Despite its inconsistent quality, All Her Fault maintains a gripping intensity across its eight episodes. This intensity is driven by how the Peacock drama, adapted from Andrea Mara’s 2021 novel, explores societal tendencies to criticize and demonize women after a traumatic event. The narrative begins with Marissa Irvine (Sarah Snook) discovering her child is missing because Jenny (Dakota Fanning), another mother from school, failed to set up a playdate for their sons. The mystery deepens around where Milo (Duke McCloud) has gone, who is involved, and why. The plot thickens as the investigation into the five-year-old’s alarming disappearance reveals long-hidden secrets, placing Marissa and Jenny under severe public and police scrutiny, impacting their personal and professional lives. The question remains: is this situation their fault, or are more sinister forces at play? The series, like the book it’s based on, presents an engaging yet unevenly executed story.

One immediate positive is that the show cuts out several overly complex subplots present in the original book. Nevertheless, All Her Fault, crafted by Lazarus and Suspicion screenwriter Megan Gallagher, occasionally succumbs to common pitfalls that render it somewhat draggy. Its most glaring flaw is the poorly developed character of Detective Alcaraz, played by Michael Peña, who seems continuously shocked by the deceitful capabilities of the affluent. Even his investigative methods—largely driven by luck rather than skill—seem absurd. Other supporting characters initially appear simplistic, diminishing the impact of later revelations. Despite these issues, All Her Fault manages to deliver a touching, if predictable, narrative strongly anchored by performances from Snook, Fanning, and an unexpectedly crucial Sophia Lillis (also featured in HBO’s The Chair Company).

Succession alum Snook fully embodies Marissa’s distress, confusion, and sorrow, especially as her character becomes increasingly isolated, unsure of who to trust, including her husband Peter (Jake Lacy) and other close ones. Watching Snook portray all of Marissa’s emotions unrestrainedly is compelling. She shines particularly in her scenes with Lacy, who perfectly captures a man under constant stress for reasons not disclosed here. The complex and toxic relationship between Marissa and Peter adds depth to All Her Fault as the couple struggles to set aside their issues to locate Milo.

As the series progresses, it reveals the tangled web within the Irvine family. Peter’s sister, Lia (Abby Elliott), a recovering addict, and his younger brother, Brian (Daniel Monk), share a troubled past linked to a childhood incident. It’s uncertain whether Lia’s impulsive nature has contributed to the current crisis, or if her siblings should be more trusting. Milo’s disappearance might also relate to Colin (Jay Ellis), Marissa’s longtime friend and business associate, who faces his own addiction struggles. Then there’s Jenny’s newly appointed nanny, Carrie (Lillis), who enters the scene with significant personal baggage explored through flashbacks. While these characters enrich the drama of All Her Fault, particularly in a revealing fifth episode directed by Kate Dennis, the core strength of the show lies in the evolving relationship between Marissa and Jenny.

Caught in an unimaginable crisis, the two women form a genuine friendship because they uniquely understand each other’s plight. Their connection isn’t just about evading media scrutiny or judgmental peers; it’s about navigating the immense pressures placed on them as wives, mothers, and professionals—often without real support from their partners or others, making it easy for them to be blamed and manipulated. Fortunately, Marissa and Jenny are portrayed as proactive in their quest for truth, while Carrie’s struggle with her own demons presents a similarly compelling subplot.

Regrettably, the series struggles to balance its intriguing mystery elements with its aspirations as a profound family drama. The mystery component is underdeveloped and plagued by weak scriptwriting. (Peña is often forced to deliver clichéd lines while piecing together clues or conducting interrogations.) However, as a study of the three women and the pressures they face—both internally and externally—All Her Fault manages just enough to keep viewers engaged.

All Her Fault debuts November 6 on Peacock