All Her Fault is Peacock’s most chilling thriller yet – here’s why everyone can’t stop talking about it
Peacock’s new thriller All his fault ” is generating serious word of mouth as well as rave reviews – and I think that’s because the story, based on the award-winning novel of the same name by Andrea Mara, exploits one of our greatest fears: a child who disappears without a trace.
The show focuses on Marissa Irvine, played by Succession’s Sarah Snook, a successful wealth manager whose life is turned upside down when she arrives to pick up her five-year-old son Milo from a playdate. The playdate is at the house of Jenny, another school mom (played by Dakota Fanning). But the woman who answers the door is not Jenny or Jenny’s nanny, Carrie, who came to pick Milo up from school that day.
Why All Her Fault is having a moment
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If you have or care for children, you will experience that thrilling moment of panic when a child is suddenly no longer there. And you will know the horrible fears that sometimes come to mind. I think being a parent or guardian is a bit like having a layer of skin removed: it makes you so 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 nowhere, is going to hit hard.
The story unfolds in eight tightly plotted episodes, introducing us to Milo’s father Peter and Milo’s troubled sister; to Ana, the family nanny; to Marissa’s best friend, Colin; and to Jenny, the woman with whom Milo never arrived.
The Hollywood Reporter says it best, even for the most loving and attentive parent: “The daily grind of raising children has a way of finding the limits of this enormous sacrifice: the patience that wears thin after the day’s umpteenth tantrum, the bedtimes missed because work is late, the harsh realities from which no amount of care can protect a child forever. her husband, Peter, endures the living nightmare of Milo’s disappearance. »
The show also focuses on mother and parenting guilt, the expectations that moms in particular 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 the judgment of others: “Perhaps if these working mothers hadn’t been so busy, they wouldn’t have needed outside help. Maybe if they hadn’t been so distracted, they would have realized something was wrong. Surely all of this could have been avoided.”
The Guardian loved every episode. The show “combines a number of popular television trends, White Lotus-style interrogation of the phenomenon of American middle-class wealth and the protections it affords and the corruptions it encourages, a missing-child narrative, and an examination of the penalty women pay for motherhood.” All his fault handles it brilliantly.”
New York Magazine says it’s “compulsively watchable, worthy of the kind of binge that makes a dent in your sofa cushions”, and the Irish Independent agrees: “it’s a clever potboiler that piles unguessable plot twists, revelations and flashbacks – lots of flashbacks, but with a purpose – on top of each other at a dizzying pace and begging to be watched over and over.”
Don’t be put off by talk of nannies and wealthy couples in nice houses: this isn’t a show about unrelated rich people; these are fears we can all relate to and it becomes a tense and tortuous time. Not everyone liked it – the San Jose Mercury News thought the plot was “absurd” and the story unrealistic – but even the harshest critics praised the casting and admitted that it was still very watchable. The same critic called it “guilty fun”.
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