As a devoted fan of the show, I wholeheartedly agree with the interviewee’s sentiments about the importance of grounding characters and their actions. The emotional depth and balance that the creators bring to each scene truly sets this series apart. It’s like watching real people navigate through life’s complexities, which makes it all the more captivating.
Warning: Potential Spoilers Ahead: Here’s a breakdown of the episode ‘Valley of the Dolls’ from Season 4 of ‘Only Murders in the Building’, now available for streaming on Hulu.
This week’s hilarious episode of Hulu’s “Only Murders in the Building” features a safe house in Suffolk County, Long Island filled with spooky dolls. There are also tense relationships between a brother and sister, culminating in an intense living room argument.
In the fourth installment of “Valley of the Dolls,” the main events shift from Manhattan and the Arconia dwelling, as our investigative podcast team – Charles (portrayed by Steve Martin), Oliver (Martin Short), and Mabel (Selena Gomez) – find themselves on the run. This is because they’ve come to understand in last week’s “Blow-Up” episode that they are all at risk of being murdered.
In this scenario, Charles’ boisterous sister Doreen, played by Melissa McCarthy, steps in to provide shelter for them during danger. Emotionally speaking, though, they find themselves in unsafe territory as past family disputes resurface between them. Specifically, the argument revolves around an incident from their childhood when Charles didn’t donate an organ to Doreen. In a defensive tone, Charles recalls that he had asked about the possibility of giving his spleen and was told it wasn’t necessary because spleens aren’t essential.
The hideout of the group becomes crowded rapidly, mainly due to chatty companion Howard (Michael Cyril Creighton), who reveals the location to actors from the “Only Murders” film (Eugene Levy, Zach Galifianakis, and Eva Longoria, portraying themselves) as well as movie producer Bev Melon (Molly Shannon). Additionally, Doreen’s extensive collection of dolls, described by McCarthy via email as “extremely creepy! No disrespect to those who delve into this world, but approximately 82% of them were imbued with a dark and ominous energy.
As the story unfolds, the tension escalates, reaching its peak when Doreen consumes multiple mixed drinks made with Crystal Light and vodka (commonly known as Sweaty Betty) and, upon Loretta’s arrival (thanks to Howard), Doreen’s jealousy ignites a physical altercation in the living room. “I wasn’t going to let Meryl pass me by without tossing her over the back of a couch,” McCarthy recalls. “Just for clarification, I wouldn’t want to cross paths with Meryl in a dark alley; she moves like an agile young bobcat.” The scene, McCarthy explains, required nearly an entire day to film and was akin to a captivating, dreamlike state.
Regarding how McCarthy came to portray Charles’ sister and her thoughts on how Doreen is portrayed, she states: “It’s not surprising that I enjoy a good wig and an extravagant costume, but I believe it perfectly fit Doreen. When the brilliant John Hoffman contacted me and explained the episode and the character, I agreed before he could finish his sentence.
To provide additional insights regarding the assembly of the pivotal scene, along with McCarthy and Streep’s decisions to forego stunt doubles for the intense fight sequence and his views on the series’ lasting power, “Only Murders” co-creator and executive producer John Hoffman shared all the behind-the-scenes details.
In shaping the overall mystery this season and in the past, is it all planned out before you even start shooting, or do things change along the way?
Sometimes, circumstances can shift unexpectedly as we move along. We stay adaptable, noticing new developments such as, “Wow, check out what’s unfolding over yonder.” With the eccentric characters that joined us this season, it felt like a game of who was available when. However, in essence, yes, our plan is well-structured. We work backwards to forwards, starting at the conclusion and then piecing together the puzzle of what actually transpired. This episode serves as a pause in the case until the final third, but it offers a valuable chance for reflection – something this entire season emphasizes.
I don’t know how much you pay attention to fan reactions, but there was some noise about our main trio being separated a lot last season. Was it a conscious decision to keep them together more, as they’ve been, for Season 4?
As a movie enthusiast, I must confess, the dynamic between that unforgettable trio is something I adore deeply, and I couldn’t help but yearn for more of their camaraderie. The narrative arc for Season 3, with Oliver’s relentless pursuit of his goals clashing with the demands of the case, seemed to create a rift that felt surprisingly divisive – a tension we hadn’t experienced before.
Absolutely, I understand what resonates with our audience in our series, and I strive to acknowledge and cater to those elements. Repetition isn’t appealing to me, so I prefer to evolve our content slightly with each new season, ensuring we keep things fresh and engaging.
Like going to Hollywood earlier this season, this episode is outside our usual setting in New York City and the Arconia. What does that do for the overall season and the mystery?
In this story, the characters (Charles, Oliver, and Mabel) seek refuge when they feel threatened in their own home. Initially, the goal is to find a safe haven, but ironically, it becomes the most dangerous place for them emotionally. For Charles, it forces him to face challenging questions about himself, while Oliver’s relationship with Loretta is put under intense scrutiny. As if things weren’t complicated enough, the arrival of a movie cast further complicates matters for Mabel, who is trying to make sense of the situation and find the truth. In a surprising twist, it’s the very movie cast that helps her uncover what she couldn’t figure out on her own.
Guest stars have been there since the first season, but how do you make sure the show stays the show? This week’s episode is just chock full of so many great people — but how do you keep it on track?
It was crucial to me that every character was authentic to our series, above all else. Beyond that, it’s essential to find suitable actors capable of maintaining the unique tonality of our show. They must be able to portray their roles in a way that feels genuine and relatable.
When Meryl stepped onto the scene during Season 3, I must admit I felt quite apprehensive for various reasons. Yet, I observed how seamlessly she assimilated and effortlessly became an integral part of that universe. She expressed it by saying, “It feels like I’m with the Berliner Ensemble!” This phrase made me realize she had such a positive mindset, and everyone else has come in the same way. Just like Melissa McCarthy, who spoke at length about her family being avid fans of the show, she came fully prepared to adapt to that world. I’ve rarely seen anyone immerse themselves so swiftly into a character as she did, and deliver such an impressive performance.
Speaking of Melissa, when you created Doreen, did you know it would be her or did that come later?
It came later. I don’t even know if we called her Doreen before, but she’s referenced in Season 1 in the car with Oliver and Charles on their way out to Long Island. And Charles says, “I have a sister on Long Island with all daughters with ‘D’ names.” Also, for where Charles is in this moment after Episode 6 — and feeling like everything he started with this podcast has stepped himself into a world of danger for anyone around him — the guilt around that triggers, of course, the central issue he feels and has had with his baby sister.
What did Melissa bring to the table as far as any ideas about Doreen?
I couldn’t have adored this ride more, being with her. It’s thrilling when I experience such a strong emotional bond while watching a fantastic comedic actor deliver a heartfelt and authentic performance. And let me tell you, she executes it flawlessly. We had an extensive discussion about the character. It was one of the most engaging phone conversations I’ve ever had with an actor, as they explained every detail of their performance in that particular episode. They expressed, “I don’t think I’ve had a better call or a more enlightening conversation about what I get to do.” They exclaimed, “I feel like I’m about to burst!
As a passionate cinephile, I received numerous emails and photos showcasing the transformative process. At home, she experimented with various wigs, meticulously planning her nail design, and discussing potential outfits. When she arrived on set, she brought a treasure trove of items, collaborating seamlessly with Dana Covarrubias, our costume designer, to bring this character to life instantly. The level of detail and definition was astounding; I could hardly believe my eyes.
Additionally, I once caught a glimpse of Melissa McCarthy quite unexpectedly at approximately 7:15 in the morning, years ago, at the Rose Bowl Flea Market. Since I arrived early, she was there too. She seemed particularly interested in a rather peculiar assortment of Barbie dolls. I ended up sharing with her, “I’m not sure what it implies, but this figure appears to have a fondness for dolls.” To my surprise, she responded, “I share that fondness for dolls.
So now I must jump to my doll question, since Doreen’s collection of dolls everywhere in that house was so unsettling. Who wrangled all of them, and how many did you have on set?
This year, Diana Burton has taken on the role of our property master, and boy, did she have a lot to handle! It was her task to assemble a variety of dolls for us this year, including a significant number that had to be life-sized. When I mentioned my requirements, I specified that about 100 dolls should be included in the collection, ranging from small to large, and even one special doll – the Meryl Streep figure. Out of all of them, my favorite is the one that symbolizes Oliver’s emotional state following their breakup, providing comfort when he needs it most.
Let’s talk about the Doreen-Loretta fight scene, because having watched it a few times now, they really appeared to have done their own stunts. Just seeing Melissa toss Meryl over that couch, that was clearly Meryl!
Wow, that’s quite a memory! I often share this story, even now. We gathered for dinner to break some big news, as we usually do across the season. By Episode 7, I revealed, “There’s going to be this intense confrontation.” As soon as she heard it, Meryl enthusiastically declared, “I’m betting on myself!” She was fully committed.
We arrived, and our stunt performer Chris Barnes, along with his team, had prepared a detailed plan for their action. It looked promising to us. Meryl and Melissa then stood up, saying, “Let’s give this a try and see if it’s over the top.” Afterwards, they glanced at each other and said, “It’s excellent! We have some unique suggestions.” They felt it didn’t push things nearly far enough!
They took charge of creating the dance sequences themselves, and when I witnessed their actions, I exclaimed, “This isn’t coordinated with the stunt professionals.” To which they responded, “We don’t require stunt people.” I countered, “Meryl, you’re about to be flung onto that couch by your neck! I can’t!” She replied calmly, “I’m okay. I’m fine. I love it. It’s thrilling. Can I climb on her back like this? And [to Melissa], ‘Hold me tighter!'” They engaged in the performance with an intensity that none of us anticipated. Each time they performed, I found myself averting my gaze.
How many times did they do it?
I think they did it three times through the whole thing. It is a brutal scene with all the timing of everyone coming in and down the stairs and all the angles. I will say there’s one shot of a stunt person for one quick second because it was just a shot that we needed but otherwise it is all them, all the time. That was a night for the ages on set.
When Meryl says “I was Lieutenant Holly Goodhead” to try to jog Eugene Levy’s memory about the “Moonraker” summer stock play that they’d done years before, how did anyone keep a straight face?
You’re picking out all my favorites. She says that with pride and with a straight face. It was more on Eugene Levy, really. Honestly, the idea that he has to go “The face isn’t ringing a bell” and then she’s coming back at him with that. They’re all such wild pros. It was a time.
With all this lunacy, your show can also hit tender moments so well — like when Charles and Doreen make amends. It’s a simple scene, but also so moving.
To put it simply, the pivotal scene in the series really hooks me. It needs to be authentic and relatable. Her actions, though extreme – like getting drunk – should stem from something we can all understand. The way she apologizes to him is incredibly moving. I always thought Melissa was talented, but her performance in this scene took me by surprise. With each take, it just got better and better from both actors. The show’s ability to balance tones is impressive here, and it seems to have become a unique aspect of the series. This emotional moment comes right after a major argument, making its impact all the more powerful. It feels like we can trust that things will eventually get resolved, and yet, here we are at this heart-wrenching scene.
Do we see Doreen anymore this season, or will we see her again in the future?
That is a big hope. We will. I can’t say more than that.
Oliver and Loretta get engaged in this episode. Will there be a wedding this season?
After an agreement is made, it becomes quite challenging to skip a wedding. To put it simply, that’s the reality. Kudos to Mr. Martin Short, a true genius, who came up with the clever line at the last minute during the engagement scene filming. His suggestion was, “Before I agree, is there any family wealth involved?” And nothing beats Meryl Streep when it comes to laughter. That was pure, heartfelt amusement.
Given that it’s discovered that the Westies — the Arconia residents on the West side of the building — have been taking turns cashing the deceased Dudenoff’s social security checks, is it safe to say we’ll see them in the next episode?
They’re definitely in the crosshairs. They have a lot of explaining to do, I will say that.
And, based on the actors’ case discovery, how much of past seasons will we really be diving into in the coming episodes?
These structures, enchanting as they are, hold a tale that has always captivated me about New York. Pondering their spirits, history, and hidden mysteries is an irresistible pull. Each time I approach them, I wonder, “What’s next? Where can we discover something new?” In this sense, I believe there’s a wealth of stories waiting to be shared about the people who once inhabited these buildings, their decisions, and the choices they made. And then there’s the enigma surrounding the actual architecture itself – its secrets.
Speaking of, just how many more murders in the building will there be? Do you have a vision for the longevity of the series?
Dan Fogelman, Jess Rosenthal, myself, and Steve Martin often discuss unique aspects about this project – but we also acknowledge something exceptional that has united with it. The thrill of constantly surprising ourselves is a key aspect. After surpassing the initial hurdle of how many crimes can take place in one location, we focus on the core concept: three isolated individuals in New York City bonding over a shared fascination for true crime. Our aim is to touch upon relatable aspects about life and mortality – being close to it, exploring, investigating, and subsequently reflecting. This process feels consistently rich, so we’re eager to continue as long as they allow us.
This interview has been edited and condensed.
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2024-10-09 00:48