TV Review: Hulu's "Good American Family" Examines the Fine Line Between Victim and Villain

The story of Natalia Grace has already been the subject of multiple documentaries, tabloid deep dives, and social media speculation, but Good American Family takes a different approach: dramatizing the events with shifting perspectives that challenge the idea of absolute truth. Created by Katie Robbins (Sunny) and co-showrun with Sarah Sutherland (Nine Perfect Strangers), the eight-part Hulu limited series examines the case not just as a bizarre legal battle but as a layered, unsettling portrait of bias, trauma, and the media’s obsession with spectacle.

Each episode presents a slightly different version of events, a structural choice that underscores the series' core theme—how perception, privilege, and fear shape the narratives we tell ourselves and others. The opening credits, designed with paper cutouts, emphasize missing pieces, while disclaimers remind viewers that this is a dramatized interpretation of real events.

At its center is Kristine Barnett (Ellen Pompeo, Grey’s Anatomy), a mother whose initial warmth toward Natalia (Imogen Faith Reid) slowly warps into paranoia as she begins to suspect their adopted daughter may not be a child at all. Mark Duplass (The League) plays Michael Barnett, a father who swings between blissful ignorance and desperate self-preservation. Meanwhile, Imogen Faith Reid delivers a chillingly nuanced performance as Natalia, capturing a range of ages and emotions that leave the audience questioning how much she truly understands about her past.

Pompeo’s portrayal of Kristine avoids turning her into a villainous caricature, instead presenting her as a mother struggling to reconcile maternal instincts with creeping fear. Duplass brings an eerie charm to Michael, making him both endearing and untrustworthy in equal measure. But it’s Reid who commands the screen, convincingly embodying Natalia across a span of years—from a frightened girl to a young woman caught in a storm of suspicion.

The supporting cast, including Dulé Hill (The Wonder Years) as the detective who takes up Natalia’s case and Christina Hendricks (Good Girls) as Cynthia Mans, a secondary mother figure for Natalia Grace, adds weight to the series' broader examination of systemic failure—how institutions, the media, and public opinion often blur the line between victim and perpetrator.

Good American Family is, at times, difficult to watch. The case itself is distressing, and the show leans into the discomfort, using ambiguity to force viewers to sit with their own biases. With true crime adaptations becoming a frequent fixture in television, there's an ethical question about whether these stories should be dramatized at all. But if there’s a justification for this particular adaptation, it’s that Good American Family doesn’t provide easy answers. Instead, it holds a mirror up to the ways we consume and judge stories like these—both in the courtroom and in the headlines.

For those already familiar with the Natalia Grace case, Good American Family offers a fresh angle, emphasizing how perception alters reality. For those new to the story, it’s a gripping, unsettling introduction to one of the most perplexing adoption cases in recent history. Either way, the series lingers long after the credits roll, not because of the mystery it presents—but because of the questions it leaves unanswered.

I give Good American Family 4 out of 5 pink rabbit stuffies.

The first two episodes of Good American Family are now streaming on Hulu, with new episodes released on Wednesdays.