[1] It is produced by Studio Flad and directed by Makoto Hoshino, with scripts written by Megumi Shimizu, character designs handled by Ruriko Watanabe, and music composed by Tomoki Kikuya.

Caitlin Moore was initially put off by the first few minutes with its early revelation of the characters' secrets and potential transphobic humor involving Tsubasa/Tsuyoshi, but was pleasantly surprised by the lack of the latter and praised the show's template of being a gag anime similar to "30 Rock with the chaotic energy of Asobi Asobase."

Nicholas Dupree criticized the premiere for being filled with "tired, low-energy comedy that occasionally stumbles into a sensible chuckle but otherwise sits around repeating itself," and failing to replicate Kaguya-sama's comedic style due to an unpolished production, calling it "a show that is trying just hard enough that it's embarrassing when the jokes don't land, but not trying hard enough to feel like earnest comedy, which is a really dull valley to get caught in.

[18] Despite finding some "middling animation and forgettable music" throughout the production, she called it "one of the most consistently funny, occasionally surprising comedies of the season", praising its balance of delivering "K-On!-style iyashikei" and Asobi Asobase's "gross-out humor" with "an almost subversive undertone" to them, concluding that "The Little Lies We All Tell wasn't the most remarkable series of Fall 2022, but I found it to be the one I watched most consistently.

Every week, I could look forward to coming home from a challenging day at work, kicking off my shoes, and enjoying an episode I knew would make me laugh without the well-worn anime tropes that frustrate me or ask me to think too hard.