When a female villain is three-dimensional, conflicted and endlessly fascinating, but you also accept: “Bitch, you deserve to be every bit as miserable as you are.”

That’s why I’ve loved the Serena Joy arc in season 2.

Because I think the point is: Serena *is* complicated. Does nice things one in a while (she helped Janine’s baby) and her husband is an abusive prick.  Her desperation for a child is also sad. The woman has a miserable life. 

But you never stop getting reminders that she is still, you know, a monster and, by any standards, a literal war criminal who should be in jail for life.

3

We do our work in the evening. She writes, I read. This is the new normal. And an offense to God. In another life, maybe we could’ve been colleagues. And in this one, we’re heretics. I was already on the naughty list. An adulteress, a “fallen woman,” as Aunt Lydia used to say. But this is new territory for Serena, I think. How does she feel about falling? She seems pretty fucking happy.

Dear Handmaid’s writers:

PLEASE DON’T KILL NICK! PLEASE DON’T KILL NICK! PLEASE DON’T KILL NICK! PLEASE DON’T KILL NICK! PLEASE DON’T KILL NICK! PLEASE DON’T KILL NICK! PLEASE DON’T KILL NICK!PLEASE DON’T KILL NICK!

8

Now I’m awake to the world. I was asleep before. That’s how we let it happen. When they slaughtered Congress, we didn’t wake up. When they blamed terrorists and suspended the Consitution, we didn’t wake up then, either. Nothing changes instantaneously. In a gradually heating bathtub, you’d be boiled to death before you knew it.
The Handmaid’s Tale (Season 1)