All Her Fault creator Megan Gallagher is still soaking up the warm reception to the Peacock miniseries, months after it premiered to rave reviews last November.
“I am somebody who’s very critical of myself, and I’m not someone to bask in things very much, but I admit I am proud of this one,” she told MovieMaker in mid-March from a hotel in London, where she was already working with the All Her Fault Carnival Films producers on another miniseries.
“It was such a great experience. And I’m not just saying that because you’re supposed to say it. It really was a great experience,” she added, proceeding to credit every collaborator who worked on the Golden Globe-nominated kidnapping drama. “To get on social media and to see the degree to which it just exploded online was such a treat. The whole thing was just wonderful. So I’m still kind of pinching myself.”
The eight-episode limited series hooks viewers from the very first scene, when Sarah Snook’s character arrives at an address to pick up her son from a playdate, only to realize there never was a playdate, and that the text message correspondence with another mother was all part of an elaborate scheme to abduct her son.
The waking nightmare quickly escalates from there. The media begins to victim-blame our protagonist, while her own friends and family become suspects and secrets from the past emerge.
All Her Fault is loaded with more than enough twists and turns to keep whodunnit crime junkies guessing until the very end, but the puzzle-piece plot is layered with a rich depth of human reflection that captivated viewers as well.
“I wanted the audience to go on an entertaining, propulsive ride, but to be seen as well,” said executive producer Minkie Spiro, who also directed the first four episodes. “It was important to me that it opens up a dialogue and allows people to talk about it.”
The show navigates largely uncharted territory on television: domestic labor discrepancies in marriage. It’s a theme in author Andrea Mara’s book of the same name, and Gallagher wanted to amplify it. She received plenty of encouragement from female studio executives.
“There’s a lot of women at Universal and at Peacock who are running things and their response was, ‘Yes, yes, yes! That’s me, that’s my home, that’s my husband!’” recalled Gallagher. “Every woman I know between the ages of 35 and 55 feels this way, and it’s not on the screen. Like, we haven’t seen other shows that really tackle it.
“It just felt so strange to me that this thing that half of the world’s population is experiencing in a really present, big way hasn’t been on screen yet,” she continued. “I’m so glad that we really stayed the course and really landed that theme, because it just seemed to have resonated like crazy.”
Spiro added: “We were trying to find ways to start to build a picture of what it’s like to be a working parent trying to juggle it all and the other parent isn’t necessarily carrying the weight. We were trying to tell a story without hitting people over the head with a hammer.”
They saved the hammer for episode eight, when the intricately woven tapestry of drama and betrayal ends with the biggest twist of all.
“It was a lot of work to map a series out so that it really feels like every little puzzle piece fits in,” Gallagher said. “But I do love that. That’s my favorite part of writing. And because we did all that work, episode eight was the quickest draft to write, and the quickest edit in post. So, we’re really, really proud of that episode and that ending.”
The satisfying conclusion is the fruit of seeds planted early on in the show led by Snook, who won the 2026 Critics Choice Award for Best Actress in a Limited Series. Co-stars Michael Peña and Sophia Lillis were also nominated. Jake Lacy, Dakota Fanning, Abby Elliott, Jay Ellis, Daniel Monks, Johnny Carr and Kartiah Vergara round out the tour-de-force ensemble.
“Every single member of the cast stepped up,” said Spiro. “They all had a reason why they wanted to do this show, why they wanted to tell this story, why they had to get involved, which was fascinating in itself.”
Spiro, who previously directed episodes of Barry, Better Call Saul and The Plot Against America, says that while she appreciated the “delicious” plot twists within the source material, she was particularly drawn to the depth of family dynamics in Gallagher’s vision.
“What appealed to me was looking on top of that; having an opportunity to do a real character analysis of family, and secrets and lies, and trauma, and social discrepancies,” she said.
All Her Fault is a whodunnit elevated by performances and resonant themes crisscrossing throughout the limited series, but both its director and creator allude to another important factor running fluidly behind the scenes: alignment.
“As a network, I think Peacock really stepped up and were respectful of the creatives and didn’t micromanage,” Spiro said. “I’ve had the privilege of working in the U.K. and the U.S. and various other countries, and there are some studio execs around the world who are not as aligned, or not as understanding of the process, so I think we were very fortunate on this one.”
“Look, it doesn’t always happen this way,” noted Gallgher. “Sometimes a broadcaster greenlights a show and maybe they shouldn’t have, because it wasn’t really what they wanted. Or maybe you just don’t see eye to eye with somebody. You just have to surround yourself with good people, and it was such good people on this.”
All Her Fault is now streaming on Peacock. You can read more of our Emmy contender interviews here.
Main image: In All Her Fault, Sarah Snook plays a mom who takes her son — played by Duke McCloud — to a playdate that isn’t what it seems.