Palm Royale Review: Pilot / Maxine Saves a Cat / Maxine’s Like a Dellacorte (Season 1 Episodes 1-3)

Palm Royale has finally splashed onto Apple TV+ with its first three episodes: “Pilot,” “Maxine Saves a Cat,” and “Maxine’s Like a Dellacorte.” It starts on strong footing, capturing the tumultuous ’60s tug-of-war between a dying breed of socialites clinging to the days of old and the new wave of feminism fighting for a level gender playing field. 

Maxine Cons Her Way to the Top 

“Pilot” lays the groundwork for what’s to come while immersing us in this dazzling world. This series boasts a gorgeous color palette and vibrant 1960s aesthetics, complete with chic costumes. 

Each frame has a dreamy, hazy filter that encapsulates the setting’s paradise feel. However, it’s deceptively sneaky. 

Palm Royale has something to say, even if it doesn’t totally commit to a specific tone. One prevailing theme dissected in these first three episodes is identity. How much of ourselves are we willing to sacrifice to achieve our dreams? 

Kristen Wiig’s Maxine manipulates and cons her way to the top, even pawning off her comatose aunt’s jewels to pay for a pricey club membership. 

Sharks in the Water 

Despite her flaws, Maxine is inexplicably endearing, and that’s due to Wiig’s nuanced, grounded, charming performance. The stakes are surprisingly high in this universe, and Maxine’s merely utilizing her resourcefulness to get by in this cutthroat society. Because of this, we inevitably cheer for her to succeed. 

Besides Wiig’s captivating performance, Palm Royale blesses us with more delightful performances from this star-studded cast. Allison Janney plays the queen bee to perfection. She’s almost too good in these sardonic, “mean girl” roles. Her back-and-forth with Wiig in “Maxine Save a Cat” is one for the books, with Dominic Burgess’s Grayman deftly playing both sides and ingratiating himself with these women. 

Additionally, Josh Lucas nails it in his portrayal of Douglas. It’s been too long since we’ve had him in something lighthearted and fun that showcases his comedic chops. 

Is It a Comedy or Drama? 

While this is a solid start for the series, it’s not without flaws. For starters, to hearken back to the aforementioned tone comment, the show can’t decide whether it’s a comedy or drama. 

Palm Royale works better when it leans into its sharp, satirical roots with a touch of biting comedy. Wiig, in particular, perfectly executes all the jokes and running gags like the pro she is. There are plenty of laugh-out-loud moments in these first three episodes. Maxine and Robert’s dynamic in “Maxine’s Like a Dellacorte” is tons of fun. 

In addition, episode three’s cocktail party arrivals at the Dellacorte mansion check off all the comedy boxes. The central Palm Beach ladies play off each other well, and watching Evelyn and Maxine clamber for power and control over the conversation is entertaining as all get-out. 

Stylized Shots 

The show experiments with artsy shots to great effect, such as Maxine floundering underwater in the pilot’s opening moments and her floating in the motel pool at episode two’s end. This symbolizes her struggle to keep her head above water in this ruthless world of well-manicured and perfectly coiffed apex predators.

Those high society sharks smell her blood in the water. 

Another great shot is the split frame in episode three when Maxine and Douglas are on the phone. It aptly showcases sexist double standards, with Douglas ogling a beautiful woman. However, he protests Robert walking shirtless around the Dellacorte mansion despite this. 

Delicious Backstabbing and Narrative Movement 

The story really takes off with episode three, “Maxine’s Like a Dellacorte.” Palm Royale finds its groove and displays its potential. Ricky Martin’s Robert and Laura Dern’s Linda are electric together, while the series unloads a handful of carefully curated plot twists to set the stage for future storytelling. 

That said, here’s hoping some of the supporting cast is more fleshed out down the line. Amber Chardae Robinson, whose name is in the opening credits, deserves more screen time as Virginia, especially as one of the only POC characters in the cast. This is especially crucial given the show’s message. 

Kaia Gerber is seemingly reduced to the pretty model with no depth who appears in one scene per episode. Here’s hoping she’s more than a plot device to facilitate Maxine’s narrative.

Of course, this reviewer would be remiss if she omitted a mention of the legendary Carol Burnett. She, too, has little screen time in the first three episodes. However, her short speaking scenes, notably at the beginning of episode three, prove she’s still a force of comedic nature. 

Losing Yourself to Belong 

Overall, Palm Royale is a lot of fun. It’s chock full of catty, manipulative verbal tennis matches, witty dialogue, and engaging performances. Who would’ve thought a tale about women in Palm Beach could be so over-the-top and high-stakes in the best way? 

Hopefully, it maintains this momentum and continues to deliver a hilarious, compelling story. 

Stray Observations: 

• Orange is Kristen Wiig’s color. See Exhibit A: “Maxine’s Like a Dellacorte.” That vibrant orange caftan complements her so well. 
• Admittedly, the painting of young Norma in her home looks an awful lot like Molly Ringwald. The show should bring her in for Norma-centric flashbacks. 
• Apple TV should release a Palm Royale companion cocktail recipe book for marketing purposes. It would sell like hotcakes. 
• Watching 90-year-old Carol Burnett scream is something I never knew I needed. 
• This show is essentially Mean Girls in the 1960s, and I’m here for it. 
• I love the opening credits. From the orchestration to the poppy visuals, they evoke hardcore Bond-esque vibes. That last frame of Maxine falling through the vortex is reminiscent of the Vertigo poster, Alfred Hitchcock’s iconic 1958 thriller. 
• Leslie Bibb is stunning. That is all. 

What did you think of these episodes of Palm Royale? Share your thoughts in the comments below!

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Palm Royale drops new episodes every Wednesday on Apple TV+. 

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