In the show version, though, she has more to live for: Knowing that her daughter and husband are both likely still alive makes her more willing to take the kind of risks that make for good TV, and for multiple seasons of it.When Moss learns that this interview will run right before the finale airs, making it possible for her to speak openly about most of the season with no fear of spoilers, she's so thrilled that she almost jumps out of her chair.

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One day, June's boss at the publishing house where she works gets up and tells all the women they're fired.

She tries to use her ATM card and it doesn't work; her money has been transferred into her husband's account.

June is a regular person who wears jeans and t-shirts.

She and her short-fused lesbian best friend Moira, who's played by standout Samira Wiley, bicker about the slow erosion of women's civil rights and use dating apps. She and Moira talk about the crazy shit happening in the news.

"She [said] you're a great actor, but too bad you didn't act like a human being . Though he's trying to work on his bad behaviors, Armisen said he gets "very caught up in the beginning." "I want it all — fast," he explained.

and then somewhere around a year, two years, I get freaked out." "Do you feel entitled to more women? "I don't want to admit that out loud to myself," Armisen said, "but that probably is it." PHOTOS: When exes attack! When she gets cold, she texts someone and her Strand bookstore Virginia Woolf tote bag appears; there's a hoodie in there, along with two yogurts and an apple from the craft services table which she's swiped in lieu of buying groceries. art department to look exactly like the scrawled note from the Handmaid who preceded Offred, which Offred finds in her bedroom's closet.In the book, this fake Latin for "don't let the bastards grind you down" is a message that's both hopeful—since women are forbidden to read, any written communiqué is thrilling—but ultimately tragic: Its author hanged herself, a sign of having let the bastards grind you down if there ever was one.For her part, Atwood has palpable respect for Moss; she describes her to me as "very smart" in a brief phone call that left me certain that this is a judgment Atwood doles out very, very rarely. " several times as I ramble nervously and points out flaws in my questions on the levels of philosophy, fact, and grammar; I hang up feeling like I've taken a dip in very pure, very cold Canadian water.) "You know, she's an executive producer of the show," Atwood tells me, as though bragging about the accomplishments of a favorite grandchild: "The interesting thing about her is that she's been an actor since she was about two. I think if you're looking for her understanding of how all of this works, it comes from a deep background in doing that.She's been there, done that for a very, very long time." When Moss talks about scenes and plot points, she refers to Offred/June as "I" and "she" interchangeably—not because of some kind of Method preciousness, I don't think, but because she's still very much invested in the inner life and eventual fate of this character.When Moss arrives on the roof I compliment her makeup—she's fresh from the shoot for this story—and she makes a joke about having to remove a layer of bronzer so orangey it made her look jaundiced, except she momentarily can't remember the word "jaundiced," and when I provide it she's so impressed and grateful that my nervousness immediately evaporates.