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In this post I describe how a REST API that follows HATEOAS can be easily tested in Java using RestAssured framework.

Before I come to that, first a short explanation what that strange acronym means.

A RESTful api is not complete without HATEOAS. As Joe Fielding tells in his blog 1 What needs to be done to make the REST architectural style clear on the notion that hypertext is a constraint?

HATEOAS

What sounds like an organisation of angry citizens is the acronym of that constraint: HATEOAS. It stands for: H ypermedia A s T he E ngine O f A pplication S tate.

Two words are significant: Hypermedia and Application State .

Hypermedia is a combination of hypertext and media, that is, non-sequential text and media (audio, video) that connects its parts via links.

Hypermedia

Application state is the state that the resource is in at any given moment. The state of a RESTful application is fully defined by it’s representation - the representation is the state of the resource. Because of that, a state diagram reflects the application by specifying all possible states and its edges 2 .

Application state

A state diagram always has exactly one entry point. And this is what it makes so powerful: apart from the entrance URL, a client of an API does not need to have any other knowledge.

A RESTful API can be compared to a website. As a user, I only know the root URL of a website. Once I type in the URL (or click on the link) all further paths and actions are defined by other links. Those links may change at any moment, but as a user, all I need to know is the root URL and I’m still able to use the website.

Many REST APIs ignore HATEOAS. And this comes with a substantial cost of tight coupling.

The question is: how do we describe the links that lead from one state to another? And where do we put that information?

Pop music usuallysignifies better times in The Haindmaid’s Tale , here it’s in a flashback while June meets her future husband.

Emily/Ofglen has the most intense musical moments in the series — like this one, when she decides to take a car for a spin and use the soldiers of Gilead as speed bumps.

Finally, some good old-fashioned consensual sex! Offred and Nick aregetting a little sugar— this time without an audience — thus the ingenious use of this Simone song.

Even the villains get flashbacks, but ‘Wild Is In The Wind’ contrasts perfectly with ‘Sugar In My Bowl’ to show just how different the Commander and Serena’s pre-Gilead relationship was to Luke and June’s.

Used in a bittersweet memory for June as she remembers making pancakes with her daughter.

In an emotionally-charged scene Offred gets a note to her husband, Luke, who has escaped to Canada. Cigarettes After Sex is the musical find of the series and it’s worth tracking down their self-titled album.

The reveal of the Jezebels club, a place where men in positions of power can break the law and indulge in extramarital sex, featuresthree tracks that show us we’re far outside the realm of what’s normal inGilead.

‘The Bridge’ stands as one of the hardest Handmaids Tale episodes to watch.‘Heyr Himnasmiður’ soundtracks the sequence whereOfwarren — now Ofdaniel, and a woman pushed past breaking point — almost makes an irreversible decision.

Rebellion is in motion in Gilead, and The Knife escalates the tension with this track that has echoes of Björk.

It’s clear Perimutter got a bulk deal on Simone’s music, but he saves the best for last with a phenomenal use of ‘Feeling Good’ following a revolt by the handmaids.

And here come the kicker! After every bleak minute of the show it ends with the vibrancy of Tom Petty as June/Offred is put in a van and left sitting in darkness. The concept of the ‘American Girl’ takes on a whole new meaning.

Cameron Williams is a writer and film critic based in Melbourne who occasionally blabs about movies on ABC radio. He has a slight Twitter addiction: Lola Rose Northwood Bracelet Tropical Mix Quartzite rniNiP
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