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There has always been a divide amongst generations. Different ideologies, upbringings and cultures shape who we are as people and as such, what type of media each generation consumes differs vastly.
Hulu’s “Only Murders in the Building” is the bridge that unites viewers, young and old. The murder-mystery-infused comedy stars Selena Gomez, Steve Martin and Martin Short as New Yorkers, each on the brink of some sort of life struggle, all living in the same affluent apartment building.
Mabel Mora (Gomez) is in her late twenties, still trying to find her place in the world, while living in her aunt’s apartment.
Charles-Haden Savage (Martin) is an actor who struggles to find success after his detective role on the fictional, hit show “Brazzos” from years past.
Oliver Putnam (Short) is a disgraced Broadway director who hasn’t had a decent show in years.
What brings these characters together, however, isn’t their shared experience in each of their transitional periods of life, but their love of the same true-crime podcast.
It is a fitting allegory for real life. The show captures that same type of intrigue as the fictional podcast, and soon after the trio meets in an Upper West Side restaurant, an actual murder occurs in their building.
The three strangers quickly become obsessed with trying to find out what really happened by starting their own true-crime podcast.
“Only Murders in the Building’s” latest season is the show’s most ambitious arc yet, surrounding Oliver Putnam’s play, “Death Rattle,” a murder-mystery in itself. In which, the star of the show, Ben Glenroy (Paul Rudd) is murdered.
He is an arrogant, Hollywood star who makes a lot of enemies among the cast, making this a perfect setup for a murder-mystery and another great season.
I think the success of this show lies largely in the subtle breadcrumbs it leaves for the audience. Some will lead to nothing, but others may reveal the killer altogether. Analyzing each character and reading their faces for any sort of clue can even become that of a game for attentive viewers.
Though nothing in the show is done without a purpose, each episode builds toward a greater moment, with a big reveal promised when least expected.
The show is smart by luring the audience into a false sense of security with jokes and other antics. The twists and turns of every episode are intricately woven into the more micro-narratives taking place throughout the show.
One of these narratives is Oliver’s second chance at a big Broadway hit with “Death Rattle: Dazzle.” It reworks the previous play into a musical. With songs written by Benj Pasek and Justin Paul (most known for work on “La La Land”), it breathes a fresh aspect of sound into the show and it turns into what could be a respectable Broadway musical.
The true defining traits of this season are the interpersonal relationships of Mabel, Charles and Oliver. Up until now, they have been such a tight-knit group, so the moments they begin to drift apart this season make you grow to miss their friendship. The moments when they are all together, however, are when the show is at its best.
“Only Murders in the Building” does not reinvent the wheel, though what it does do is portray this unlikely trio in a vastly original and satisfying way. Younger audiences can laugh at Charles and Oliver’s sheer inability to understand slang or even operate a smartphone. Older audiences can marvel at the representation of two lead actors in a major show over 70.
While not perfect, the show’s comforting, wholesome nature never stoops to corniness. It creates a unique sense of charm with its very human array of characters. Everyone, young or old, loves a good murder-mystery, and “Only Murders in the Building” is just that.
