The ‘Burbs - Season 1 (2026) TV Series Review: Keke Palmer Charms in Peacock’s Modern Whodunnit That Reimagines the Suburban Nightmare for the 2020s

The 1989 film The ‘Burbs has always occupied a strange, beloved corner of cult cinema, a Joe Dante oddity that managed to turn suburban paranoia into a playground for Tom Hanks. Now, in 2026, Peacock has decided to dig up this particular cul-de-sac for an eight-episode revival. Led by creator and showrunner Celeste Hughey, who brings her experience from genre-blenders like Dead to Me and Palm Royale, the series aims to modernize the "nosy neighbor" trope for a more complicated era. Produced by a powerhouse team including Seth MacFarlane, Brian Grazer, and the show’s star, Keke Palmer, this iteration is less of a direct remake and more of a thematic evolution.

The story centers on Samira (Keke Palmer), a sharp-witted attorney currently navigating the quiet intensity of maternity leave. Alongside her husband, Rob (Jack Whitehall), a British-born book editor, she moves into Rob’s childhood home in the seemingly perfect community of Hinkley Hills. They are joined by a cast of eccentric residents, including the motherly Lynn (Julia Duffy), the gung-ho military veteran Dana (Paula Pell), and the social recluse Tod (Mark Proksch). What begins as a classic adjustment story quickly turns into a whodunnit when a mysterious figure named Gary (Justin Kirk) moves into the dilapidated Victorian house across the street. Released in its entirety on February 8, 2026, the season attempts to balance the silliness of a B-movie with a sharper look at who actually feels safe behind a white picket fence.

Narrative Arc and Pacing: A Shift from Social Thriller to Character Comedy

The initial episodes of this season feel like they are leaning heavily into the territory of a social thriller. As Samira, a Black woman, navigates a neighborhood that is mostly white and older, the atmosphere is thick with a specific kind of suburban tension. The premiere, scripted by Hughey, spends a fair amount of time establishing the breakneck speed at which this couple moved from their urban loft to a residential street. However, as the season progresses, the narrative makes a deliberate pivot away from being a mere retread of a racial nightmare and instead focuses on a darker, more nuanced character comedy.

The overarching mystery involves a cold case: the disappearance of Alison Grant, a girl who lived in the Victorian house when Rob was a teenager. This provides a necessary spine for the eight episodes, preventing the show from becoming a series of unrelated sketches. While the show avoids a mid-season slump by introducing consistent layers of suspicion, the pacing in the early chapters can feel weighed down by heavy exposition. The story structure relies on Samira’s growing obsession with her neighbors’ secrets to drive the plot, but the conclusion of the season has sparked some debate. The finale seems more interested in planting seeds for a second year of storytelling than in providing a fully tidy resolution to the central murder mystery, which might leave some viewers feeling like the reveal was handled with too much haste.

Character Evolution and Performances: A Masterclass in Ensemble Chemistry

If there is a primary reason to stick with this show, it is the performance of Keke Palmer. She brings a grounded, charismatic energy to Samira, managing to portray both the professional tenacity of a lawyer and the relatable boredom of a new mother. Palmer’s ability to communicate frustration through subtle expressions makes her an excellent anchor for the more surreal elements of the plot. Jack Whitehall, as Rob, provides a solid counterpoint; while he starts as a somewhat generic supportive spouse, he becomes much more interesting once the lens of suspicion turns toward his own childhood history in Hinkley Hills.

The supporting cast, however, is where the show truly finds its comedic heartbeat. Paula Pell and Mark Proksch are a formidable duo, playing characters that lean into their established comedic strengths. Pell’s Dana is loud and enthusiastic, while Proksch’s Tod is a taciturn oddball whose mere presence on a recumbent bike is enough to elicit a laugh. Julia Duffy also delivers some of her best work in years as Lynn, a widow who serves as a sort of "Dr. Watson" to Samira’s amateur detective. The chemistry between these four feels lived-in and authentic, making the "Scooby Gang" dynamic of their investigation the most enjoyable part of the series.

Direction and Production Value: The Haunted Heart of Hinkley Hills

Visually, the series maintains the aesthetic of a high-quality network television production. Filmed on the same Universal Studios lot that hosted the original 1989 film and Desperate Housewives, the setting feels appropriately familiar yet slightly off-kilter. The standout piece of production design is the Victorian house across from Samira’s home. It is a sprawling, decaying structure that looks like a remnant from a different era, intentionally clashing with the midcentury modern homes surrounding it.

While the cinematography is not particularly groundbreaking, the direction is consistent, successfully capturing the "campy-creepy" vibe required for a black comedy. The show uses its environment to emphasize Samira’s feeling of being an outsider; the manicured lawns and picturesque streets often feel like a stage set for the secrets hiding just out of sight. The use of Ring cameras and modern surveillance technology also adds a contemporary layer to the world-building, showing how paranoia has evolved from peering through curtains to checking smartphone notifications.

Trailer The ‘Burbs - Season 1 (2026) TV Series

Soundscape and Atmosphere: From Microaggressions to "Disturbia"

The sound design and music choices in The ‘Burbs are notably effective in establishing its specific mood. The show’s music department deserves credit for a soundtrack that feels both playful and ominous. A highlight for many will be the clever placement of needle drops, such as the use of "Disturbia," which fits perfectly within the show’s themes of suburban unrest. These musical choices often turn scenes into something of a sing-along, adding to the bingeable, "popcorn" quality of the series.

Beyond the licensed music, the show uses sound to highlight the social discomfort of Samira’s new life. For instance, the use of specific songs or comments regarding Samira’s music choices serves as a backdrop for the racial microaggressions she faces from her older neighbors. This atmospheric layering helps ground the comedy in a reality that feels relevant, ensuring that the paranoia isn't just about ghosts or murderers, but about the very real anxieties of isolation and loss of identity in a new environment.

Strengths and Weaknesses

The series is a mixed bag of sharp observations and occasional stumbles, but its high points generally outweigh the lows.

• Exceptional Lead: Keke Palmer’s charismatic and grounded performance keeps the series afloat even when the writing begins to wobble.
• Strong Ensemble: The comedic pairing of Paula Pell and Mark Proksch provides consistent humor through character-driven eccentricity.
• Modern Thematic Update: By centering a Black woman in a historically white suburban space, the show offers a fresh and relevant perspective on safety and belonging.
• Effective Mystery Hooks: The Alison Grant cold case and the layers of neighborhood secrets provide enough intrigue to encourage a full binge-watch.
• Disappointing Finale: The ending feels rushed and far too preoccupied with setting up a potential second season rather than concluding the current one.
• Uneven Comedy: Despite a cast of legendary funny people, the show occasionally lacks consistent laugh-out-loud moments, sometimes settling for a milder, "sensible chuckle".
• Exposition Bloat: The early episodes are heavily packed with setup and character introductions that can slow down the narrative momentum.

Final Verdict: A Neighborhood Worth Visiting (With Reservations)

Rating: 3.5/5 stars

Overall, this version of The ‘Burbs is a successful, if slightly flawed, reimagining of a cult classic. It manages to honor the spirit of the original while carving out its own identity through a more modern lens. The show understands that true paranoia is often more interesting when it is rooted in character flaws and social anxieties rather than just external threats. While it may not reach the heights of the genre’s best entries, it provides an entertaining, twisty ride that is well-suited for the streaming era.

Fans of dark comedies and domestic thrillers like Only Murders in the Building or Dead to Me will likely find a lot to love in the chemistry of this cast and the amateur sleuthing. It is a perfect choice for those who enjoy a quick, eight-episode binge that doesn’t take itself too seriously. However, hardcore purists of the 1989 film might find the lack of direct parallels frustrating, and viewers who demand a perfectly airtight mystery resolution may walk away from the finale feeling unsatisfied. Despite these hiccups, the sheer talent on screen and the unique voice of the series make it a journey worth taking.