This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the work being covered here wouldn’t exist.
Only Murders in the Building returned last week for its third season. On opening night of Oliver’s big Broadway play, his lead actor is murdered…twice! Now it’s up to the gang to catch the killer. But with an entire theatrical cast and crew as potential suspects, it will take their entire sleuthing and true crime podcasting skills to solve it.
Oliver is trying his hardest to salvage what’s left of his play. After hearing honest thoughts from a critic colleague, he decides to go in a different direction and make it a full-blown musical. It’s interesting to see how his mind works as he composes songs and lyrics, and it has the flair and all out showmanship you would expect. His production reflects the hot mess of its creator.
That hot mess also includes the drama with his surviving star, Loretta. She receives an opportunity to shoot a television series, and with the future of the musical in doubt, she ponders jumping ship for a sure thing. Oliver has always been the most outlandish of the Only Murders in the Building trio, so it’s a breath of fresh air to see a serious and restrained performance from Martin Short. The character shows great maturity, albeit after a blowup, in allowing to let go of the actress and his love interest.
It’s also surprising that the number he chooses to present to the producers is the not so Oliver-y and more reserved nanny’s lullaby. The episode’s title “Grab Your Hankies” refers to Charles and Mabel’s lead on a suspect, but it could easily be a suggestion when watching Meryl Streep’s performance of the song. It’s so moving and enchanting, that the look of amazement and awe on the people in the room isn’t acting. The scene further connects the futures of Oliver and Loretta even more despite the teased break up. They complement each other so much.
The final scene is taken to another level with Kimber harmonizing and dueting with Loretta. It gives something for the talented Ashley Park to do on Only Murders in the Building. In addition it sets up the next suspect. Kimber’s inner dialog makes her out to be a jealous diva unwilling to share the spotlight. Is this another misdirect or a possible killer? It’ll be intriguing to pursue, but there’s always red herrings and it’s still early.
Unfortunately on the other end of the romantic spectrum sits Mabel and Ben Glenroy’s documentarian Tobert. Their interactions all seem very forced, and there is no spark despite the quick and testy back and forth and compromising situations. The pairing isn’t done any favors running alongside Oliver and Loretta. It’s second rate and childish in comparison. Though it’s still new and doesn’t have the multi-episode arc that the previously mentioned relationship has, so there’s still time to grow and develop.
Also, Charles is lost in the background of this episode of Only Murders in the Building. Most of the time he tries to nonchalantly manipulate his other musical castmates into giving up their hankies to determine whose hanky Glenroy died with. The comedy is supposed to be in how unsmooth he goes about it, but it feels like a weak use of Steve Martin’s talent.
Despite these slipups, “Grab Your Hankies” will be defined by the greatness of Meryl Streep in her musical number and the endearing romance that is developing between Oliver and Loretta.
New episodes of Only Murders in the Building are released Tuesdays on Hulu.
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