I'm best when I function as like a fan writing music for the show so that my initial watch, my initial time I see the show, I'm taking all these notes of my emotional reactions.

You don't own me, I know your property, so take a shifting little bitty eye on me.

And I've been told, especially when they know it's a doozy of an episode, they'll actually be watching me on Zoom instead of the show.

Welcome to Eyes on Gilead, our podcast dedicated to The Handmaid's Tale.

We're dropping some special episodes in light of it being Emmy season, and we are joined

by a very special guest today, but I'm getting ahead of myself.

I'm Fiona Williams, and I'm an adjoin online coverage of movies and TV here at SBS. And I'm

joined by my friends, colleagues and fellow resistors, Natalie Hambly, managing editor of SBS

Voices. Hello. Haiti Island, channel manager of SBS on demand. Hi. And Suna Kada, host of

All In The Mind for ABC Radio National. Hi. Hello. It's good to see you all again, albeit over Zoom, because that's the way the world is.

Yeah, we're dropping these special episodes in light of it being Emmy season, so we've been

very lucky to rustle up some Emmy nominees.

And today, we're joined by the Handmaid's Tales composer, Adam Taylor,

who is nominated for specifically for episode three of season four, The Crossing, which we

refer to as the torture episode. But yeah, we're so lucky to have Adam here because he's been

on this show from the start. So it's going to be amazing just to talk about

crafting all this wonderfully rich score that accompanies this wonderful season. We're doing this

over Zoom. So we can see Adam's beautiful music studio where he's surrounded by a whole bunch of vintage

synths and keyboards and all this incredible equipment. So you don't have the benefit of that, but trust it, it's pretty gorgeous.

So what do you think?

Let's maybe just get into it.

We've got so many questions for Adam.

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