Television series
Santa Clarita Diet
A suburban horror-comedy where a bored real-estate agent literally dies and comes back craving human flesh — and her husband decides the marriage is worth the murder spree. Drew Barrymore plays undead-and-thriving with total commitment, and the show never loses its light, gross-out charm even as the body count climbs. It's for anyone who wants their zombie story delivered with a wink and a barbecue fork.
If you liked this
Shaun of the Dead2004
The gold standard for horror-comedy that takes its gore seriously and its humans even more seriously as idiots. Same tonal tightrope: real dread, real jokes, real heart underneath the viscera.
But British pub-crawl energy instead of California suburbia — if you want domestic sitcom rhythms, this is more road movie.

iZombie2015
A newly undead woman eats brains and solves crimes while trying to keep her old life together — same appetite-as-metaphor engine, same procedural-meets-monster comfort food.
But Case-of-the-week structure means less serialized chaos, and the tone is softer, more CW than gross-out.

What We Do in the Shadows2019
Mockumentary vampires navigating mundane housemate drama and occasional murder, with the same commitment to playing monstrous behavior as deadpan domestic comedy.
But No central marriage plot — it's ensemble roommate chaos rather than a couple trying to keep their relationship alive through crisis.

The wildcard
Something you would not have found on your own.
The Stepford Wives1975
Both turn a wife's uncanny bodily change into commentary on suburban marriage — one plays it for horror-satire, the other for horror-comedy, but the fear under the joke is the same.
A chilling satire about suburban wives literally being replaced by something less human, wrapped in the same manicured-lawn setting and quiet marital dread.
But Cold, slow-burn paranoia thriller with almost no comedy — a much bleaker read on domestic transformation.

More like this (8)
Fresh2022
A dating horror-comedy that swerves hard into cannibalism with the same gleeful tonal whiplash — funny right up until it absolutely isn't.
But Single feature-length gut-punch rather than a slow-build serialized relationship; darker and less comfort-watch.

Ash vs Evil Dead2015no page yet
Splatstick horror-comedy that never apologizes for the blood, with a lead having an absolute blast being a mess. Same appetite for practical gore played for laughs.
But Broader, sillier, more demon-slaying than character study — less interested in marriage or suburban satire.
Warm Bodies2013no page yet
A zombie romance that plays undeath for tenderness and comedy rather than dread — the same idea that monstrousness doesn't have to kill intimacy.
But Teen-romance sweetness instead of adult marital sparring; much gentler, PG-level stakes.
Weeds2005
Suburban mom turns to crime to keep the family afloat, and the show mines the gap between manicured lawns and moral freefall for the same dark comic energy.
But No literal monsters — the horror here is legal and financial, not supernatural or gory.

Desperate Housewives2004
Cul-de-sac secrets, murder, and dark comedy under a glossy suburban surface — the tonal cousin without the fangs, mining domestic normalcy for the same absurdist menace.
But Soap-opera pacing and no actual horror genre elements; this is satire, not splatter.

The Addams Family1991
A family that finds the macabre delightful instead of alarming, played completely straight for maximum comedy — the same joy in being cheerfully monstrous among normal neighbors.
But Gothic camp rather than gore-comedy, and family-friendly where Santa Clarita Diet is decidedly not.

Little Shop of Horrors1986
Same comic engine — an ordinary person's life gets hijacked by a flesh-craving force they love anyway — but told through musical numbers instead of sitcom scenes, proving the premise survives a total format transplant.
A musical about a lovable schmuck feeding people to a talking plant that craves human flesh — camp, catchy, and unexpectedly gruesome once it gets going.
But Songs and puppetry instead of blood-splatter realism; if you want grounded suburban comedy, this is full theatrical fantasy.

Raw2017
Strip away the jokes and Santa Clarita Diet's core question — what do you owe someone you love who's become a monster with an appetite — is exactly what Raw asks in deadly earnest, sister-to-sister instead of husband-to-wife.
A French coming-of-age film where a young vet student develops an uncontrollable taste for human flesh — visceral, tender, and genuinely unsettling in ways American horror rarely risks.
But Subtitled, slow, and played for real body-horror dread rather than laughs — this is arthouse discomfort, not comfort viewing.

People
Cast
Writing
- Victor FrescoCreator
- Aaron BrownsteinExecutive Story Editor
- Ben SmithExecutive Story Editor
- Caitlin MearesExecutive Story Editor
- Melissa HunterExecutive Story Editor
- Simon GanzExecutive Story Editor
- Aaron BrownsteinStory Editor
- Melissa HunterStory Editor
- Simon GanzStory Editor
Production
- Lisa IannoneAssociate Producer
- Sue MutterAssociate Producer
- Chadd GindinCo-Executive Producer
- Michael A. RossCo-Executive Producer
- Aaron BrownsteinCo-Producer
- Ben SmithCo-Producer
- Caitlin MearesCo-Producer
- Sarah WalkerCo-Producer
- Simon GanzCo-Producer
- Clay GrahamConsulting Producer
- Aaron KaplanExecutive Producer
- Andy WeilExecutive Producer
- Brittney SegalExecutive Producer
- Chris MillerExecutive Producer
- Clay GrahamExecutive Producer
- Drew BarrymoreExecutive Producer
- Ember TruesdellExecutive Producer
- Jane WisemanExecutive Producer
- Michael A. RossExecutive Producer
- Ruben FleischerExecutive Producer
- Timothy OlyphantExecutive Producer
- Tracy KatskyExecutive Producer
- Victor FrescoExecutive Producer
- Ben SmithProducer
- Jimmy SimonsProducer
- Leila Cohan-MiccioProducer
- Lisa IannoneProducer
- Nancy JuvonenProducer
Recommended by
Dexter, What We Do in the Shadows, Widow's Bay, iZombie, Death Becomes Her, Dead Like Me