“Everything’s Gonna Be Okay” has an infectious, energetic momentum to it. ... There’s enough of a sturdy foundation of what this family is to each other that seeing them take turns as the show’s driving force gives the series some well-deserved wonder.

Wildly offbeat, genuinely original and remarkably frank family comedy for the Euphoria generation. [20 Jan - 2 Feb 2020, p.9]

Much of the show's success or failure will rest on how it handles the character arcs that it has built up so far — many series achieve sublime lift-off before crashing and burning during their journey, and "Everything's Gonna Be Okay" could easily suffer that fate. But what has premiered so far is pretty damn exquisite. If the series can maintain this momentum, it could become the next big thing in American pop culture, and deservedly so.

Despite its more ersatz premise, Everything's Gonna Be Okay benefits both from Thomas' signature quirks and maturation as an artist, showcasing his dry, wise, singular voice.

It’s a concept as old as time, told with specificity, smarts, and sincerity by [Josh] Thomas. ... And in Cromer and Press, it features two of the best and most natural kid performances in recent TV memory.

Although Okay’s setup—which smooths over logistical issues by making the family rich—comes off as contrived, it quickly evolves into a bighearted, bittersweet, sometimes perverse chronicle of three unique siblings teaching each other how to live.

The dialogue is sometimes quite amusing, such as when Alex – having discovered Darren has cancer – responds: “I can’t figure out if it’s rude to leave or if it’s rude to stay.” But the jokes suffer from its distracted direction, which isn’t helped by an annoyingly jaunty score and the kind of over-lit cinematography befitting of a daytime TV soap opera.