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It’s this overplaying of the narrative hand, not to mention the risibly trowelled-on gothic melodrama (at one point, Lorna scurries around with an axe), that should be the undoing of The Woman in the Wall. It’s saved by explosive arthouse brio and that atomising central performance. Wilson is just so good in this: you could watch her unravel for ever.
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While the crime storyline is resolved a bit too tidily, the series is most passionate about finding justice and peace for the women like Lorna who have spent their adult lives under a cloud of grief and unresolved shame. [29 Jan - 18 Feb 2024, p.7]
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It takes a few head-scratching plot shortcuts and is notably reliant on that inevitable trope of trauma-informed serial television, the character who is too emotionally constipated to reveal information that would hasten the resolution of the plot before the allotted six episodes.