It received mixed reviews, with critics feeling that it did not live up to expectations as a radical historical drama, but that it remained entertaining for viewers of melodramatic period soap operas.

Three months prior to its North American broadcast, the series was available for streaming on PBS Passport, leading a digital-first release strategy which coincided with the network's March pledge drive.

[17][18][19] Rachel Cooke of the New Statesman called it a "parade of cliché and desperation" which evoked laughter at the wrong moments[8] while Jasper Rees of The Daily Telegraph felt as though the production may have been "conjured up by algorithm".

[20] Another criticism was its lack of insight on the complex historical period,[21] with Lucy Mangan of The Guardian and Rob Owen of the Pittsburgh Post-Gazette particularly disappointed in the use of protagonist John Beecham as a "white saviour" figure.

[23] The art direction, costumes, and location shoots were well received,[18][20][24] with Carol Midgley of The Sunday Times calling it "a feast for the eyes"[25] and Roush stating "You won't find a more gorgeous series all summer".

[23] Alison Rowat of The Herald gave the series 4 out of 5 stars, praising the art direction and several performances, but felt that it lacked the humour of Downton Abbey.