Jack Thorne's new religious romance drama Falling premiered Tuesday night to a sharply divided critical reception, with some reviewers hailing it as mature and spellbinding while others dismissed it as slow-paced and emotionally hollow. The show arrived with significant expectations,riding the reputation of Thorne's award-winning Netflix drama Adolescence and a cast headlined by Keeley Hawes. Yet the critical consensus has fractured almost immediately, raising questions about whether Thorne's strengths as a writer translate to the romance genre.

The Times' five-star outlier vs. the two-star consensus

The Times delivered a glowing five-star review, praising Hawes' performance and describing the series as "spellbinding" and "mature," according to the critical roundup. This outlier assessment stands in stark contrast to the broader critical mood. As reported, multiple reviewers gave Falling two-star ratings, citing "odd" dialogue and a romance that feels forced rather than earned. The gap between The Times' enthusiasm and the prevailing skepticism suggests that Falling may have found a champion in one major outlet while failing to convince most other critics that Thorne has successfully pivoted to love-story storytelling.

Keeley Hawes carries the weight of uneven material

One consistent thread across reviews is recognition of Keeley Hawes' performance as a bright spot in an otherwise troubled production.. Even critics who faulted the show's pacing and romance acknowledged her work, suggesting that the cast may be stronger than the material itself . This pattern—where a skilled actor elevates mediocre writing—often signals a deeper structural problem: that the script itself lacks the emotional authenticity required to make a love story resonate. Hawes' reputation and range appear to have earned her critical goodwill, but goodwill alone cannot sustain a drama built on a shaky romantic foundation.

Thorne's pivot from prestige drama to romance raises unresolved questions

Jack Thorne's previous work, particularly Adolescence, earned him multiple awards and established him as a writer capable of depth and nuance in character-driven storytelling. Yet critics have flagged that Falling lacks the depth and authenticity found in his previous work, according to the critical response. This raises a specific puzzle: whether Thorne's strengths in other genres—character study, social drama, emotional realism—simply do not transfer to the romance space, or whether the show's problems stem from production, casting chemistry, or direction rather than the writing itself. the source does not clarify whether Thorne also directed Falling or whether other creative decisions may have shaped the final product.

The slow-pacing complaint and what it reveals

Multiple critics have cited slow pacing as a central flaw, a complaint that often masks deeper issues with narrative momentum and emotional stakes. In a romance drama,slow pacing typically signals that the central relationship has not been established with enough urgency or credibility to hold viewer attention. The fact that reviewers describe both the pacing and the romance as "forced" suggests these problems may be linked: the show may be taking time to develop a relationship that never feels organic in the first place. Without more detailed reviews, it remains unclear whether the pacing serves thematic purposes—building tension, exploring spiritual conflict—or whether it simply drags without payoff.