Critical response Anthony D. Langford from
AfterElton.com said that he "absolutely loved this charming series. It’s funny and sweet and has plenty of heart." He also praised Thomas's portrayal of Josh and wished that U.S. broadcasters could emulate the show's format. He later said that he would miss the show and hoped a second season would be commissioned. He added that he did not want to say goodbye to Josh's world. Andrew Mast, writing for Music.com.au, praised Briggs's "naturalistic performances" and the inclusion of accomplished actress Farr. He concluded that Thomas's writing was good and comedic, but the on-screen delivery did not meet his expectations. David Knox from
TV Tonight praised the performances of many cast members. He opined that the dynamic between Josh and his parents created a "very rich comedic terrain" for the show. He added that
Please Like Me displays "a confidence that delivers laughs, pathos and insight". Colin Vickery and Darren Devlyn from
News.com.au said that it "has a sweetness that sets it apart from other boundary-pushing comedies". Giles Hardie from
The Age praised the show for "breaking new ground" and not making stereotypes of gay characters. He viewed the comedy as being genuine without feeling like a sitcom. He noted that coming out and attempted suicide are given humour without the gags. Hardie concluded that Josh, his family and friends were "incredibly well" played. Fellow critic Craig Mathieson also agreed that the show's darker moments are some of the most humorous and compared it to American show
Louie.
Please Like Me received an invitation to screen at the
Series Mania Television Festival in Paris.
The A.V. Club regarded season 2 of
Please Like Me as one of the year's best shows, praising the camera work and Josh's performance.
The Guardian praised
Please Like Me's "unconventional writing". The Season 3 premiere episode of ''Please Like Me, 'Eggplant''' received praise for its portrayal of a gay sex scene, described in
IndieWire as "a very tender moment that is rarely afforded to queer characters in films or TV series." The scene is cited as a significant shift for Australian broadcast television because "the camera does not cut away," a shift compared to earlier portrayals that used "cinematographic censorship."
Awards and nominations ==See also==