The Handmaid’s Tale has always meant different things to different people; a cautionary tale, a grim prophecy, or a dramatised echo of historical truths. Over its run it’s drawn praise and criticism in equal measure, and now, as it enters its final season, it faces the daunting task of delivering a satisfying conclusion, while also laying groundwork its upcoming sequel series, The Testaments.
Season 6 wastes no time picking up where we left off. June (Elisabeth Moss) and Serena (Yvonne Strahovski) are thrust back together, trapped in a train bound for Alaska – a claustrophobic setting that reignites one of TV’s most maddeningly complex dynamics. Their love-hate relationship continues to mesmerise, swinging between uneasy alliance and full-blown fury. Much like previous seasons, this final chapter asks audiences to accept a fair share of improbable events and frustrating decisions. Yet somehow, it still works. It remains compelling, often in spite of itself, thanks in no small part to Moss, who continues to dominate both in front of and behind the camera with her signature intensity.
The emotional core of this season is richer than expected. Amidst the cruelty and chaos, there’s room carved out for moments of genuine hope; rare, fleeting glimpses of joy punctuate the darkness. Still, the show stumbles when it comes to character focus. Key developments involving Luke (O-T Fagbenle) and Moira (Samira Wiley) occur offscreen, which feels like a disservice to characters who deserve more, especially after seasons of sidelining.
To its credit, the show finally addresses some of this imbalance. Moira and June’s overdue confrontation offers one of the season’s most impactful moments. Wiley shines here with renewed purpose, especially in the latter half of the season, reminding us why she stood out so strongly in earlier episodes.
Elsewhere, Madeline Brewer and Ann Dowd continue to bring emotional weight to, respectively, Janine and Aunt Lydia’s fraught relationship, while Strahovski is once again phenomenal as Serena, exuding a delusional righteousness that is as infuriating as it is captivating. And while Max Minghella’s Nick remains frustratingly bland, newcomers like D’Arcy Carden add fresh intrigue.
Visually, The Handmaid’s Tale remains in top form. The cinematography is as stunning as ever, with carefully curated needle drops and stark imagery that elevate the drama; Colin Watkinson, Zoë White, Stuart Biddlecombe, Nicola Daley and Stuart Campbell sharing the work across the season. Hulu clearly didn’t cut corners here – the show looks and sounds as good in its final act as it ever has.
That said, the season’s pacing is uneven. The first half sprints to set the stage, sometimes glossing over important emotional beats. The back half slows to a simmer, building tension more effectively as the pieces lock into place. The endgame is near, but how it all lands remains uncertain; critics only received eight of the final ten episodes, so the conclusion is still a mystery.
Will it stick the landing? Maybe. Maybe not. But few shows this ambitious are even allowed the space to end on their own terms, and that in itself is worth acknowledging.
Series executive producer Yahlin Chang promised a more “feel-good” final season, and in certain moments, that rings true. But The Handmaid’s Tale never shies away from horror, and nor should it. The warning it brings is still sharp, still vital. Despite its flaws, Season 6 manages to honor that legacy, and for longtime fans, that’s more than enough reason to stay till the very end.
FOUR AND A HALF STARS (OUT OF FIVE)
The Handmaid’s Tale Season 6 is now available with weekly episodes to stream on SBS On Demand in Australia and on Hulu in the United States.
