All Her Fault contains two dramas. One'melodramatic, Hitchcockian at its best, Lifetime-hacky at its worst'follows all the most generic beats of the airport thriller, starting when Marissa (played by Succession's Sarah Snook) arrives to pick up her son, Milo, from a playdate at a house where, somehow, no children live and no one has ever heard of him. The other'sensitive, almost documentary-realist about the dynamics of modern parenting'deals with the fallout, as a community struggles to confront how such a nightmarish failure of safeguarding could have happened. The two modes of the show intersect only briefly, in the show's terrific opening scene, as Snook's eyes begin to dart with mounting panic that she's trying frantically to rationalize in the presence of a stranger. But for the rest of the series they diverge, leaving us stuck inside a mostly hokey story that has flashes of brilliance, or at least of sharp insight into the tensions and fault lines of working motherhood. I've...
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