THE STORY – In 1969, an ambitious woman aspires to cross the line between the haves and have-nots to secure her seat at America’s most exclusive, fashionable and treacherous table: Palm Beach high society.
THE CAST – Kristen Wiig, Ricky Martin, Josh Lucas, Leslie Bibb, Amber Chardae Robinson, Laura Dern, Allison Janney & Carol Burnett
THE TEAM – Abe Sylvia (Creator, Showrunner & Writer), Logan Faust, Sheri Holman, Celeste Hughey, Kelly Hutchinson, Becky Mode, Emma Rathbone & Sharr White (Writers)
Lovers of costumes, campy chaos, and Kristen Wiig rejoice: the “Palm Royale” is back in business. But did we ever leave? A show filled with enough star power to clean house at the Emmys attempted to take a bite out of meaty topics such as wealth, class, and ambition in season one, but squandered its high-concept themes in superficial glitz and glamour. The first season’s critiques of convoluted plot lines, drama lacking substance, and comedic heavyweights wasted on light jokes worthy of only a slight giggle carry over into season two. Still, this time, it pushes the boundaries of acceptable ridiculousness. If you come for the pretty costumes and production design, you’ll be a happy camper, but don’t expect the new season to get any less overstuffed, silly, or shallow.
Season two steps back into the razzle-dazzle 1960s fever dream of Southeast Florida’s most affluent and chaotic social scene immediately after season one’s explosive finale. We saw last season end with a bang at The Beach Ball, leaving us wondering if Robert (Ricky Martin) survives the shooting, if Linda (Laura Dern) takes the fall for it, and who the hell Norma (Carol Burnett) really is and what else she could be hiding. For those of you who are impatient and want quick answers, season two doesn’t keep you waiting to learn the fates of all the above. But do you actually care enough to decipher all the supporting characters’ B, C, and D plots? Little attempt is made to course-correct season one’s over-crowded and unevenly paced subplots, while not giving nearly enough material for Kristen Wiig and Carole Burnett to do what they do best: make us laugh.
Mostly a continuation of last season’s drama, season two introduces a few new stories and instead focuses on an even more profound unraveling of Maxine Dellacorte’s (Wiig) poorly planned and even more poorly executed grifting. A rootin’ tootin’ mid-season set piece at a cowboy-themed party is by far the season’s (and the show’s) peak. A few jokes in each episode will make you chuckle, especially when they’re delivered by Wiig’s carefully constructed tone and cadence, reminiscent of a mid-century finishing school dropout. But the new problems introduced jump the shark into completely unbelievable territory, quickly explaining away insane new plot devices that are not only unnecessary but transform this show from superficial-but-fun into superficial-and-painstakingly-complicated. Unfortunately, the show does little to make us care about keeping up.
All the campy silliness is certainly not lacking in star power. Wiig commits 100%. While Maxine Dellacorte is no Target Lady or Gilly-level physical comedy character, she scratches the itch for those missing one of SNL’s finest voices of comedy, even if the character development is woefully underserved. A significant issue with this show is that it somehow manages to be ridiculous without letting Wiig fully tap into her ridiculous side. Her line deliveries always land, but we’re still missing Wiig at her finest: no laugh-out-loud “I’m ready to paaarrrtyyyyy” or “help me, I’m poor” moments are found anywhere in “Palm Royale.”
And what’s left to be said about Carol Burnett? At 92 years old, she certainly has nothing to prove, but we’re lucky she’s as sharp as ever. Playing perhaps one of her more complicated characters – at least of the past decade or two – Burnett shows us why she’s one of the greatest ever to do it, even if the material falls a bit flat. Allison Janney returns as Evelyn Rollins, the epitome of old money sophistication, wielding charm and cruelty in equal measure. One able to hold her own opposite her frenemy in Wiig’s Maxine, Janney’s Evelyn gets adequate screen time to tête-à-tête with her bubbly and conniving foe, even when they’re on the same team. Some of the best scenes of the season are Janney vs. (or with? We don’t know) Wiig, and the show would be better served to lean on the chemistry of these two stars more. We’re also introduced to a few new characters, including one noteworthy named Dusty Magic (played by John Stamos, of course), but an already over-stuffed cast leaves little room for meaningful new additions.
The costumes, sets, and 1960s glitz and glamour remain the main draw of the series. Besides a questionable spray tan on Wiig’s Dellacorte, the beauty of the show lies within the exquisite production. After lavish, sun-soaked scenes, we are transported to a time and place of opulence, even if artificial. The production captures both the fantasy and the absurdity of privilege, wrapping social satire in layers of visual splendor. The costumes evoke the height of mid-century glamor while hinting at the artifice beneath it all: oversized hats, statement jewelry, and candy-colored dresses that would leave even the most color-drenched modern wardrobes envious.
Falling victim to the same complicated hollowness of season one, season two goes even further into goofy without dialing up the funny. This show seems to suffer from trying to be a jack-of-all-trades, master of none, even when it has two masters of comedy at its disposal. Kristen Wiig’s comedic timing never falters, but the drama isn’t deep enough, and the comedy isn’t funny enough to keep us coming back to “Palm Royale.” At least the costumes and set design keep our eyes on the screen, even if the stories leave us asking, “Huh?”
THE GOOD – The costumes, sets, and 1960s glitz and glamour are dazzling and extravagant. The stars show up well and do what they can with flat material, managing to sometimes make us chuckle through the slog.
THE BAD – The drama is hollow and a bit boring, the comedy isn’t that funny, and the ridiculousness of the many plots is dialed up to 100 (derogatory).
THE EMMY PROSPECTS – Outstanding Comedy Series, Outstanding Lead Actress in a Comedy Series, Outstanding Supporting Actress in a Comedy Series
THE FINAL SCORE – 5/10
