Every one of the eleven reviews is positive, and they agree on why. This is an apocalypse that is not interested in misery: most critics single out the decision to follow a travelling theatre company and to treat art, memory and community as what survives rather than what is lost. The ensemble draws steady praise, as does the time-jumping structure, which several reviews call elegant, and the sunlit look of the post-plague world.
The reservations are small and gather in the same place. The Hollywood Reporter finds the later episodes over-explain themselves, Variety thinks the flashbacks lose their grip on pace, and The Telegraph warns that the multiple timelines ask for real commitment. The Guardian calls it a slow burn that rewards patience. The spread is narrow, from good to very good, with the warmest verdicts coming from the American sites and the British papers a shade more reserved.
