The reviews are close to unanimous: thirteen of fourteen are positive, and most critics treat the series as a considerable achievement rather than a promising one. The praise gathers around Michaela Coel, who writes, directs and stars, and around the way she moves between comedy, sex and horror without the joins showing or the series turning into a lecture. Several critics single out its patient, unsentimental handling of the aftermath of assault, its refusal of clichéd recovery, and the friendships at its centre, with Opia’s performance singled out alongside Coel’s.
Reservations are minor and scattered. A few critics find the longer episodes slack in places and the structure occasionally disjointed, though they do not let it dent their verdicts. The spread is narrow; the one mixed notice, from The Times, judges the first episode unfocused, with too many characters arriving too quickly, while still admiring Coel’s performance and the shift from party to horror in its closing minutes.
The critic delivers a rave review of the series as an extraordinary, breathtaking achievement that explores consent, race, and millennial life on every level with no false notes. It singles out the seamless modulation between comedy and tragedy, the richly drawn friendships, and the ideas and character depth throughout.
Read the full review →V
Variety
16 June 2020 · Caroline Framke
90*
The critic calls it a searing triumph and an astonishing work of patience, empathy and understanding. They single out its empathetic depiction of drugging victims and the aftermath of trauma.
Read the full review →The critic hails the series as confirmation of Coel's stunning talent, lauding its multi-layered exploration of consent, memory, identity, friendship, and the writing life through shifting tones that mix humor, sexiness, and harrowing moments. It singles out Coel's performance for its wild charisma, emotional clarity, and precise depiction of trauma's lingering effects.
Read the full review →A
The AV Club
5 June 2020 · B+ · Shannon Miller
83
The critic praises the series as a thorough, honest examination of sexual abuse, exploitation, consent, and the non-monolithic nature of healing, with strong focus on survivors' messy paths and the vital role of friendship. It singles out Coel's writing, directing, acting, and the cast's performances (especially Opia) for blending levity with devastation while noting minor pacing issues in longer episodes.
Read the full review →R
Radio Times
1 June 2020 · ★★★★ · Flora Carr
80
The critic praises the series as a biting and witty drama that dismantles and rebuilds everything we think we know about casual dating and consent. They single out the brilliantly realistic sex scenes for praise.
Read the full review →H
The Hollywood Reporter
5 June 2020 · Daniel Fienberg
80*
The critic describes it as an ambitious showcase for Coel's vital voice, praising its confrontational exploration of consent and reinvention despite some messiness. They single out the honest handling of sexuality and narrative.
Read the full review →T
The Telegraph
8 June 2020 · ★★★★ · Anita Singh
80
The review praises the series as a hard-hitting yet frequently funny drama about sexual assault that deserves to be seen, highlighting Coel’s exceptional talent in blending trauma with humour and avoiding clichéd aftermath tropes. It singles out the authentic portrayal of how trauma does not erase one’s essence.
Read the full review →T
The Times
9 June 2020 · ★★★☆☆ · Carol Midgley
50*
The critic finds the first episode unfocused and scattered with too many characters introduced too quickly, though the final minutes effectively capture the shift from partying to horror. It singles out Coel’s strong performance and the important themes despite the need for tighter editing.
Read the full review →D
Digital Spy
8 June 2020 · Abby Robinson
90*
The critic calls the series vital and essential viewing, praising its nuanced, confronting exploration of consent in all forms, diverse survivor experiences (including Black and LGBTQ+ perspectives), and the debunking of victim stereotypes. It singles out Coel's bravery in drawing from personal experience and centering authentic Black British stories with care and resources.
Read the full review →P
Paste
4 June 2020 · 8.5/10 · Allison Keene
85
The critic describes it as a difficult but important series exploring rape, consent, and healing through a Black millennial perspective in London. They single out the nuanced handling of trauma and self-care alongside its ambitious, thought-provoking narrative.
Read the full review →C
Collider
7 June 2020 · B+ · Allie Gemmill
83
The review calls it a timely and necessary show that unflinchingly captures the messy recovery from sexual assault with honest performances and unique voice. It notes some disjointed structure but overall deems it a must-watch for its fearless commentary.
Read the full review →D
Den of Geek
5 June 2020 · ★★★★ · Louisa Mellor
80
The critic praises the fluent, dynamic balance of trauma, pain, comedy, romance, and questions around consent without lecturing, achieved through strong character focus and naturalistic observations on identity, race, class, and sexuality. It singles out Coel's performance and the central trio's charisma for making the series entertaining yet affecting.
Read the full review →N
NME
5 June 2020 · ★★★★ · Ella Kemp
80
The critic praises the series as a vibrant and intense London-set drama that cleverly handles themes of trauma and memory through fragmented storytelling. They highlight Coel's brilliant performance and the show's witty yet sensitive tone as standout elements.
Read the full review →R
The Ringer
9 June 2020 · Alison Herman
80*
The series marks a strong evolution for creator Michaela Coel, delivering a dark yet funny and affecting portrait of trauma and recovery that blends sharp humor with unflinching social commentary. It stands out for its nuanced exploration of overlapping issues like race, class, and sexuality alongside the aftermath of assault, maintaining a realistic tone that avoids easy resolutions.
Read the full review →Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate