The mystery at the center of Peacock’s “All Her Fault” begins when a mother arrives at the address where she thinks she dropped off her young son for a playdate, only to discover he isn’t there — and maybe never was. It’s a great hook, and according to the creative team behind Peacock’s wildly impressive new thriller, viewers who spent the eight-episode limited series looking for clues should have paid as much attention to the walls and costumes as they did the script.
Speaking during a recent USG University panel moderated by IndieWire, actress Sarah Snook, who stars as the fascinating and frightened Marissa Irvine, joined more of the artists and craftspeople behind “All Her Fault,” breaking down the intricate visual language that the cast, creator, and each department used to bring author Andrea Mara’s 2021 novel to life.
Director and executive producer Minkie Spiro shared that one of the show’s most important narrative tools was actually color. Working closely with cinematographer Sergio Delgado (also on the panel) and production designer Rob Harris, the “All Her Fault” team subtly transformed the shades of the Irvine family home as the sordid story progressed.
“When the lies start to unfold, the color temperature changes,” Spiro explained. “We didn’t repaint. The paint was exactly the same, but we just used much cooler color temperatures. So it became more cold and like an alienating cage for Marissa.”
That attention to detail underpins series creator Megan Gallagher’s philosophy on adaptation as a whole. Gallagher said she connected deeply with the novel’s exploration of working motherhood, as well as the expectations placed on women.
“You really have to care on some level,” she said. “I’ve learned you can’t fake it.”
Spiro and Snook also discussed the show’s costumes from designer Gypsy Taylor. Per Spiro, the series’ wardrobe embedded several motifs connected to key “All Her Fault” themes and plot points through Marissa’s wardrobe.
“If you look at all of Marissa’s costumes, every single one of her buttons are two buttons,” Spiro said, hinting at a reveal from the end of the show that we won’t spoil here (but, fair warning, does get spoiled in the panel video above!).
That sly approach extended far beyond clothing, as Snook noted the same doubling appeared throughout Marissa’s jewelry. Spiro added that the mirrored imagery was echoed through strategic reflections throughout the series, and Delgado explained that the production routinely shot through glass and used wider lenses to place the audience inside Marissa’s rapidly fraying perspective.
Composer Jeff Beal described a similarly intentional process in the score, explaining that he became fascinated by the absence of 5-year-old Milo Irvine (Duke McCloud) and the emotional void that left behind for his grieving mother.
“You think you know what you’re watching,” Beal said. “But it turns out that you’re not.”
For the lead of “All Her Fault,” these kinds of conversations exemplify the precise type of collaborative artistry that ultimately made the production so rewarding.
“I find humans endlessly impressive,” Snook said.
Watch the full USG University panel for more from the “All Her Fault” team — actress Snook, director/executive producer Spiro, cinematographer Delgado, creator Gallagher, and composer Beal with IndieWire’s Sarah Shachat.
“All Her Fault” is produced by Universal International Studios, a division of Universal Studio Group. It is now streaming on Peacock.
IndieWire partnered with Universal Studio Group for USG University, a series of panels celebrating the outstanding artistry and artisans behind the 2025–2026 television season across NBCUniversal’s portfolio of shows. USG University, a Universal Studio Group program, is presented in partnership with the Motion Picture & Television Fund.
