But she might be one of very few actresses to convey it onscreen. “It’s definitely not something women do [on camera],” she says. “Women aren’t allowed to get angry. [June] uses her anger and weaponizes it at so many points during the show — and by the final season, she knows when to do that and when not to.”

The journey June, Elisabeth and “Handmaid’s” have been on began at an uncomfortably synergistic time in American politics: Amid the airing of a series about women subject to state regulation of their bodily autonomy, real-world politicians were successfully rolling back women’s reproductive rights. In 2018, protestors began showing up at real-world events in those handmaid-red cloaks and white bonnets, putting the show in an unexpected spotlight.

“Art does have an impact,” says Moss about that kind of a response, but suggests that repurposing the show’s images, outfits or story in service of real-world politics misses a key element of the series. “I don’t think any of us necessarily set out, when you’re making a TV show, to [make a political statement], because that’s the wrong way to go about it. You’re telling this one woman’s story. … It’s always been ‘The Handmaid’s Tale,’ her story.”

That’s one reason why after six seasons the series chose to end as it did: With June back in the house where it all began, starting her memoirs — “The Handmaid’s Tale.” When Miller pitched that final episode script, Moss says it made her cry.

“I love the idea that at the end is when she starts to tell the story that is the book, and the circular nature of that gives me chills,” she says. “The fact that she realizes that she has to tell it because it wasn’t all bad.”

But the ending also does one more thing: It shows how little is truly resolved. June’s daughter Hannah is still trapped in Gilead, for example. And fans of the series know the action will pick up 15 years later when “The Testaments,” based on a 2019 sequel by Atwood and now in production, begins airing. (Moss won’t say whether she’ll cameo.)

So this is an ending — just not the ending. Now, the story leaves off, still focused on the woman who escaped the bonnet and cloak and not about the trappings of her enslavement. “For me, the ending is perfect,” says Moss. “I also don’t feel like it is an ending. The war is not over. June’s journey is not over.”