'The Testaments' Is a Stunning Follow-Up to
Hulu's Dystopian 'The Handmaid's Tale'
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Set four years after the finale of "The Handmaid's Tale," Hulu's
"The Testaments" returns viewers to Gilead. In "The Handmaid's
Tale," June Osborne (Elisabeth Moss) was forced into Gilead as a
Handmaid, a fertile woman subjected to ritualized rape at the
hands of the elite so that she could bear their children. The
new series, created by Bruce Miller and adapted from Margaret
Atwood's novel of the same name, depicts Gilead from a different
vantage. It centers on the young women who have grown up among
the privileged class and are being groomed to become the pious
wives of the totalitarian regime's most powerful men. A series
about girlhood, survival, rage and friendship, "The Testaments"
is an exemplary follow-up to the original series. It is also a
magnificent coming-of-age story that draws terrifying parallels
to the modern-day experiences of women living in a misogynistic
society emboldened by religious psychosis.

Told from the perspectives of three women, "The Testaments"
begins with Agnes MacKenzie (Chase Infiniti). Agnes, who is about
16, appears to have an idyllic life. Her father, a top commander,
seems kind enough, and her Marthas, Rosa (Kira Guloien) and Zilla
(Blessing Adedijo), provide the warmth and stability in her home.
However, her icy stepmother, Paula (Amy Seimetz), is an adversary
rather than a nurturer. Agnes looks forward the most to her time
with her friends Hulda (Isolde Ardies), Shunammite (Rowan
Blanchard) and Becka (Mattea Conforti) at the preparatory school
run by Aunt Lydia (Ann Dowd, reprising her "Handmaid's Tale"
role).

At school, Agnes and her friends have transitioned from
prepubescent Pinks to Plums. Marked by their deep purple uniforms,
the teenagers have not yet gotten their periods, but are preparing
for the marriage market. Agnes and her friends aren't permitted to
read or write, yet they have been rigorously tutored by Aunt Lydia
and the other aunts. Tender Aunt Estee (Eva Foote), even-keeled
Aunt Gabbana (Zarrin Darnell-Martin) and vicious Aunt Vidala
(Mabel Li) have worked to mold them into perfect wife material.
With the arrival of their periods, the girls are officially
eligible for the marriage market, where they move from Plums to
Greens and eventually into the teal blue of the Gilead wives.

While Agnes and most of the others are eager for the first drops
of menstrual blood to appear, her best friend Becka, who has
already begun menstruating, is increasingly agitated by mentions
of her impending marriage. Another wrench is thrown into the mix
when Aunt Lydia asks Agnes to welcome Daisy (Lucy Halliday), a
Pearl Girl, into the fold. Pearl Girls are young women from outside
Gilead who are broken in and trained in the Gilead way. Always
obedient, Agnes happily welcomes Daisy despite Shu's warnings.
Pearl Girls aren't favored by the Plums, who see them as
untrustworthy. As Shu tells Agnes, "Get her before she gets you."
Though Daisy appears eager to fulfill her duties and become a true
woman of this world, viewers quickly learn that she has reasons for
leaving her life in Toronto and donning the pearl-white uniform.

The 10-episode first season shifts among the points of view of
Agnes, Aunt Lydia and Daisy. More is learned about Agnes and
Daisy's upbringings, as well as Aunt Lydia's origin story and early
involvement with Gilead. As the pillars of this tale, these three
cling to their humanity in a deeply unjust world. They push down
their true feelings to keep up appearances. Agnes has a special
affinity for her guardian, Garth (Brad Alexander), a young man whom
she desperately desires. Daisy struggles to conceal her emotions,
having been able to express them freely in Canada. Finally, Aunt
Lydia clearly cares for the girls but also revels in her power. It's
a gut-wrenching example of inner emotional turmoil and the instinct
for survival.

Like its predecessor, "The Testaments" is a disturbing watch. Though
the series offers glimpses of the palatial houses and parties of the
elite, something horrific is always just within frame. Daisy nearly
falls apart the first time she happens upon a row of hanged bodies.
Yet it's an everyday occurrence for Agnes and the other young women.
The older women are less restrained and lash out; Paula cruelly
threatens Agnes and the Aunts, and beats the Plums for any perceived
indiscretion. Though the Plums have endured this for as long as they
can remember, as they move toward marriage, they chafe against
Gilead's rules. They also begin to realize something isn't quite
right. Episode 5, "Ball," where the young ladies first interact with
their prospective suitors, is especially unnerving.

The start of a brand-new reckoning, "The Testaments" is a show about
sovereignty and rebellion. It's about having the courage to pull the
rug out from under oneself, even when a soft landing place isn't
guaranteed. It's a reminder that while the youth may be naive, once
their eyes are opened, they can never unsee what they've discovered.
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.

The first three episodes of "The Testaments" debut April 8 on Hulu,
with the remaining episodes airing weekly on Fridays.



<https://variety.com/2026/tv/reviews/the-testaments-review-hulu-1236709315/>






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