David Bianculli

Our technical director and engineer is Audrey Bentham, with additional engineering support by Joyce Lieberman, Julian Hertzfeld, and Deanna Martinez.

Our interviews and reviews are produced and edited by Phyllis Myers, Anne-Marie Baldonado, Lauren Krenzel, Teresa Madden, Monique Nazareth, Thea Chaloner, Susan Yakundi, and Anna Bauman.

Our digital media producer is Molly Seavey-Nesper.

Hope Wilson is our consulting visual producer.

For Terry Gross and Tanya Mosley, I'm David Bianculli.

Sarah Snook has provided plenty of proof about how good an actress she is, and attention has been paid.

She won an Emmy Award for her role as Shiv Roy, one of the manipulative, wealthy siblings on Succession, and won a Tony Award for playing 26 different roles in her one-woman Broadway production of The Picture of Dorian Gray.

In her new Peacock TV miniseries, All Her Fault, she plays only one role, but right from the opening scene, it's a dramatic and challenging one, and she pulls you right in.

Snook plays Marissa Irvine, a wealthy wife with a five-year-old son.

We meet her, at the start of all her fault, running a seemingly mundane errand, picking up her son from an after-school playdate at the home of Jenny, one of the other classroom moms.

Except when Marissa arrives at the address that Jenny had texted to her, the woman who lives there isn't Jenny and knows nothing about a playdate or about Marissa's son Milo.

Linda Cropper plays Esther, the helpful homeowner.

Sarah Snook, as Marissa, reads aloud from the text on her phone.

From there, things escalate quickly and frighteningly.

Milo has an electronic tracker in his backpack, but it's been disabled.

When Marissa calls another parent at the school to confirm Jenny's phone number, she learns Milo couldn't be on a play date with Jacob because Jacob is with that other parent.

And when Esther uses the correct phone number to call Jenny, who's played by Dakota Fanning, the news gets even worse.

And in the space of a few moments, Marissa goes from calm to justifiably panicked.

The next call is to Marissa's husband, which goes straight to voicemail.

This is all before the opening credits.