Few things have managed to become as iconic as a murder mystery – so remembered in both standard storytelling devices and audience interest. Partly because suspense drama requires a genre in its own right, television “whodunnit” adopts predefined features, including the sensibilities required to write such a program.
Having said so much, I haven’t stopped yet. matlock, Universal PIand law and order No longer a product of their time – time has not stopped for them.
Murder mystery TV shows have changed a lot over the decades, giving rise to several subgenres of the week mystery, such as police procedurals, heartwarming mysteries, and “monster mysteries.” In addition to changes made to cater to 21st century audiences, such as murder she wrote Give way to shows like this monkwhich in turn gave way to shows that strayed far from the usual tropes to create something different.
These series now share rooms with cinematic crime thrillers, where the stakes are sometimes higher than believable (cough, cough, shylock), or the villains would get five full seasons instead of getting bogged down in plot jumps (breaking Bad). If you don’t count some of the experiments on streaming networks, traditional murder mysteries, camps, etc., seem to be almost exclusively in reruns these days.
But such an experiment could very well bring back the old-school murder mystery in a way that would make Angela Lansbury proud – while drawing on lessons from contemporary TV storytelling.
Enter Only murders in the buildinga modern love letter to the murder mystery genre.
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what makes Only murders in the building Does it fit the genre?
The current generation of crime dramas or thrillers have taken cheesiness to extremes, raising the stakes so high with either a Byronic hero or an all-out villain protagonist that the audience is screaming on the edge of their seats to find out what might happen next. Then, mute the colors or filter them with blue, and you’ve got yourself a hit crime TV show.
Until the 1990s, murder mysteries took a different tack. These shows focus on general recipes of well-known tropes, such as red herrings that bring surprises to the story. At the same time, the protagonists who solve these mysteries also provide some potential suspense, as they could be the next target – or get in the way when the killer thinks they’re two steps ahead.
Anyone who watched this week’s mystery episode will recognize these elements of melodrama.
But another thing the genre has in common is that these shows tend to stray from the seriousness of film and television. This exemplary suspense drama – procedural, cozy or otherwise – doesn’t take itself too seriously. It doesn’t necessarily trivialize murder. But with solid character humor and believable distractions to guide the viewer’s gaze. Ultimately, this is a detective novel—full of scandal, full of misdirection, and deadly fun.
This spirit is in Only murders in the buildingMasterfully written by John Hoffman and Steve Martin, it’s packed with tension, suspense and intrigue – all aided by a clear self-awareness of the “rules” of the genre. To a large extent that’s the case scream or Teaching staff Iconic for his take on the horror genre, as well Only murders in the building Critical references and tongue-in-cheek jokes about the detective fiction and true crime entertainment genres.
In fact, the show begins with three mutually obsessed true-crime junkies, whose obsession spirals into an inappropriate amateur investigation when they discover suspicious deaths in their apartment complex.
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what makes Only murders in the building Special?
But make no mistake, while the show delivers suspense in the manner of an old murder mystery show, it’s also a dark comedy. befitting a show like this monkwhich aims to celebrate the protagonist’s personality through character humor.
The characters are interesting
only murder Selena Gomez’s deadpan performance as Mabel Mora pairs well with world-weary Charles-Haden Savage and penniless retired Broadway director Ollie Combined with Oliver Putnam, played by veteran comedians and old friends Steve Martin and Martin Short, respectively .
These actors work together to create three-dimensional discomfort and hilarity amid all the expected melodrama of the genre. Doing so allows the show to bypass the modern trend of targeting a single comedy audience with each show—not focusing solely on dry humor, cringe humor, or physical humor, but instead choosing varieties that match the expectations of anyone who has heard real comedy. or watched murder she wrote.
The multi-talented Steve Martin brought his actor’s sensibilities to the table when writing with John Hoffman, making it easier not only to harness the comedic talents of the three main actors; It’s easier to tap into the comedic talents of the many celebrity guest stars who make cameo appearances in each new season.
Update on this week’s murder story
Hoffman and Martin keep the story moving in episodic fashion with new conflicts, new characters, and a knack for long-form storytelling. Shining examples of this technique include S1E7 The Boy from 6B, where a major shift allowed the audience to see the antics of the main cast from the perspective of a deaf character.
The change was just one of many, introduced in a small way, that created the opportunity for a new melodramatic veneer to the black comedy’s ongoing narrative – for just one episode. Being willing to make such changes to the story bit by bit helps make only murder It feels like an old-school Murder of the Week while maintaining a watchable series structure.
Hoffman and Martin have a keen knowledge of the genre being evoked, and despite the jokes, interest is piqued at every turn, making it clear that this is a film that will appeal to true crime fans, comedy fans, and detective fans alike. A show that tickles people.
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Every guest star, every trope, every joke, every new season is used clearly and intentionally without any cliche gimmicks. Only murders in the building. This is no accident as is the case with any show that lasts five seasons, and it still manages to elicit genuine laughs in viewers in a way that would make modern sitcoms jealous.
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