Hot priest? I wish! This holy love story will instead have you praying for a better script

A new television series titled Falling, written by British screenwriter Jack Thorne, has drawn mixed reviews following its recent premiere. The show centers on a forbidden romance between a nun and a priest, a storyline that has sparked both curiosity and criticism among viewers and critics alike. The series, which premiered on August 13, 2026, features Keeley Hawes as Sister Anna, a nun in a cloistered Catholic order in rural England, and Paapa Essiedu as Father Hicks, a radical priest serving a gritty Bristol parish. Directed by Peter Hoar, the show promises a blend of spiritual conflict and personal transformation, yet many viewers found the romantic subplot underdeveloped and implausible. The narrative begins with Sister Anna, who has spent nearly three decades in her convent, preparing to assume leadership from Abbess Francesca, portrayed by Niamh Cusack. Her daily routine includes tending to the convent's garden and delivering vegetables to the local food bank. The turning point comes when Father Hicks, known for his unconventional approach to ministry, visits the convent. Dressed in a full cassock and smoking a cigarette beside a broken-down car on a motorway, he is introduced as a “Cool Priest,” a term used to describe his youthful appearance and progressive views. Unlike his bishop, Jason Watkins, who prioritizes traditional church practices such as heating, Hicks focuses on community outreach, including establishing a needle exchange program. Father Hicks' visit to the convent is part of his efforts to bring congregants into the “life of conviction.” During his stay, he meets Sister Anna, and the two share moments of subtle flirtation. A pivotal scene occurs when Anna burns herself while cooking eggs, prompting Hicks to rush to her aid. Their accidental physical contact becomes the catalyst for their emotional connection, described by one reviewer as reminiscent of Mills & Boon-style romance novels. Despite the dramatic setup, however, the chemistry between the leads appears lacking, with critics noting that the romantic tension feels forced and unrealistic. In subsequent episodes, Anna leaves the convent to pursue a relationship with Hicks, marking a significant departure from her monastic life. However, the pacing of the series has been criticized as overly slow, with Hicks seemingly confused by Anna’s sudden change in behavior. Viewers were left waiting for meaningful developments in their relationship, particularly given the show’s title, which suggests a deeper exploration of emotional and spiritual growth. Instead, the focus shifts to broader themes, including Hicks’ interactions with his parishioners, teenagers facing difficult circumstances, abusive fathers, and individuals seeking last rites, and Anna’s struggle to adapt to modern life after decades of isolation. Anna’s journey back into society is depicted through her unfamiliarity with contemporary culture, notably highlighted by her lack of exposure to mirrors, despite maintaining a meticulous skincare routine. These scenes, while potentially rich with character depth, are overshadowed by the show’s overall tone of earnestness that some argue lacks originality. Critics pointed out that even the central conflicts, Hicks’ hidden past and Anna’s limited understanding of the outside world, are presented in a manner that fails to engage deeply with the audience. Despite the shortcomings in the romantic arc, the series explores broader social issues, including poverty, addiction, and religious reform. Yet, these elements are often secondary to the main plot, which has been deemed insufficiently compelling. As the first four episodes became available for preview, many viewers expressed disappointment, suggesting they might prefer a more dynamic and believable love story or, alternatively, a complete rewrite of the script. The show’s potential remains uncertain, with its future dependent on how effectively it addresses these criticisms in upcoming episodes.