Collider by Allison Keene

Sorry for You Loss plays out a lot like grief itself--it’s meandering, unexpected, complicated, dark, occasionally funny, and puts everything around it into sharp relief. It’s not what you would expect on Facebook, but it is definitely worth seeking out.

The Atlantic by Sophie Gilbert

It’s the kind of series that’s instantly so fully formed, so funny and candid and wrenching right from the start, that you almost question the emotional propriety of it all.

The Daily Beast by Kevin Fallon

Sorry For Your Loss is a gem of a show. With a cast this impressive--in Olsen, an Avenger; in Tran, a Star Wars alum; in McTeer, a renowned Oscar nominee--a series this well-executed would ordinarily be a marquee entry in the fall TV season.

Paste Magazine by Allison Keene

Season Two doesn’t feel quite as emotionally overwhelming as the first, which is a fair reflection of Leigh’s place in her own life (and not a negative mark against the show at all). As she starts to move forward, tentatively, so does the show. There are fits and starts in both cases, but Sorry for Your Loss continues to be an authentic and moving series. And yes, it is definitely worth watching TV on Facebook for (which is, by the way, totally free).

TVLine by Dave Nemetz

Sorry for Your Loss is like a beautifully written sad song: You’re not always in the right mood to listen to it... but when you are, it can reach you in places that nothing else can.

New York Magazine (Vulture) by Matt Zoller Seitz

It’s a meticulously observed and often cathartic experience, the kind of show that can make a person feel seen for the first time.

Washington Post by Hank Stuever

It’s not a lighthearted binge, but Sorry for Your Loss works because it’s as interested in Leigh’s healing as it is in her suffering.

Variety by Caroline Framke

With the help of some sharp writing, charismatic supporting characters, and Olsen’s slyly sympathetic performance, Kit Steinkellner’s drama finds a way to portray the reality of grief without letting it overwhelm the show entirely.

The Hollywood Reporter by Daniel Fienberg

The show is smart about the connective tissue of memory and how places or sensory experiences can serve as time machines, making a lie of any suggestion that it's easy to move forward after tragedy. ... This already feels like a show of some worth, even if it requires accepting yet another stream of TV into what is a roaring river.