Hulu’s Good American Family: A Disturbing Reimagining of the Natalia Grace Case

Hulu's Good American Family poster — Hulu’s Good American Family poster

What happens when a true crime story gets too strange for even the most jaded audience?

Hulu’s Good American Family doesn’t just retell the saga of Natalia Grace—it dares to reinterpret it, wrapping a tabloid firestorm in the veneer of prestige drama.

But the show’s real achievement isn’t in what it says. It’s in how it implicates the viewer in the very spectacle it critiques—much like the unsettling pattern seen in other cult documentaries.

At the heart of the series is a familiar question: who do we believe?

Not just in court or in the media, but in the silence between two conflicting stories.

Natalia Grace, a Ukrainian girl with a rare form of dwarfism, was adopted in 2010 by Kristine and Michael Barnett.

Three years later, the Barnetts left her in an apartment alone, claiming she was not a child at all but a sociopathic adult posing as one.

The courts, the media, and now the entertainment industry have all taken turns parsing the case.

Hulu’s eight-part dramatisation, created by Katie Robbins and led by Ellen Pompeo, adds one more layer to the narrative sprawl.

Stream Good American Family on Hulu to experience the dual-perspective retelling firsthand.

Pompeo plays Kristine as a woman consumed by her own myth.

An image of Ellen Pompeo portraying Kristine Barnett, capturing her in a contemplative moment.

Introduced as a devout mother and public speaker, she’s also a skilled manipulator of image—both within the show and toward the audience.

The opening scene, which places Kristine in front of a church audience just moments before her arrest for child endangerment, is less about exposition and more about juxtaposition.

Behind the Christian platitudes and pastel cardigans is a woman convinced of her righteousness—even when abandoning a disabled child.

The real strength of Good American Family lies in its split perspective structure.

An image featuring Mark Duplass and Ellen Pompeo together, representing the complex dynamics of the Barnett couple.

The early episodes walk us through Kristine and Michael’s growing suspicion of Natalia, capturing their descent into delusion with almost horror-like beats.

Director Liz Garbus threads Kristine’s paranoia with cinematic restraint: camera angles tighten, the home darkens, and normal parental fears take on an operatic scale.

At times, it flirts with genre tropes familiar to fans of psychological thrillers, using tension not just for shock but to ask who the real threat is.

By the time Kristine’s friend name-drops the 2009 horror film Orphan, the series openly acknowledges the cultural scripts that inform how we process stories like this.

Is Natalia a victim, or an infiltrator? Is Kristine a saviour, or a calculated abuser?

A still of Imogen Faith Reid embodying Natalia Grace, reflecting the character's vulnerability. — A still of Imogen Faith Reid embodying Natalia Grace, reflecting the character’s vulnerability.

Then comes the pivot. Episode 5, Too Hurty Without It, flips the lens. Gone are the suburban sanctimonies and courtroom dramatics.

We watch Natalia, played with harrowing vulnerability by Imogen Faith Reid in her acting debut, struggle to survive alone in an apartment unfit for any child—let alone one with a disability.

The walls aren’t just closing in because of the set design; they’re closing in because, for the first time, the audience is forced to sit with Natalia’s loneliness rather than merely observe it.

There’s a scene where Natalia befriends a local boy on the bus, and when he innocently asks her age, she responds, “I’m eight.”

It’s one of the few moments where the show strips away its layers of ambiguity and lets a child speak plainly.

That it feels like a revelation—rather than a simple fact—says more about the world around her than it does about Natalia herself.

What makes the show unsettling isn’t just the real-life cruelty it’s based on. It’s how it mirrors the audience’s own complicity.

Viewers, like the Barnetts, want clarity. A villain. A victim. A clean ending. But Good American Family refuses to provide one.

Instead, it presents a carousel of credibility, where even the most sympathetic character can appear manipulative, and the most villainous can seem, momentarily, misunderstood.

The Good American Family cast is uniformly strong. Mark Duplass plays Michael Barnett as the pliable parent—passive, confused, desperate to be seen as a good man.

His interactions with Natalia are among the series’ most painful.

Christina Hendricks, Dulé Hill, Imogen Reid, and Jerod Haynes in Good American Family (2025)

Dulé Hill brings a quiet intensity to Detective Drysdale, who operates not as a plot device but as a grounding force amid the chaos.

Christina Hendricks, though underused, adds welcome moral ambiguity as Cynthia Mans, a figure who exists in the grey zones Kristine avoids.

The production is deceptively sleek. Marcelo Zarvos’s score stays restrained, letting the tension build organically.

The lighting shifts as the show progresses, moving from overlit domesticity to a colder, more clinical palette.

This visual transition echoes the unraveling of the Barnetts’ façade—and our own trust in narrative certainty.

Of course, dramatising real events comes with ethical weight—an issue also explored in Neon Music’s take on Woman of the Hour, where true crime is reimagined through a female-led lens.

The real Natalia Grace is still alive, still navigating the consequences of a public that couldn’t decide if she was a child in danger or a monster in disguise.

As of 2025, she’s kept a relatively low profile, but spoke out in the third season of The Curious Case of Natalia Grace docuseries—offering a quiet, firm defense of her identity.

For those wondering where Natalia Grace is now, she’s no longer the ghost in someone else’s story. She’s the one reclaiming it.

Unlike many other true crime adoption series, which often exploit the shock factor and sensationalise trauma, Good American Family shows the spectacle for what it is—and doesn’t let you off the hook.

There are weaker points. The first episode does flirt a little too closely with Lifetime territory.

There’s also a sense that the final episodes rush to close threads that deserve more space. But these flaws don’t sink the project.

If anything, they highlight the tension between television’s need to wrap things up and reality’s refusal to cooperate.

Hulu’s series might not deliver all the answers. But it does something better: it reveals just how desperate we are for them—and what that desperation can justify.

In the end, Good American Family isn’t about Natalia Grace or Kristine Barnett alone.

It’s about the narratives we build around people to make them make sense. And the damage we do when they don’t.