All the Songs from The Handmaid's Tale Season Three Soundtrack
The Handmaid's Tale season 3 streamed its 13th and final episode of the season on August 14.
In episode 1 *spoiler* the Waterford's house was finally burned to the ground, but you may have missed the haunting song that was playing during that epic scene.
The latest musical choice in the finale episode mirrored the morbid since of peace June felt as she fought consciousness after being shot during her efforts to smuggle a group of children to safety in Canada.
As one of the most evocative dramas streaming today, besides the critically acclaimed cast and alluring visuals, pointed music choices are one of the key details that makes The Handmaid's Tale one of our favorite TV shows.
And just like previous years, season three was no exception. It offered a layered soundtrack that not only provided new tunes for your personal playlist, but served as an extension of the thoughts and emotions of the cast—specifically lead character June, played by Elisabeth Moss.
"I often ask myself what Offred would be listening to if she could press play in a scene," said the show's music supervisor Maggie Phillips in an interview with Stylist. "It helps the audience relate to her and reminds us that she came from our world— but it also helps illustrate the not-so-distant past during the flashbacks, amplifying the freedom felt in pre-Gilead times.”
Phillips also told the LA Times that in order to go along with June's new rebellious spirit, in season three, she was set to "pick some fighting songs" for the newest episodes.
In case you're wondering what exactly these songs are, for each episode throughout season 3 we broke down all the musical moments so that you can rock out at anytime to the creepy (but catchy) sounds of The Handmaid's Tale. The latest playlist update? From the finale, episode 13's "Mayday."
Warning: spoilers ahead.
Episode 1- Night
The Boomtown Rats - "I Don't Like Mondays"
"'Lord Jesus be revealed from heaven with His mighty angels in flaming fire thou shall take vengeance.' Burn motherfu*ker, burn." It's with those words—and a quote from 2 Thessalonians 1:8 to boot—that June walks away from the Waterford's house as it burns to the ground after the master bedroom's four-poster was set-on fire by Serena Joy. (Never did we think we'd be cheering for that woman.) This is the building in which June suffered countless instances of physical and emotional abuse. Who wouldn't be happy to see it go?
And as we watch the home succumb to flames, we hear The Boomtown Rats' 1979 classic rock tune,"I Don't Like Mondays," a song inspired by a school shooting that happened that same year. When a reporter asked the shooter what her motivation was she responded, "I don't like Mondays. This livens up the day."
As for why show-runners chose to play this particular song during this specific scene? We'll leave that for you to interpret in the comments.
Greg Street - "Good Day"
At the end of the season three premiere during the episode's closing credits, the audience is met with Greg Street's upbeat 2010 hit, "Good Day." The cheery tune seems to signal that June's story could finally be headed in a somewhat positive direction. In the first episode alone the dreaded Waterford residence is destroyed, Emily and baby Nichole make it to safety across the border into Canada, and June is placed in the home of the seemingly sympathetic Commander Lawrence.
But this is The Handmaid's Tale after-all, and though we love the show, we're prepared for any inkling of happiness to be fleeting.
Episode 2 - Mary and Martha
This episode only included instrumental music.
Episode 3 - Useful
Roy Harper - "How Does It Feel"
Harper's 1970 folksy lullaby-like tune is played at the end of episode three, beginning after June insists to a distraught Serena Joy, "Maybe we're stronger than we think we are," as she pleads with her to consider doing something to resist the discriminatory practices bought against the women of Gilead.
The emotional ballad continues on into the closing credits as we hear June talk about "choices" in a voice over, flashing to scenes of her handing-over a list of names to Commander Lawrence (new Marthas to help with the resistance), while Serena—still gutted by her separation from Nichole—walks dazedly into the ocean by her mother's beach side home.
"There was a time when women were able to choose," you hear Moss (June) say. "We were a society dying—Aunt Lydia would say—of too much choice. 'We know the sacrifice you are expected to make,' she'd say. 'It is hard when men revile you.'"
Episode 4 - God Bless the Child
Alison Krauss - "Down to the River to Pray"
Over in Canada, as Luke and Moira have baby Nichole baptized—"This little one should be absolved of [Gilead's] sins," Luke says—we hear the first verses of Krauss' take on the American spiritual "Down to the River to Pray."
This version in particular was made popular after being featured in the soundtrack for 2000's crime/adventure film, O Brother, Where Art Thou? When listening to the lyrics, the peaceful hymn is meant to inspire hope and faith in the midst of dark times, a fitting message as viewers (and citizens of Gilead) take-in some heartbreaking moments in episode four, only to be given a shred of light at the end with Nichole's Christening.
Episode 5 - Unknown Caller
Leo Sayer - "You Make Me Feel Like Dancing"
After Mrs. Lawrence tells June that Commander Lawrence used to make mix tapes for her when they were young, in love, and the world was a lot less tragic, June sets out to find the old cassettes in the home's basement.
The first song she comes upon is Leo Sayer's groovy 1976 hit, "You Make Me Feel Like Dancing," which is a look into the mindset of a younger, significantly more care-free, Commander Lawrence.
Nick Lowe - "Cruel to Be Kind"
Later in the episode, you see June find Commander Lawrence and wife listening to "Cruel to Be Kind" as they awkwardly sit next to one another on the living room couch.
Perhaps it's his way of showing Mrs. Lawrence that he still has a soft side? But we can't help but notice that the lyrics mirror his mysterious personality. Perhaps he's trying to communicate why his actions and values in the show—aiding the resistance, while also stoking the fires in Gilead's government—are often so contradictory to one another.
U2 - "Sunday Bloody Sunday"
Following the shock of episode five's last scene in which the Waterfords force June to partake in a video broadcast urging Canada to return baby Nichole, "Sunday Bloody Sunday" plays over the ending credits. U2's angsty rock anthem echoes June's obvious outrage and frustration with the ever-pleasant (note the sarcasm) Waterfords.
Episode 6 - Household
Buddy Holly - "Everyday"
After June meets with the Swiss to negotiate a deal to keep Baby Nichole in Canada, if she can get Nick to provider insider information, she walks away from the meeting feeling vindicated as Buddy Holly's buoyant "Everyday" plays overhead. But as we find out soon enough, her excitement was short-lived as we learn her beau Nick is actually a general for Gilead's army. To the Swiss, this means his word can't be trusted. And now, June is back to square one.
Episode 7 - Under His Eye
Fiona Apple - "Every Single Night"
Apple's 2012 ballad of internal struggle plays as June absolutely loses it and attacks Ofmatthew. The altercation happens after the handmaid confesses to June that she had reported Hannah's Martha, Frances, to Aunt Lydia, resulting in the woman's hanging, (Which all of the handmaid's just had to partake in). It may be the first time we see June fall apart in such a public, visceral way. Maybe this is just the beginning?
Episode 8 - Unfit
Dolly Parton, Kenny Rogers - "Islands in the Stream"
During a flashback where we finally get a glimpse into Aunt Lydia's past (she was a teacher before Gilead) we see her out on a New Years karaoke date with her school's principal. Parton and Roger's hit "Islands in the Stream" is what he chooses to sing, soon prompting Aunt Lydia to join him on stage, as they happily belt the duet. It's perhaps the most carefree we've ever seen Aunt Lydia. But we all know, that ends soon.
Doris Day - "Que Sera Sera"
As we get over the shock that is Ofmatthew having a breakdown and nearly shooting Aunt Lydia, leading her to be shot herself, then getting dragged through Gilead's market—leaving a trail of her own blood behind her—the carefree 1950s Grammy-winner "Que Sera Sera" plays overhead. Though contradictory to the gory scene, it seems to reflect June's own mood. Throughout the debacle, she seemed to encourage Ofmatthew's actions, even encouraging them as she lets off a hint of a smile, resigned to the tragedy before her. It's as if she's saying, "Whatever will be, will be."
Episode 9 - Heroic
Belinda Carlisle - "Heaven is a Place on Earth"
Not only do we here the cheerful tune during the beginning credits, but June also sings it to herself to distract from the monotony that is watching Ofmatthew lay comatose in a hospital bed. The message of the songs greatly contradicts the depressing reality of June's situation, possibly attesting to the fact that June (as we see later on in the episode) is beginning to succumb to the mental suffering that Gilead imposes on its people.
Episode 10 - Witness
This episode only included instrumental music.
Episode 11 - Lies
Chubby Checker - Let's Twist Again
When Waterford breaks Gilead's law and lets Serena Joy take the wheel during their little road trip to get arrested by the Americans (!!!), this 1960s rock-and-roll tune plays overhead as Serena lets the Mercedes's top down and enjoys a moment of freedom.
Kate Bush - "Cloud Busting"
Bush's 1980s hit plays throughout the ending scene in which the maids at Jezebel's clean up the mess left behind after June kills Commander Winslow as he attempts to rape her. They're meticulous in their task, steam cleaning the carpet, wiping down every surface, and burning Winslow's body in an incinerator. It's safe to say that it will be close to impossible for anyone to discover the crime—or pin June to it.
Episode 12 - Sacrifice
This episode only included instrumental music.
Episode 13 Finale - Mayday
Mazzy Star - "Into Dust"
This hauntingly somber, but beautiful ballad, plays during the ending scene, as we see a flashback from June's past of her happily playing with Hannah and Luke in a park. But soon, we're brought back to the present as June regains consciousness after being shot, stranded in the middle of the forest—the results of successfully distracting The Eyes in order for the children to escape to Canada undetected.
June is soon saved by her loyal followers (fellow Handmaids) as they carry her off to an unknown location. With "Into Dust" in the background, June seems to succumb to unconsciousness yet again. But for the first time all season, you see a sense of peace on her face. With that, season 3 of The Handmaid's Tale is over.
The tumultuous, music-filled season provided a satisfying finale—for the most part. However, June is still stuck in Gilead. And after the stunt she pulled? How can she return without ending up on The Wall? I guess we'll find out in season 4. Until then, blessed be the fruit y'all.
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