The show received highly negative reviews from television critics; some named it one of the worst series of 1989 and felt it did not live up to CBS' reputation for airing high-quality programming.

[10] According to the director of music at the show's distributor, Columbia Pictures Television, a contemporary recording was used because producers "wanted to attract baby boomers who remembered the original and the younger audience who didn't".

[15][16] Due to her inexperience, she attended acting coach Bill Hudnut's private workshops for several days each week to improve her skills and become accustomed to performing in front of an audience.

[46] Within the official television season which ended on April 16, 1989, Live-In averaged a household rating of 10.3 according to Nielsen Media Research, placing 83rd among the 125 series aired.

[55] In advance of the premiere, David Bianculli said CBS should no longer be considered a high-quality network for airing it and felt the program's "only redeeming moment is the title sequence".

[10] Eric Mink of the St. Louis Post-Dispatch agreed, writing that "with the exception of the ... stylish opening credit sequence, [the] show is so blatantly stupid it defies belief".

[56] The Cincinnati Enquirer's John Kiesewetter cited the series as an example of declining network standards at the time,[57] as did the Asbury Park Press' Robert Strauss.

[58] Writing that it undermined CBS' public commitment to high-quality programming, Hester Riches of the Vancouver Sun felt the show diminished others on Mondays, such as Murphy Brown.

[62] Diane Holloway of the Austin American-Statesman called the show "incredibly immature" and said the financial burden on a working family to hire a live-in made the premise implausible.

Citing the premiere's shower scene, Steve Hall of The Indianapolis Star described Sternin and Fraser as lacking "an original funny idea in their heads" as he felt it was similar to that in Porky's (1981).

[13] In a positive review, Newsday's David Friedman felt the program followed the tried-and-true "assemble a cast viewers at home want to spend time with, make sure at least one of them is extremely good-looking, then give them a few funny things to say" formula successfully.

Morris described her chemistry with Young as "electric",[65] Biggers gave particular praise to her,[69] and Kay Gardella of the New York Daily News said she "does fine" in her role despite the show's "thin story line".

[72] In contrast, Richard Glover of The Sydney Morning Herald sarcastically remarked she "demonstrated mastery of all the major emotions, including surprise (eyes opened wide) and happiness (eyebrows raised, teeth bared)".