For lovers of the genre, there are few things as exhilarating as a new murder mystery. Any excuse to pick up the proverbial magnifying glass is an opportunity crime-fiction aficionados will seize enthusiastically. But what happens when the opportunity to step into those typically trusty detective shoes goes horribly wrong? In a world where murder mysteries teeter between “new takes” on Agatha Christie classics and repetitive true-crime docuseries, Only Murders in the Building shines a bright new (flash)light on its genre.
Following true-crime fanatics Charles Haden-Savage (Steve Martin), Oliver Putnam (Martin Short), and Mabel Mora (Selena Gomez), Only Murders in the Building quickly proves true to its title when, within the confines of upper-class New York condominium The Arconia, resident Tim Kono (Julian Cihi) is found dead, though this tragedy is prematurely deemed a suicide. From the first episode, us audience members are teased with twists and turns around every corner, though the plot’s progression is never distracting enough to let us forget what’s right in front of us: a cast of characters as intrigued by the mystery as we are. Charles, Oliver, and Mabel unite through their love of (fictional) true-crime podcast All is Not OK in Oklahoma; later, they bring together lovers of their own podcast about Tim Kono’s death — called, you guessed it, Only Murders in the Building — to help solve the mystery. These characters believe in the power of community when it comes to solving mysteries, be that a community of neighbors in The Arconia, true-crime fanatics outside it, those listening to their podcast, or even us audience members. Through every red herring, shadow of doubt, cast, uncovered piece of evidence, and moment of progress made, our theories mingle with those of the characters, whose personal lives we are also invested in.
But where Only Murders in the Building truly shines is by withholding one tried-and-true element of the genre away from both the characters and viewers: satisfaction.
The show asks us to think that we’ve reached a triumphant conclusion multiple times, whether it’s when the mystery of Zoe Cassidy’s (Olivia Reis) death atop The Arconia is solved or when Tim Kono’s murderer is eventually brought to justice. Throughout these twists, us mystery enthusiasts are still never given the satisfaction of knowing our own super-sleuthing has paid off. In fact, the roles these amateur crime-solvers play are completely reversed by series’ end, and any sense of satisfaction is stripped from Charles, Oliver, and Mabel when another murder happens and they’re accused of perpetrating it (by the host of the podcast that initially brought them together!).
In addition, Only Murders in the Building highlights another, often overlooked element of the murder mystery genre. Shortly after he’s murdered, it is revealed that Tim Kono was well-acquainted with Mabel — though Charles and Oliver have no clue this is the case until well into the series. The revelation proves messy. While trying to solve Kono’s murder, Mabel is confronted with ghosts and other manifestations of trauma from her past. This is uncomfortable for Mabel, who often doesn’t know how to feel, and short flashbacks into the past paint an even more confusing vignette of the past that she is still trapped within. Though the urge to solve the mystery is what propels her forward, for the family and friends of real true-crime victims this may not always be the case. By addressing the very real grief that comes from deaths others look into as a fun pastime, and by doing so through one of its main characters, Only Murders in the Building demonstrates new ways murder mysteries can (and should) be told.
At other points, murder mystery tropes are warmly welcomed by the series. Like some of the Christie novels and movies that shaped the genre before it, Only Murders in the Building weaves humor and an air of magical realism into its story. Characters often break the fourth wall, murdered victims narrate their own experiences, and murder-boards are created via Broadway-style audition sequences. This aesthetic drips with whimsy, a mix of jazz and jewel-toned, extravagant set and costume design warming the elegant but cold exterior of The Arconia itself. And the characters reflect this whimsy in their own ways. Whether it’s Mabel’s art that breathes life into her empty apartment (not to mention the opening of the show itself), Oliver’s nostalgia for the glory days of directing, Charles’ reconciliation with his past and love life, or really, any character in the building, The Arconia proves not just the site of a murder, but also a stage on which its residents can thrive and exist fully.
Only Murders in the Building is not just enjoyable for its genre-appropriate whimsy, its ability to keep viewers on the edge of their seats for 10 episodes, or for the parallels it draws between its characters and us as viewers. Similar to Knives Out, Only Murders in the Building works because it succeeds on all of these fronts simultaneously whilst giving viewers a cast of characters we can become deeply invested in. The show is not just about finding out who killed Tim Kono; it’s also about making sure Mabel’s happy, that Oliver can direct again, that Charles finds a love worthy of him. We are invested in the joy of these characters just as much as we are invested in the ways we, as mystery-loving audience members, mirror them at their best and worst.
Through watching their failures, successes, and ultimate subversion of the murder mystery investigation they commit to, we are inserted into the mystery in a way not often seen or done on television. And all the while, audiences can not only share in that dogged-sleuth mentality, but also feel connected to the community that the murder-mystery genre courts. As we collectively prepare our murder-boards in anticipation of season 2, I invite all you murder-mystery lovers to grab your drink of choice and wrap yourself in the warm hug that is Only Murders in the Building. After all, when it comes to solving mysteries, there is power in numbers.
