As we continue to follow the detrimental consequences of recently undead Sheila Hammond’s (Drew Barrymore, who might never make up for that Crocs commercial) lust for fresh meat in the form of human flesh, season two of the Netflix series takes us on a journey even more absurd than that of season one. And it’s a level of absurdism that doesn’t always hit the mark–though not for lack of trying.
Wasting no time in picking up where we left off last, Sheila remains chained in the basement at her own request, fearing that she might go rabid on someone soon as her body persists in irreparable deterioration while Eric (Skyler Gisondo), Abby’s (Liv Hewson) best friend who wants desperately to be more and will therefore do just about anything to help her mother, tries to re-create a serum from the Serbian book of zombies previously found by the Hammonds via Dr. Cora Wolf (Portia de Rossi), who explains matter-of-factly regarding the need for “the bile of a native-born pure Serbian” in the last episode of season one, “It’s effective because medieval Serbians developed intestinal flora that resisted the virus.” Ergo a Craig’s List ad must be put up by Abby.
Meanwhile, Sheila’s husband, Joel (Timothy Olyphant), is still on a forty-eight hour lockdown in a psych ward after attempting to get the Serbian-born grandmother of the principal of Abby’s school, Mr. Novak (Thomas Lennon), to vomit. Serbian vomit plays a key role in both seasons one and two–perhaps a bit more in the latter. And, speaking of vomit, if you have a sensitive gag reflex, definitely do not watch this show, which has no qualms about portraying Sheila’s bout of viciousness, her irrepressible succumbing to the id. Which she showcases often through her allusions to her sexual–in addition to carnivorous–appetite, likely the reason why Joel has managed not to totally lose his mind over the transformation.
His high-strung nature is put further to the test with the constant presence of the latest cop in next door neighbor (and mother to Eric) Lisa Palmer’s (Mary Elizabeth Ellis) life, Deputy Anne Garcia (Natalie Morales), who develops a keen interest in linking the sudden barrage of missing people in Santa Clarita, Dan (Ricardo Chavira)–Lisa’s ex–and former co-worker to the Hammonds Gary (Nathan Fillion) included.
Gary, Sheila’s first kill, is quite literally dug up once again in the second season as a means of teaching the Hammonds that they have to remember to “disable,” so to speak, the brain before burying a body–otherwise they’re only creating more undead people. But, quickly and surprisingly, Gary’s severed head becomes rather likable, especially to Joel who doesn’t have any male companions he can confide in about his situation. It is, in fact, Gary who encourages him to re-frame his situation by viewing it as being in constant proximity to something extraordinary–like being married to the Queen of England (hence the title of episode four). As Joel complains, “With Sheila’s situation, I’m never gonna do normal things again,” Gary adds, “Sure, Sheila’s got a lot going on. Her life’s always gonna be bigger than yours. It’s like…being married to the Queen of England.” Joel balks, “It’s not exactly like that.” Gary interjects, “You got two ways of looking at it. Either it’s, ‘My needs are always gonna come second’ or ‘Jesus Christ, I’m fucking the Queen of England!’ Appreciate what you have, buddy. Stop trying to turn it into something it’s never gonna be.” And it is with this advice that Joel seems to better take on the unexpected demands at hand–from the sudden discovery that there is yet another undead woman among them, local Rite Aid worker Ramona (Ramona Young), to the realization that five thousand infected Serbian clams–the very ones that infected Sheila the night before she turned–are lying in wait to be shipped out across the nation.
With the entire course of Sheila’s life altered as a result of her former meek personality consenting to eating clams at Japopo’s (a name that personifies this notion of humor meets hooey) in spite of knowing in her heart that there was something “off” about them, it seems almost lazy-in-its-commonnness storytelling for writer Victor Fresco to tack this into the conclusion of season two as the reason for Sheila “turning.” Faulty clams, for fuck’s sake? But that’s just part of the overall normal-infused-with-camp tone of Santa Clarita Diet. Because, truth be told, these days, normal is camp. Fresco, as creator and showrunner, was behind the framing of the overall tone and concept of the season by penning the first episode, “No Family is Perfect.” Wanting to hone in on the narcissism of the undead, Fresco commented of Sheila’s zombie appetite, “The undead are the ultimate narcissists. They want what they want when they want it and will do anything to just have what they want and don’t care about other people’s needs.” Sounds like most average humans these days–the ones who will abscond at a moment’s notice when something or someone better comes along. But that’s one of the ironies of the show: the more Sheila gives in to her uncontrollable carnality, the closer she becomes to Joel, who, like Abby, refuses to abandon her. A touch of Scream Queens with a bit of Duplex and Charlie’s Angels: Full Throttle thrown in, it’s not always a palatable inflection of humor. And yet, Netflix doesn’t need to appeal to a large sect for one show, offering so many at this point that there’s enough viewers for just about every need and taste to be satisfied.
For those who can see what the rare core of the show is about–a marriage that can weather any condition–Santa Clarita Diet will easily appeal. Joel’s unwavering devotion to Sheila, at times, can even seem utterly unbelievable. But then, incongruousness is what the show is grounded in, making it unique from other offerings that serve as Netflix staples (e.g. The Crown and Master of None). Unfortunately, Fresco doesn’t seem fully convinced about going all out with the hyper-cartoonishness of the premise, preferring to rely on gore and the delivery of gross-out lines by Drew Barrymore that only work because she’s the one saying them. With the finale, “Halibut!,” it seems Fresco might be willing to take things in the truly over the top direction they need to go in order for Santa Clarita Diet to fully embrace the timbre it seems so badly to want.
