Dear Edward is imperfect yet ultimately compelling — a quietly ambitious study of grief and connection. It’s refreshingly unflashy, focused on its characters and the emotional thread that links them together.

Finding drama and resilience in the seeds of tragedy, Dear Edward is a sensitively done series that never fully recovers from its challenging premise . . . Intended to be uplifting, the Apple TV+ show is too much of a bummer to wholly recommend boarding this flight.

The subplots are uneven: some compelling — Anna Uzele is especially good as a politician's idealistic granddaughter — some underdeveloped. [13 - 26 Feb 2023, p.6]

The first season of Dear Edward feels like 10 hours of 10 (or more) people crying at each other nonstop. There’s no room for anything to echo because the cacophony of misery is so loud and so pervasive. Dear Edward is made with enough craft and driven by enough solid performances that it doesn’t usually feel like straight-up misery porn.

Smart but unshapely literary adaptation, full of good intentions and interesting characters but bloated beyond recognition at 10 hours. ... The only performer who seems to be having much fun is Connie Britton, who devours scenery as Dee Dee.