---
title: "All Her Fault"
year: 2025
kind: "series"
canonical: "https://film.one/tv/all-her-fault"
fi1m_id: "all-her-fault"
imdb_id: "tt31314751"
tmdb_id: 246386
wikidata_id: "Q130327536"
fi1m_score: 68
critics_score: 76
critics_reviews: 7
published: "2026-09-10"
updated: "2026-09-10T18:03:52.398302+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# All Her Fault (2025)

Created by Megan Gallagher · MPA TV-MA · Mystery, Crime

## Identity

All Her Fault

- **Canonical:** https://film.one/tv/all-her-fault
- **Type:** Series
- **Fi1m ID:** all-her-fault
- **IMDb ID:** tt31314751
- **TMDB ID:** 246386
- **Wikidata ID:** Q130327536
- **Same entity:** https://www.imdb.com/title/tt31314751/, https://www.themoviedb.org/tv/246386, https://www.wikidata.org/wiki/Q130327536

**Fi1m score: 68** · Critics 76 from 7 reviews

*In a sentence:* Nobody can find the boy, but everyone has found a lawyer

> Sarah Snook’s frightened, level-voiced mother carries this eight-part kidnap mystery a good deal further than its plot deserves. It is compulsive for four episodes, competent for two more, and by the end it is explaining its coincidences to us with a straight face.

## Synopsis

Marissa Irvine (Sarah Snook) goes to collect her young son Milo (Duke McCloud) from a playdate at the home of another mother from school, Jenny Kaminski (Dakota Fanning). The woman who opens the door has never heard of Milo, arranged no playdate and sent no message. Within the hour the police, led by Detective Alcaras (Michael Peña), are in the Irvines’ kitchen, Marissa’s husband Peter (Jake Lacy) is making calls, and the family’s nanny, Carrie Finch (Sophia Lillis), cannot be reached. Over eight episodes, adapted from Andrea Mara’s novel, the search widens through a circle of well-off parents and their households: Lia Irvine (Abby Elliott), Colin Dobbs (Jay Ellis) and Jenny’s husband Richie (Thomas Cocquerel) among them, each with something they would rather not say.

## Review

The first ten minutes are a hook of the plainest kind and they work on anyone. Marissa Irvine (Sarah Snook) drives to an address from a text message to collect her small son Milo (Duke McCloud) from a playdate. The woman who opens the door, Jenny Kaminski (Dakota Fanning), has no idea who Milo is, arranged no playdate and sent no message. We felt the floor go, and we have not had a small child in the house for years. Everything that follows across eight episodes, adapted by Megan Gallagher, Phoebe Eclair-Powell and James Smythe from Andrea Mara’s novel, is an attempt to keep that feeling alive, and for about half the run it succeeds.

Snook is the reason it succeeds for as long as it does. Marissa is a woman who has solved every previous problem with money and a list, and Snook plays the discovery that neither will work here as a slow leak rather than a collapse. She keeps answering the phone as if this call will be the one. When the break comes it is small and it is late, and by then we were watching her every second waiting for it. After *Succession* it would have been easy to play another sharp rich woman; this is softer and more frightened work, and the series leans on it in nearly every scene.

Jake Lacy’s Peter is the other performance people will talk about, and they will not be kind about the character. Peter takes charge of the wrong things, corrects his wife in front of detectives and treats the investigation as something being done to him. Lacy did a version of this in [*The White Lotus*](https://film.one/tv/the-white-lotus) (2021); here there is a child missing and it is much harder to watch. Fanning makes Jenny, the mother at the wrong door, into the series’ most surprising presence, and the friendship that grows between the two women is the best thing the writers have added to the genre. Sophia Lillis, as the nanny Carrie Finch, is seen mostly in pieces and given more sympathy than shows of this kind usually spare for the help. Michael Peña’s Detective Alcaras is tired and decent and the only person in the house not performing.

Minkie Spiro and Kate Dennis direct, and they shoot the Irvines’ house as a place with a great deal of glass between people who are meant to be talking to each other. Gypsy Taylor dresses Marissa in soft, pale, expensive things, the wardrobe of a woman who has never had to worry about a stain, and it says what the kidnap has taken from her before she does. Jeff Beal’s score is low and patient for the first few episodes and is at its best when it stops. Later it starts underlining reveals that did not need the help.

The trouble is the plotting, and it is the kind of trouble that grows. For four episodes the mystery tightens. Then the series starts to rely on people who turn out to have known each other all along, on phones that ring at the right moment, and on a past that connects to the present with a neatness real life does not manage. The second half takes several turns we will not describe. We will say that the third of them made us laugh out loud, and the show was not joking. We were gripped, then we were patient, then, somewhere in episode six, we caught ourselves counting how many were left and were cross about it, because the acting had earned better.

The title is the argument. Whose fault is it when a child vanishes, and why does the answer so reliably land on the mother? The series has a real case to make about that and makes it best in small things: who gets asked where they were, who gets asked how they feel. It also has characters say it out loud, more than once, and every time it does the case gets weaker. Set beside *Big Little Lies* (2017) and *The Undoing* (2020), the rich-mother mystery now has its own furniture, and this one belongs somewhere in the middle of the shelf: better acted than most, plotted worse than the best.

Watch it two episodes at a time and try not to ask questions between them. Snook will keep you in your seat for the full eight. The plot, from episode five on, is counting on that.

*Fi1m score 68, published 10 September 2026.*

## What the critics say

Most critics like All Her Fault, and nearly all of them like Sarah Snook. Her performance as the mother whose child goes missing is the one thing the reviews agree on, praised even by those who care little for the series around her, with Dakota Fanning, Sophia Lillis and Jake Lacy also named in support. The warmest reviews find the kidnap plot tight and the twists well handled, and several credit the series with saying something about working motherhood, privilege and the habit of blaming women without turning preachy.

The reservations gather around pacing and construction: some find the plotting patchy and the episodes too many, others find the reveals rushed. The spread is wide. Variety stands furthest from the majority, calling the series a middling example of the rich-mother mystery with shallow commentary and laborious pacing, and IndieWire treats it as trashy fun that runs too long, with Snook blameless. Nobody dislikes it outright.

## Straight answers

**Is All Her Fault worth watching?**

*All Her Fault* is worth watching for anyone who wants a kidnap mystery carried by a first-rate lead performance, and we scored it 68. Sarah Snook keeps it compulsive for four episodes, but the plotting leans on coincidence from episode five on, and the show explains its twists with a straight face. Watch for her, and forgive the rest.

**How long is All Her Fault, and what is it rated?**

*All Her Fault* is rated TV-MA by the MPA in the US. It is a mystery and crime series.

**Where can I watch All Her Fault in the US?**

*All Her Fault* is streaming on Peacock, Amazon Prime Video and The Roku Channel in the US, and it is also available to buy from Apple TV and Amazon Prime Video. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is All Her Fault, and is it suitable for children?**

*All Her Fault* has no UK certificate and carries a TV-MA rating in the US, so it is made for adults rather than children. The subject is a missing small child and the distress of his parents, which is what will get to viewers; our review found the opening frightening rather than graphic. Teenagers may manage it; younger children should not watch.

**How does All Her Fault compare to Big Little Lies?**

*All Her Fault* is the more frightened and better-acted series, while [*Big Little Lies*](https://film.one/tv/big-little-lies) is the wittier one with the stronger ending. Both are rich-mother mysteries built around a crime, but the earlier show is a soap in a good coat and knows it; this one takes its kidnap seriously and then loses its grip on the plot. Choose Snook for dread, Kidman and Witherspoon for pleasure.

**Is All Her Fault based on a true story or a book?**

*All Her Fault* is adapted from Andrea Mara's novel of the same name, not from a true story. The eight episodes, written by Megan Gallagher, Phoebe Eclair-Powell and James Smythe, follow the book's premise of a mother arriving at a stranger's door to collect a son nobody has seen. You do not need to have read it; the series explains itself, at some length.

**What should I watch after All Her Fault?**

After *All Her Fault*, try [*Big Little Lies*](https://film.one/tv/big-little-lies) (2017, Fi1m 78): The rich-mother mystery this one is measured against, with better jokes and a better ending. Then [*Prisoners*](https://film.one/film/prisoners) (2013, Fi1m 81): Two girls vanish and Hugh Jackman decides the police are too slow; grim, patient, exact; and [*The Vanishing*](https://film.one/film/the-vanishing) (1988, Fi1m 88): Dutch, cold and short; a disappearance at a petrol station that ruins a man.

### Reviews we read (8)

- **The Guardian** (5/5): The critic praises the series as an extraordinarily tight child-kidnap drama that expertly balances multiple elements without becoming preachy or baggy. Snook's performance as the desperate mother is singled out as a highlight in this well-crafted thriller about working motherhood and privilege. [Read](https://www.theguardian.com/tv-and-radio/2025/nov/07/all-her-fault-review-sarah-snook-andrea-mara)
- **Vulture** (90/100, inferred): The critic hails it as a misandrist masterpiece that gathers fury against the patriarchy while remaining compulsively watchable. It singles out the unexpected friendship and alliance that forms between the two central women, Marissa and Jenny. [Read](https://www.vulture.com/article/all-her-fault-review-peacock.html)
- **The Times**, Carol Midgley (85/100, inferred): Despite a general aversion to missing-child dramas, the critic finds this one highly entertaining, exciting, and superbly acted with sparkling performances and strong twists. The script's mix of wealth, family drama, and competitive parenting is highlighted positively. [Read](https://www.thetimes.com/culture/tv-radio/article/all-her-fault-robin-hood-tv-television-review-hrr5q602p)
- **The Hollywood Reporter**, Angie Han (75/100, inferred): The critic finds the domestic mystery solidly constructed and sharply observed. It offers clever reveals and bracing commentary on maternal guilt and paternal arrogance, anchored by excellent lead performances. [Read](https://www.hollywoodreporter.com/tv/tv-reviews/all-her-fault-review-peacock-sarah-snook-jake-lacy-1236414777/)
- **The AV Club**, Saloni Gajjar (B-): The review describes a thematically rich but uneven and shakily constructed thriller that probes society's tendency to blame women. It singles out the strong performances by Snook, Fanning, and Lillis as anchors amid patchy plotting and tedious elements. [Read](https://www.avclub.com/all-her-fault-review-peacock-tv)
- **Variety**, Alison Herman (50/100, inferred): The critic calls the series a middling entry in the rich-mom mystery genre. Snook delivers strong emotional work, but the pacing is laborious, the plotting clunky, and the social commentary shallow. [Read](https://variety.com/2025/tv/reviews/all-her-fault-review-sarah-snook-peacock-1236570952/)
- **IndieWire**, Ben Travers: The critic calls the series a trashy-fun whodunit that overstays its welcome but finds Sarah Snook blameless for its flaws. It singles out Jake Lacy's hatable performance as the selfish husband Peter. [Read](https://www.indiewire.com/criticism/shows/all-her-fault-review-sarah-snook-trash-series-1235158797/)
- **NME**, Matt Maytum (3/5): The series delivers a parent's worst nightmare premise with strong performances, especially from Sarah Snook, but feels too brisk in its plotting and reveals. [Read](https://www.nme.com/reviews/tv-reviews/all-her-fault-review-sarah-snooks-gut-wrenching-who-took-them-thriller-3905410)

## Details

- **Created by:** Megan Gallagher
- **Creator:** Megan Gallagher
- **Director:** Kate Dennis, Minkie Spiro
- **Writer:** Megan Gallagher, Phoebe Eclair-Powell, James Smythe
- **Novel:** Andrea Mara
- **Music:** Jeff Beal
- **Costume design:** Gypsy Taylor
- **Producer:** Terry Gould
- **Cast:** Sarah Snook as Marissa Irvine; Jake Lacy as Peter Irvine; Sophia Lillis as Carrie Finch; Michael Peña as Detective Alcaras; Dakota Fanning as Jenny Kaminski; Abby Elliott as Lia Irvine; Jay Ellis as Colin Dobbs; Duke McCloud as Milo Irvine
- **Certificate (MPA):** TV-MA
- **Release (the US):** 7 November 2025
- **Genres:** Mystery, Crime
- **Trailer:** https://www.youtube.com/watch?v=J9y_QvRwu64

## Where to watch in the US

- Peacock: streaming, uhd
- Amazon Prime Video: add-on, uhd
- The Roku Channel: add-on, hd
- Apple TV: buy, sd
- Amazon Prime Video: buy, hd

*Checked 2026-09-10.*

Also available in: AR, AT, AU, BG, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, GB, HK, HR, HU, ID, IE, IN, IT, MX, MY, NL, NO, PA, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Big Little Lies* (2017), Fi1m 78: The rich-mother mystery this one is measured against, with better jokes and a better ending — [Fi1m page](https://film.one/tv/big-little-lies.md)
- *The Missing* (2014): A lost child across two timelines, and a father who cannot stop looking
- *Prisoners* (2013), Fi1m 81: Two girls vanish and Hugh Jackman decides the police are too slow; grim, patient, exact — [Fi1m page](https://film.one/film/prisoners.md)
- *The Vanishing* (1988), Fi1m 88: Dutch, cold and short; a disappearance at a petrol station that ruins a man — [Fi1m page](https://film.one/film/the-vanishing.md)
- *Changeling* (2008), Fi1m 68: Eastwood on a mother the authorities decide not to believe, set in 1920s Los Angeles — [Fi1m page](https://film.one/film/changeling.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/tv/all-her-fault