The Testaments

“The Testaments” is an exemplary follow-up to the original series. It is also a magnificent coming-of-age story. .... Finally, it’s a stellar examination of the uniqueness of girlhood and how the patriarchy underestimates the power of female connection, often to its peril.

Showing this [indoctrination] is far less exciting than the images of grown women being killed or stripped of their rights as presented in “The Handmaid’s Tale” (though “The Testaments” does offer a few very chilling flashbacks). But as social commentary, it’s difficult to beat the sight of young women, recognizable in so many ways as modern teens, complying with their own enslavement, out of ignorance and, as events proceed, the gut-wrenching fear of what the truth might mean.

“The Testaments” moves by at an engaging pace, deftly jumping between its many intertwined subplots while thoughtfully exploring the nuanced relationships between its characters.

Even with its flaws, The Testaments remains an undeniably addictive and satisfyingly dense work of television that certainly does not provide an escape from current events, but may allow for new insights into how a democracy can descend into fascism.

Tonally, it takes some time to find its feet in following the day-to-day lives of its young Gilead women while the subject matter remains necessary – yet troubling – to watch.

With the same style and sensibility come the same sins. "Testaments" veers frequently into sensationalism and guffaw-worthy ridiculousness, leaving gaping plot holes. .... If the bad is all the same as "Handmaid's," the good parts of "Testaments" are at least novel and refreshing.

The show feels like another teenage drama set within an all-too-familiar landscape, and even at times like a dull and tortuous all-girl Harry Potter yarn — all that pubescent struggling and another prestige show done to death.