For the Love of Pop Culture

As a seasoned film critic who has spent decades immersed in the cinematic landscape, I can confidently say that “Only Murders in the Building” Season 4 is a masterclass in storytelling and satire, reminding us all why we fell in love with this show in the first place.

Spoilers for the season-four finale of Only Murders in the Building, “My Best Friend’s Wedding,” below.

In the distinctive style of “Only Murders in the Building,” episode eight of season four, titled “Lifeboat,” explores the perspective of a deceased character, Milton Dudenoff (Griffin Dunne), who is discovered in the Arconia’s incinerator by Charles, Mabel, and Oliver. A film professor and resident of the west wing, Dudenoff had formed strong bonds with his neighbors. This episode delves into how these relationships impacted his final months. In a touching moment, Vince Fish, one of the west wing residents played by Richard Kind, enrolls in Dudenoff’s class to combat his loneliness following his wife’s death. When his younger students criticize the classic film “It’s a Wonderful Life” as “pro-capitalist gaslighting,” Fish corrects them, emphasizing that George ends up with his family while Potter is left alone, highlighting the pain of solitude. This shared sentiment fosters a friendship between Fish and Dudenoff, which endures until Dudenoff’s demise. Later, Fish laments, “Why can’t a movie just be a movie?” However, in the world of “OMITB,” no artwork exists independently. Instead, it resides within a system that can unite or divide people, and the fourth season of “Only Murders in the Building” has seldom showcased this duality as effectively as it does here.

The show, initially a satire of the true-crime entertainment industry during its first season, critiques our propensity to indulge in sensational, overly dramatic retellings of gruesome tales. Characters like Charles, Mabel, and Oliver shared a common interest in creating a murder podcast. Season two continued this theme with an assistant from a rival podcast killing an Arconia resident for content, adding layers of meta humor. The third season targeted Broadway, specifically the absurdities of Method acting, on-stage grudges, and the rivalry between theater and television. However, subsequent seasons seemed uneven: Season two adhered to the familiar wink-and-nod murder-as-entertainment storyline, while season three often separated main characters Charles, Mabel, and Oliver, reducing viewer engagement with the core relationship. The humor and symbolism remained, as did commentary on the corruptive influence of fame and celebrity. Yet, the series seemed to drift from its original focus, which revolved around the unique bonding power of art forms like podcasts, TV shows, theater, and film.

In the fourth season, the narrative shifted to Hollywood, introducing a script about the “Only Murders” podcast that was being produced concurrently with the murder of Charles’s longtime friend and stunt double, Sazz Patacki, in his kitchen. The series, “OMITB,” delved back into its original themes by emphasizing its satire within the bonds formed by individuals involved in cinema. This is evident through the depiction of relationships between film professors and students, or stunt performers and actors. The humor and intricate references serve to highlight the absurdity of this world, such as the Brothers Sisters directing duo surreptitiously installing cameras in the Arconia Three’s apartments for authenticity in their films, and Charles’s recurring frustration when people fail to recognize him as the TV detective Brazzos. The show underscores that the industry, while capable of causing pain, also provides solace, amusement, and a sense of connection among its participants. The satire in season four was particularly potent because it allowed for an earnest exploration of the influence of pop culture and its power to foster camaraderie, a theme that “OMITB” hadn’t emphasized since its first season.

In season four, when Charles, Mabel, and Oliver no longer view everyone as suspects but rather individuals who, like them, were once lost, they gain a new perspective. Sazz’s stunt colleagues aren’t to blame for her death; instead, they are skilled professionals neglected by an industry that values fame over talent, who found solace in the bar Concussions. Initially annoying, the movie production of OMITB later serves as a catalyst for personal development among some Arconia residents, including Howard, who admits to being a loner and a sad person before landing a job as the Brothers Sisters’ documentarian (although he was disappointed not to play himself alongside Josh Gad). The documentary-style format of “Blow-Up” sheds light on the camaraderie between the Brothers Sisters, revealing their bond with their mentor Dudenoff and explaining why they followed his advice to keep filming. Most movingly, the Westies, initially dismissed by Charles, Oliver, and Mabel as oddballs and potential killers, receive a poignant collective backstory in “Lifeboat,” which shows how Dudenoff brought them all together through his support of their creative endeavors and appreciation for their artistic talents, and trusted them to fulfill his final wishes after receiving a terminal diagnosis. The season’s most emotional moment occurs as the camera circles Dudenoff’s dinner table, capturing the Westies eating together, discussing movies, and bonding as a makeshift family — a scene that perfectly encapsulates the transformation of Charles, Mabel, and Oliver’s relationship, which evolved from shared podcast interests into something deeper.

The series successfully re-establishes the poignant harmony of its initial season by recalling that any creative endeavor, regardless of how pompous or absurd it might appear, holds value if it helps someone feel a tad less isolated. This is why Marshall’s deception towards Sazz is inexcusable: As her protégé, he undermined both their bond and their shared passion for films and stunts by stealing her script to present as his own. It’s evident that Only Murders in the Building, much like other exceptional show-business satires such as 30 Rock and Girls5eva, is born from a sincere appreciation for the pop culture it parodies, and an insight into the comfort and camaraderie it provides to humanity. By weaving this affection into its narrative, OMITB allows us to comprehend why characters would go to great lengths for a podcast story, to sabotage a stage play, or to secure their own film deal – all actions that betray the creativity they profess to cherish. When the Westies empathize with Mabel by saying, “It can be tough to thrive in this city when you follow your own rhythm. You need someone to stand by you,” it highlights how art fosters connections and serves as a reminder of what initially captivated us about the show. It’s not the murders that make Only Murders in the Building, it’s the camaraderie.

2024-10-31 19:54

For the Love of Pop Culture

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