Most critics like it, and nobody actively dislikes it. The praise clusters on two things: the conceit itself, a bright sitcom that keeps cutting away to the muted reality of its put-upon wife, and Annie Murphy, who is found convincing in both. Mary Hollis Inboden’s Patty is singled out almost as often, and the friendship between the two women is called the show’s strongest thread. Reviews of the second and final season are warmer still, calling it a satisfying finish that ends with its story told.
The reservations are about the join. Three reviews, none hostile, find that the sitcom half and the crime half never quite become one show, and that the plot loses pace once the trick is established. The Hollywood Reporter thinks too much time goes on the deliberately bad sitcom scenes; The Guardian says the two narratives fail to come together at all, though both are warm about Murphy. The spread is moderate rather than wide.