Elisabeth Moss recently shared deep insights into the sixth and final season of The Handmaid’s Tale, describing it as a journey that both closes one chapter and opens another—one that bridges directly into the upcoming sequel, The Testaments.
Moss, who also directed and executive produced the finale, explained in Forbes that the series ends in a way that feels right for June, while deliberately leaving key threads unresolved to maintain narrative tension . In particular, June still hasn’t reunited with her daughter Hannah by the episode’s close. Moss admits this was a conscious decision: “If there wasn’t going to be a sequel, we may have ended it differently… The Testaments is centered around Hannah and her story” . This signals that June’s journey is far from over—she “won a battle, but she hasn’t won the war,” and “will never rest until her daughter is safe” .
Much of the finale unfolds in a poignant return to the Waterford house—the same room where June began her time in Gilead as Offred. Moss describes it as a “super meta” and “sacred” moment, where June literally begins to write The Handmaid’s Tale. The scene echoes the book’s famous opening lines and reinforces that June’s transformation from victim to storyteller has come full circle .
Moss also emphasized the extensive thought behind other story resolutions—June’s reconnection with key characters like Emily, Serena, Luke, and Janine, as well as the partial liberation of the Handmaids and Marthas. Still, she cautions that this is far from a neatly tied ending. Producers wanted to strike a balance—rewarding loyal viewers while also offering space for the sequel to evolve .
Ultimately, Moss calls the finale “perfect” in that it is both satisfying and open-ended: “For me, the ending is perfect. I also don’t feel like it is an ending. The war is not over. June’s journey is not over” . As viewers reflect on June’s past, present, and future, they’re reminded that the fight for freedom—and a mother’s fight for her child—is still very much alive.
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