This chapter considers the central place of dystopia in Atwood’s work since 2000 in its discussion of the MaddAddam trilogy, The Heart Goes Last, and The Testaments. The focus is on the contrasts between the trilogy with its epic dimensions of postapocalyptic speculation and the two later dystopias that return to the network of human relations in situations close to our contemporary world. Analysis of the trilogy traces its narrative arc across three volumes from global disaster to futuristic vision, while The Heart Goes Last is darkly comic social satire addressing anxieties around threats to human freedom in the age of corporate capitalism, high-tech surveillance, and biomedical experiments. In The Testaments Atwood reclaims her story in real time with its update of Gilead, focusing on patriarchal tyranny and women’s strategies of resistance, ending with a glimmer of hope. An emphasis on Atwood’s storytelling with its genre-crossing strategies establishes connections between these dystopias, identifying the distinctive Atwood idiom.