And they each do it so well that it's at once incredibly gratifying and vindicating, while also depressing and mildly soul-destroying. (Apparently this is what I like in my entertainment now, who knew?)
I'm clearly not the only one. With MeToo and Time's Up continuing to gain power and the furore over Georgia's abortion law dominating headlines, the world both wants and needs feminist shows like these.
The fact that they're so incredibly different - one's a dystopian fiction and the other follows wealthy women in modern-day America - yet still tackling similar issues, speaks volumes.
Nicole Kidman's Celeste has represented victims of domestic violence in heartbreaking detail, and The Handmaid, cloaked in red and hooded in white, has become a protest icon throughout the women's marches and abortion law protests.
With such huge levels of success, it'd be all too easy for these shows to go downhill - especially as they both venture off-book, having surpassed the novels they were each based on, but they haven't.
Season two of Handmaids was cause for concern as fans were divided by the sheer brutality and the grim sense of hopelessness that hung over it. It was packed with rape, torture, murder and even public executions and seemed to delight in the macabre to the point where it stopped being part of the story, and became the entire setting.
The end of it saw our main heroine June give her baby to Emily to escape to Canada, while she elected to stay in order to save her other daughter, Hannah.
In season three - which made its three-episode debut yesterday on Lightbox - producers have learned from their mistakes and turned instead toward the revolution, offering more hope than we've ever dared to hope for from this series as June finds a safe place from which she can rally support from her fellow women to dismantle Gilead from within (aka take down the patriarchy).
Meanwhile, Big Little Lies - which returns on Monday on Neon and SoHo - is swinging in the opposite direction, abandoning the hope we were all given at the end of last season and finding our heroines more fragmented than ever.
What was once a carefully constructed and beautifully paced show suddenly seems a little all over the place - but I think that's the point.
It's supposed to feel like things are falling apart, because guess what? That's what happens when you collectively cover up a murder. Surprise.
Unlike Handmaids, where we've got used to a certain level of violence and death, BLL takes place in the real world and these are real women dealing with an unreal event.
Plus, its cast can simply do no wrong. Laura Dern in particular is on fire this season as her character Renata gets wildly out of control in the best ways, and doesn't seem to care how over the top she is - that's the beauty of being a rich, powerful woman and she knows it.
Elsewhere, Celeste deals beautifully with the aftermath of loss and detangling the mess that is the love she had for her abuser, while in close proximity to his mother (played so well by Meryl Streep that you will instantly hate her) who will hear no wrong against her son.
Bonnie (Zoe Kravitz) is struggling with both what happened and a sense of displacement, being damn near the only woman of colour in Monterrey, lost without her traditional support system.
So we have Handmaids, which animates the innate danger and discomfort of simply existing as a woman, but also breathes life into our resistance. Meanwhile, BLL focuses on real-life repercussions, not just physically or legally but in terms of mental and emotional health.
We see these women at every phase of their struggle, from denial and withdrawal to breaking down to exploring therapy (in many senses of the word) to overcoming, in the most beautiful and heart-wrenching ways.
While the Handmaids teach us about how to keep hope and fight in the midst of the fray, the women of BLL teach us how to cope in the quiet spaces, and both offer gripping entertainment like nothing else on TV.
