Peacock's new thriller It's all her fault is generating serious word of mouth, as well as rave reviews—and I think that's because the story, based on Andrea Mara's award-winning novel of the same name, tackles one of our greatest fears: the disappearance of a child without a trace.
The series centers on Marissa Irwin, played by Succession's Sarah Snook, a successful wealth manager whose life is turned upside down when she comes to pick up her five-year-old son Milo from a playdate. The meeting takes place at Jenny's, another school mom (played by Dakota Fanning). But the woman who answers the door is not Jenny or Jenny's nanny Carrie, who picked Milo up from school that day.
Why All Her Fault is the moment
If you have or care for children, you will know that moment of panic when your child is suddenly not around. And you will recognize the terrible fears that sometimes visit your mind. I think being a parent or caregiver is like peeling off a layer of skin: it makes you much more sensitive to the possible dangers of the world and its horrors. So, a show that focuses on literally the worst thing imaginable, a child disappearing into nothingness, is going to be a big hit.
The story unfolds over eight carefully crafted episodes, introducing us to Milo's father Peter and his troubled sister; Anya, family nanny; Marissa's best friend Colin; and Jenny, the woman whose house Milo never came to.
Hollywood Reporter put it very well even for the most loving and attentive parent: “The daily routine of raising children provides an opportunity to find the limits of this enormous sacrifice: the patience that runs out after the next tantrum of the day, the time when you don’t go to bed because you are late for work, the harsh reality from which no amount of care can protect a child forever. relive the living nightmare of Milo's disappearance.”
The show also focuses on maternal and parenting guilt, the expectations that moms feel they have to live up to, and how society treats moms who they feel don't live up to those expectations. As The Hollywood Reporter describes others' views: “Maybe if these working mothers weren't so busy, they wouldn't need outside help. Perhaps if they weren't so distracted, they would have realized something was wrong. Of course, then all this could have been prevented.”
Guardian liked every episode. The show “brings together a number of popular television trends, exploring, White Lotus-style, the phenomenon of middle-class wealth in the US, the protection it offers and the corruption it encourages, the tale of a missing child, and an exploration of the penalty women pay for motherhood.” It's all her fault handles it brilliantly.”
New York magazine says it's “hauntingly watchable, worthy of the kind of binge-watching that leaves a dent in your couch cushions,” and Irish Independent agrees: “It's a slick potboiler that piles on unexpected plot twists, revelations, and flashbacks—lots of flashbacks, but purposefully—one on top of another at breakneck speed, and it just begs to be binge-watched.”
Don't let the talk of nannies and rich couples in nice houses fool you: this show isn't about obscure rich people; it's about fears we can all relate to, and it becomes intense, twisty nail-biting. Not everyone liked it – San Jose Mercury News thought the plot was “ridiculous” and the story unrealistic, but even its harshest critics praised the cast and admitted that it was still very watchable. The same reviewer called it “guilty fun.”
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