The Handmaid’s Tale is a difficult show to appreciate right now. After following the plot of Margaret Atwood’s 1985 book in its first season, its second season piles on a series of additional horrors, all set in the future nation of Gilead — a religious theocracy that kills and tortures women who refuse to submit to male ownership. As my colleague Laura Hudson writes, “its portents are so terrifyingly familiar that they have become excruciating to watch.”
The Handmaid’s Tale’s premise — that you can’t permanently stamp out sexism, just send it more or less into remission — is perpetually timely, as is Gilead’s basic disregard for women’s bodies and choices. But for all this, The Handmaid’s Tale’s vision of religious oppression feels...
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