As a long-time aficionado of both mystery shows and classic Western films, I must say that the fourth season premiere of Only Murders in the Building has truly captured my heart (and left me with a sinking feeling in the pit of my stomach). The tragic death of Sazz Pataki, Charles’s stunt double, is a testament to the darker side of showbiz, and the writers have expertly woven together elements of suspense, drama, and humor that make for a riveting watch.
Despite its ominous title, the fourth-season opener of “Only Murders in the Building” ends unexpectedly gruesome: The characters discover the charred remains of Sazz Pataki, longtime stunt double for Charles, in the Arconia’s basement. We recall that Sazz was fatally shot during season three while searching for a bottle of wine to celebrate “Death Rattle Dazzle”‘s opening night in Charles’ apartment. However, the crime scene is quickly sanitized, her body transported elsewhere to avoid suspicion. Her phone sends cryptic messages hinting at a return trip to Los Angeles for work. This murder appears carefully planned. But who was the intended victim? Given their similar strides and mannerisms, could Sazz and Charles be mistaken for twins? Was Sazz the actual target, or did Charles’s stunt double tragically step in for a case of mistaken identity?
In the silent climax of the episode, various questions swirl through Charles’s mind as he handles Sazz’s ashes and recognizes her metal joints in the incinerator. Her numerous surgeries due to stunt work were evident from the X-rays she displayed in her apartment. Mabel (Selena Gomez) and Oliver (Martin Short) are left speechless, only managing a disheartened silence. As showrunner John Hoffman explains, this is the darkest moment we’ve seen so far. “The idea was always that Sazz, being a stunt double with many joint replacements, would die in such a manner,” he says. Charles, holding what was once his friend, wrestles with the question: “Did I unintentionally cause my dear friend’s death, who only stood in for me?” A text message interrupts this moment, the killer using Sazz’s phone to torment that they’re not actually friends.
I found myself captivated from the start by Hoffman’s decision to delve deep into the complex bond between Charles and his stunt double, subtly infusing elements reminiscent of “Rosemary’s Baby” to create an eerie ambiance. This choice ignited passionate discussions among the writers about the essence of a stunt double, the kind of person who would dedicate their life to this profession, and the parts of them that remain authentic and what has been substituted. These thought-provoking conversations prompted Hoffman to momentarily set aside the comedic elements in the third act of the premiere, opting instead to incorporate scenes inspired by the opening scene of “Once Upon a Time in the West” – known for its silence and portrayal of a murder by ambush. As he explains, “It felt a bit risky. While it’s amusing to satirize a show filled with multiple murders within a single building, I always strive to anchor it firmly in the authenticity of those situations and the motivation required for our trio.” There’s also a hint, visible on Sazz’s desk at her apartment, that she was probing into something concerning her friend residing in the Arconia. “The speculations surrounding Charles and Sazz’s relationship unfold progressively throughout the season, revealing layers of depth.”
Hoffman admits that using Once Upon a Time in the West was a “beautiful kind of indulgence.” The episode also emphasizes a feeling of unease through sounds and images that recall Sergio Leone’s style. “Charles has this sense of foreboding. That whistle through the bullet hole in the window keeps growing through the episode as they’re heading off to Hollywood,” he explains. “Once we land in Los Angeles, they’re eating In-N-Out burgers and going to parties, but underneath it’s this slow growing Is something wrong here? Everything reminds him of that whistle.” Even Charles’s opening narration points to the effect of seeing yourself on film and seeing films themselves. How do they imprint on our minds and inform our own worldviews? How does that translate to memory? “I think people experience the most traumatic events like a movie. You’ll never forget walking into an emergency room when whoever you love is waiting, having experienced some terrible accident,” Hoffman says. “Those are images you will never forget. The whole idea here is replaying those images both from your mind and through a cinematic language.”
In the upcoming nine episodes, Hoffman notes, delve into themes of contemplation. Despite quickly returning to their usual banter and teasing each other over dips, moments of unexpected intensity are crucial for “Only Murders.” As he explains, “I wanted to maintain a sense of gravity for a show about murder. Since the audience is investing in these characters and they seek redemption or justice for the deceased, it’s important to remind them that we treat this subject matter seriously. There’s a balance between levity and fun, but at its heart, there’s something compelling the characters to solve the case because it’s deeply personal.”
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2024-08-28 18:54