Nick is taken away from the house, June finds a car in the garage and car keys and is able to start the car, but she returns to the house and gets a man's coat. Flashbacks throughout the episode show her first pregnancy, and  Hannah's birth and childhood. Fred and Serena arrive at the house in a panic, looking for Offred. They are arguing with each other, with Serena telling Fred she gave up everything for him and the cause, and only ever wanted a child. June finds a gun, and prepares to shoot them, but desists.  They are unable to find Offred and decide to leave, feeling both angry and concerned. After she's certain they're gone, June, having contractions, gets back into the car, but cannot get it out of the garage, which is frozen shut. June is exhausted and in pain, and lays down in front of the fire, finally going into labor and passing out. When she wakes, she's covered in blood, but the baby still hasn't come. She crawls outside and discharges the gun to attract attention, then she ends up delivering the baby by herself. She whispers that her name is Holly, after her mother. Light comes in through the windows, indicating that a car has arrived at the house.
2212"Postpartum"Daina ReidEric TuchmanJuly 4, 2018 (2018-07-04)
Some weeks after the birth, the baby, now named Nichole, is cared for by Serena, while Offred is providing milk through a breast pump. She is unable to pump enough milk and is brought to see her baby in order to induce lactation. Offred requests to nurse her herself, but Fred rejects the idea. Given that Offred's lactation increases during the meeting, Aunt Lydia convinces Fred to allow Offred back in the house for the baby's health. Serena becomes enraged and demands that Offred stay away from the baby. Nick, who is back in the Waterford household and presented as having been key to the rescue of Offred and the baby, suggests lightheartedly that he, Offred and the baby should flee, and Fred attempts to renew the illicit elements of their relationship. Emily is reassigned to a new household as a handmaid after being rejected by four couples. Commander Lawrence, the "architect of Gilead's economy", seems suspicious. His wife, Eleanor, reveals to Emily that Lawrence was the creator of the Colonies. Lawrence interrogates Emily, revealing that he knows much about her past. Meanwhile, Eden and Isaac elope but are soon caught. Eden and Nick admit their faults and ask forgiveness of each other.  Eden and Isaac are brought to a diving board above a swimming pool with chains and weights attached to each of them.  Both refuse to ask for forgiveness, and Eden instead begins to recite a biblical paean to love.  Both are pushed off the diving board and die by drowning in front of a crowd.[29] Distraught by the events, Serena and Offred get to an understanding and Serena allows Offred to nurse the baby herself.
2313"The Word"Mike BarkerBruce MillerJuly 11, 2018 (2018-07-11)
It is revealed that Eden's father was the one who turned Eden and Isaac in, leading to their execution. While searching through Eden's belongings, June discovers a Bible that Eden read from and annotated, despite it being illegal for women and girls to read in Gilead.[30] June argues with Serena about her daughter's future in Gilead, stating that baby Nichole (Holly) won't be able to know God unless she is eventually able to read his word.[30] Serena and a number of wives propose an amendment to the council that girls be taught to read the Bible and Serena reads from the Bible to make her point, resulting in one of her fingers being cut off.[30] Emily reluctantly prepares for her first ceremony with Lawrence, but he dismisses Emily without going through with it. The next day, Emily is visited by Aunt Lydia and, as she is leaving, Emily brutally attacks Lydia by stabbing her in the back with a kitchen knife. Emily continues to kick Aunt Lydia down the stairs, leaving her gasping for breath. Lawrence's Martha, Cora, finds Aunt Lydia and throws Emily into a room and locks the door. Fred suggests to June that he could arrange for her to remain as his handmaid, and when she rejects the proposal, he suggests that future meetings with Hannah could be arranged. As a fire consumes a house across the street, Rita tells June that she and her daughter, Holly, have this chance to get out and need to leave immediately. Fred tries to arrange their capture, but is prevented by Nick, who threatens him with a gun.  Serena catches her mid-escape, but after a tearful goodbye to the baby, allows June to take the baby and flee, assisted by several Marthas. June is reunited with Emily, who is dropped off at the escape van by Lawrence, who says he is getting himself "in deep shit" when asked why he's allowing them to leave. At the last second, June decides to stay behind and gives the baby to Emily. She tells Emily to call her Nichole, and to tell her she loves her.

text: Production[edit]

text: A straight-to-series order by Hulu of The Handmaid's Tale was announced in April 2016, with Elisabeth Moss set to star.[31] Based on the 1985 novel of the same name by Margaret Atwood, the series was created by Bruce Miller, who is also an executive producer with Daniel Wilson, Fran Sears, and Warren Littlefield.[31] Atwood serves as consulting producer, giving feedback on some of the areas where the series expands upon or modernizes the book.[31][32] She also played a small cameo role in the first episode.[33] Moss is also a producer.[34] In June 2016, Reed Morano was announced as director of the series.[35] Samira Wiley, Max Minghella, and Ann Dowd joined the cast in July 2016.[36][37][38] Joseph Fiennes, Madeline Brewer, and Yvonne Strahovski were cast in August 2016,[39][40][41] followed by O. T. Fagbenle and Amanda Brugel in September 2016.[42][43] In October 2016, Ever Carradine joined the cast,[44] and Alexis Bledel was added in January 2017.[45]

text: Filming on the series took place in Toronto, Mississauga, Hamilton, Oakville, and Cambridge, Ontario, from September 2016 to February 2017.[46][47] The first full trailer of the TV series was released by Hulu on YouTube on March 23, 2017.[48] The series premiered on April 26, 2017.[49]

text: On May 3, 2017, The Handmaid's Tale was renewed for a second season to premiere in 2018.[50] Moss told the news media that the subsequent episodes would cover further developments in the story, filling in some of the unanswered questions and continuing the narrative already "finished" in the book.[51] The second season consists of 13 episodes and began filming in fall 2017. Alexis Bledel returned as a series regular.[52] Showrunner Bruce Miller stated that he envisioned 10 seasons of the show, stating, "Well, you know, honestly, when I started, I tried to game out in my head what would ten seasons be like? If you hit a home run, you want energy to go around the bases, you want enough story to keep going, if you can hook the audience to care about these people enough that they're actually crying at the finale."[53]

text: Broadcast and release[edit]

text: The first three episodes of the series premiered on April 26, 2017; the subsequent seven episodes were released on a weekly basis.[49][54] In Canada, the series is broadcast by Bravo; the first two episodes premiered on April 30, 2017.[55] In Scandinavia, the series is available on HBO Nordic.[56] In the United Kingdom, the series premiered on May 28, 2017, on Channel 4.[57] In Ireland, the series premiered on February 5, 2018 on RTÉ2, with a showing of the first two episodes.[58] RTÉ also became the first broadcaster in Europe to debut Season 2 following its broadcast in the US and Canada.[59] In the Brazil, the series premiered on March 7, 2018, on Paramount Channel.[60]

text: In New Zealand, the series was released on the subscription video on demand service Lightbox on June 8, 2017.[61] In Australia, the series premiered on the TV channel SBS's video streaming service SBS on Demand, on July 6, 2017.[62]

text: The first season was released on Blu-ray and DVD on March 13, 2018.[63]

text: Reception[edit]

text: Critical response[edit]

text:
Season

Critical response

Rotten Tomatoes

Metacritic

1

95% (107 reviews)

92 (41 reviews)

2

92% (73 reviews)

86 (28 reviews)

text: Season 1[edit]

text: On Rotten Tomatoes, the first season has an approval rating of 95% based on 107 reviews, with an average rating of 8.7/10. The site's critical consensus reads, "Haunting and vivid, The Handmaid's Tale is an endlessly engrossing adaptation of Margaret Atwood's dystopian novel that's anchored by a terrific central performance from Elisabeth Moss."[64] On Metacritic, it has a weighted average score of 92 out of 100 based on 41 critics, indicating "universal acclaim".[65]

text: Daniel Fienberg of The Hollywood Reporter called it "probably the spring's best new show".[66] Jen Chaney of Vulture gave it a highly positive review, and wrote that it is "A faithful adaptation of the book that also brings new layers to Atwood's totalitarian, sexist world of forced surrogate motherhood" and that "this series is meticulously paced, brutal, visually stunning, and so suspenseful from moment to moment that only at the end of each hour will you feel fully at liberty to exhale".[67]

text: There was much debate on whether parallels could be drawn between the series (and by extension, the book it is based on) and American society during the Presidency of Donald Trump.[68][69] A comparison has also been made to the Salafi/Wahabbi extremism of ISIL, under which enslaved women of religious minorities are passed around and utilized as sex objects and vessels to bear new jihadis.[70][71][72]

text: Season 2[edit]

text: On Rotten Tomatoes, the second season has an approval rating of 91% based on 74 reviews, with an average rating of 8.31/10. The site's critical consensus reads, "Beautifully shot but dishearteningly relevant, The Handmaid's Tale centers its sophomore season tightly around its compelling cast of characters, making room for broader social commentary through more intimate lenses."[73] On Metacritic, it has a weighted average score of 86 out of 100 based on 28 critics, indicating "universal acclaim".[74]

text: However, the second season of the show received criticism for being excessive in its depictions of violence with critics questioning whether it was merely "torture porn" and going too far. The Atlantic's Sophie Gilbert wrote: "There came a point during the first episode where, for me, it became too much."[75] Lisa Miller of The Cut wrote: "I have pressed mute and fast forward so often this season, I am forced to wonder: 'Why am I watching this'? It all feels so gratuitous, like a beating that never ends."[76] And The Daily Telegraph's Rebecca Reid admitted she had an anxiety attack watching an episode of the show.[77]

text: Awards[edit]

text:
Year

Award

Category

Nominee(s)

Result

Ref.

Season 1

2017

Primetime Emmy Awards

Outstanding Drama Series

Bruce Miller, Warren Littlefield, Daniel Wilson, Fran Sears, Ilene Chaiken, Sheila Hockin, Eric Tuchman, Frank Siracusa, John Weber, Kira Snyder, Elisabeth Moss, Joseph Boccia, and Leila Gerstein

Won

[78]

Outstanding Lead Actress in a Drama Series

Elisabeth Moss (for "Night")

Won

Outstanding Supporting Actress in a Drama Series

Ann Dowd (for "Offred")

Won

Samira Wiley (for "Night")

Nominated

Outstanding Directing for a Drama Series

Reed Morano (for "Offred")

Won

Kate Dennis (for "The Bridge")

Nominated

Outstanding Writing for a Drama Series

Bruce Miller (for "Offred")

Won

Primetime Creative Arts Emmy Awards

Outstanding Guest Actress in a Drama Series

Alexis Bledel (for "Late")

Won

Outstanding Casting for a Drama Series

Russell Scott, Sharon Bialy, and Sherry Thomas

Nominated

Outstanding Cinematography for a Single-Camera Series (One Hour)

Colin Watkinson (for "Offred")

Won

Outstanding Period/Fantasy Costumes for a Series, Limited Series, or Movie

Ane Crabtree and Sheena Wichary (for "Offred")

Nominated

Outstanding Production Design for a Narrative Contemporary or Fantasy Program (One Hour or More)

Julie Berghoff, Evan Webber, and Sophie Neudorfer (for "Offred")

Won

Outstanding Special Visual Effects in a Supporting Role

Brendan Taylor, Stephen Lebed, Leo Bovell, Martin O'Brien, Winston Lee, Kelly Knauff, Zach Dembinski, Mike Suta, and Cameron Kerr (for "Birth Day")

Nominated

Peabody Award

Entertainment, children's and youth honoree

The Handmaid's Tale

Won

[79]

Gold Derby TV Awards

Drama Series

The Handmaid's Tale

Nominated

[80]

Drama Actress

Elisabeth Moss

Won

Drama Guest Actress

Alexis Bledel

Won

Television Critics Association Awards

Program of the Year

The Handmaid's Tale

Won

[81]

Outstanding Achievement in Drama

Won

Outstanding New Program

Nominated

Individual Achievement in Drama

Elisabeth Moss

Nominated

American Film Institute Awards

Top 10 TV Programs of the Year

The Handmaid's Tale

Won

[82]

2018

American Cinema Editors Awards

Best Edited Drama Series for Non-Commercial Television

Julian Clarke and Wendy Hallam Martin (for "Offred")

Won

[83]

Art Directors Guild Awards

One-Hour Contemporary Single-Camera Television Series

Julie Berghoff (for "Offred", "Birth Day", "Nolite Te Bastardes Carborundorum")

Won

[84]

Andrew Stearn (for "The Bridge")

Nominated

Casting Society of America

Television Pilot and First Season – Drama

Sharon Bialy, Sherry Thomas, Russell Scott, Robin D. Cook, and Jonathan Oliveira

Won

[85]

Cinema Audio Society Awards

Outstanding Achievement in Sound Mixing for Television Series – One Hour

John J. Thomson, Lou Solakofski, Joe Morrow, and Don White (for "Offred")

Nominated

[86]

Costume Designers Guild Awards

Excellence in Contemporary Television Series

Ane Crabtree

Won

[87]

Critics' Choice Television Awards

Best Drama Series

The Handmaid's Tale

Won

[88]

Best Actress in a Drama Series

Elisabeth Moss

Won

Best Supporting Actress in a Drama Series

Ann Dowd

Won

Directors Guild of America Awards

Outstanding Directorial Achievement for a Drama Series

Reed Morano (for "Offred")

Won

[89]

Golden Globe Awards

Best Television Series – Drama

The Handmaid's Tale

Won

[90]

Best Actress – Television Series Drama

Elisabeth Moss

Won

Best Supporting Actress – Series, Miniseries or Television Film

Ann Dowd

Nominated

Location Managers Guild Awards

Outstanding Locations in Contemporary Television

John Musikka and Geoffrey Smither

Nominated

[91]

Producers Guild of America Awards

Outstanding Producer of Episodic Television, Drama

The Handmaid's Tale

Won

[92]

Satellite Awards

Best Drama Series

The Handmaid's Tale

Nominated

[93]

Best Actress in a Drama / Genre Series

Elisabeth Moss

Won

Best Supporting Actress in a Series, Miniseries or TV Film

Ann Dowd

Won

Saturn Awards

Best New Media Television Series

The Handmaid's Tale

Nominated

[94]

Screen Actors Guild Awards

Outstanding Performance by an Ensemble in a Drama Series

Madeline Brewer, Amanda Brugel, Ann Dowd, O. T. Fagbenle, Joseph Fiennes, Tattiawna Jones, Max Minghella, Elisabeth Moss, Yvonne Strahovski, and Samira Wiley

Nominated

[95]

Outstanding Performance by a Female Actor in a Drama Series

Elisabeth Moss

Nominated

USC Scripter Awards

Best Adapted TV Screenplay

Bruce Miller and Margaret Atwood (for "Offred")

Won

[96]

Writers Guild of America Awards

Dramatic Series

Ilene Chaiken, Nina Fiore, Dorothy Fortenberry, Leila Gerstein, John Herrera, Lynn Maxcy, Bruce Miller, Kira Snyder, Wendy Straker Hauser, and Eric Tuchman

Won

[97]

New Series

Won

BAFTA Television Awards

Best International Programme

The Handmaid's Tale

Won

Season 2

2018

Primetime Emmy Awards

Outstanding Drama Series

Bruce Miller, Warren Littlefield, Elisabeth Moss, Daniel Wilson, Fran Sears, Mike Barker, Sheila Hockin, Eric Tuchman, Kira Snyder, Yahlin Chang, Frank Siracusa, John Weber, Dorothy Fortenberry, and Joseph Boccia

Pending

[98]

Outstanding Lead Actress in a Drama Series

Elisabeth Moss (for "The Last Ceremony")

Pending

Outstanding Supporting Actor in a Drama Series

Joseph Fiennes (for "First Blood")

Pending

Outstanding Supporting Actress in a Drama Series

Alexis Bledel (for "Unwomen")

Pending

Ann Dowd (for "June")

Pending

Yvonne Strahovski (for "Women's Work")

Pending

Outstanding Directing for a Drama Series

Kari Skogland (for "After")

Pending

Outstanding Writing for a Drama Series

Bruce Miller (for "June")

Pending

Primetime Creative Arts Emmy Awards

Outstanding Guest Actress in a Drama Series

Kelly Jenrette (for "Other Women")

Pending

Cherry Jones (for "Baggage")

Pending

Samira Wiley (for "After")

Pending

Outstanding Casting for a Drama Series

Sharon Bialy, Sherry Thomas, Russell Scott and Robin D. Cook

Pending

Outstanding Cinematography for a Single-Camera Series (One Hour)

Colin Watkinson (for "June")

Pending

Outstanding Fantasy/Sci-Fi Costumes

Ane Crabtree and Natalie Bronfman (for "Seeds")

Pending

Outstanding Makeup for a Single-Camera Series (Non-Prosthetic)

Burton LeBlanc, Talia Reingold and Erika Caceres (for "Unwomen")

Pending

Outstanding Production Design for a Narrative Contemporary Program (One Hour or More)

Mark White, Elisabeth Williams, Martha Sparrow, and Caroline Gee (for "June")

Pending

Elisabeth Williams, Martha Sparrow, and Rob Hepburn (for "Seeds", "First Blood", "After")

Pending

Outstanding Single-Camera Picture Editing for a Drama Series

Wendy Hallam Martin (for "June")

Pending

Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour)

Joe Morrow, Lou Solakofski, and Sylvain Arseneault (for "June")

Pending

Outstanding Special Visual Effects in a Supporting Role

Stephen Lebed, Brendan Taylor, Kelly Knauff, Kelly Weisz, Kevin McGeagh, Anderson Leo Bovell, Winston Lee, Xi Luo, and Cameron Kerr (for "June")

Pending