It was the unlikely match made in heaven: Two legendary comedians teaming up with a global pop superstar to create one of the most refreshing, charming shows on Hulu: Only Murders in the Building. Now, just a year after the first season had fans dissecting every clue to figure out who killed Tim Kono, the dynamic trio, Steve Martin, Martin Short, and Selena Gomez, return once again for season two of the offbeat New York murder-mystery dramedy. Though season two sometimes lacks the airtight story focus of season one, Only Murders in the Building season two is just as strong as its predecessor—a heartfelt and thoroughly original series that continues to impress and surprise, not just by leaning into the remarkable chemistry between its main trio, but also in giving plenty of love to the impressive ensemble cast.
Season 2 picks up in the wake of season one’s shock twist ending, which saw Charles (Martin), Oliver (Short), and Mabel (Gomez) seemingly arrested for the murder of crochety Arconia resident and former board president Bunny Folger (Tony winner Jayne Houdyshell). Following Bunny’s sudden murder, Charles, Oliver, and Mabel race to clear their names and find the true killer before rival big-name podcaster Cinda Canning (guest star Tina Fey) releases her own podcast condemning the trio as killers.
What’s immediately most gripping about season two, though, is without question the series’ dedication to exploring Bunny as a character, not just a victim. Season one was very much about using Tim Kono and his mysterious, smoky background to strengthen the series’ aesthetic and tonal qualities, without forming as much of a genuine bond between Tim and the viewer. We do not particularly care for Tim Kono, and the show does not attempt to make us do so. With Bunny, the woman who starts out as a token stereotypical angry old New York shrew is so quickly given depth, backstory, and development that the constant reminders of her cruel and brutal death are genuinely affecting.
This is due to two points: Jayne Houdyshell’s remarkably layered performance (for which I hope she earns some type of nod somewhere in terms of awards bodies), which breathes new dimension into Bunny, but also the writers’ willingness to so thoroughly explore a) the victim in a series sensationalizing true crime, and b) an ensemble character outside the main trio of stars. By dedicating an entire episode to Bunny, and continually peeling back new layers even after her death, via testimony about her from tenants, Bunny is the surprise star of Only Murders season two.
That’s not to say she’s the only new star, though. Only Murders boats the introduction of four key female characters: Amy Schumer as herself, Zoe Colletti, Cara Delevigne (in a borderline predatory role that feels strangely akin to certain online ramblings about the model/actress), and Shirley MacLaine. Of the four, Colletti and MacLaine function best—the former for her bringing her refreshing voice and personality to the series, and MacLaine for her inherent warmth and familiar charm.Â
Speaking of familiar charms, Only Murders in the Building, of course, sees the return of main trio Charles, Oliver, and Mabel. Last season saw Charles fall prey to a near-fatal romance with twist murderer/bassoonist/nymphomaniac Jan (Amy Ryan), and this season, the focus on his closest relationships (and struggles to let others in or form emotional attachments) takes a different but no less personal turn.
Mabel is also dealing with new people in her life: As she struggles to cope with the cops’ increasingly accurate accusation that she is the killer, she finds solace in the chic art world introduced to her by bad-girl Brit Alice (Delevigne). She also has quite a few intense scenes with returning season 1 baddie Theo Dimas (James Caverly, a former acquaintance who pushed her oldest friend off a building). Yes, I understand that these plots sound absurd. It is just as dizzyingly wonderful to watch the episodes unfold. Though it’s difficult to discern whether or not it’s intentional, there’s a strange intensity and chemistry between Theo and Mabel that makes any scenes with Theo a delight to watch.
Yet again, though, Oliver’s plotlines fall the flattest of the three, though not for lack of content. While he certainly has the comedic chops, Short’s constant reliance on jokes and his wild persona struggle to translate well to emotional scenes, leaving his plotlines feeling much hokier and banal in comparison to Charles and Mabel’s.
Still, despite a few acting weaknesses, Only Murders in the Building’s strange dedication to depicting upper west side New Yorkers as quirky Wes Anderson archetypes, combined with a healthy dose of self-awareness about the nature of the glamorization of true crime, topped off with the combination of comedy legends and a pop princess, leaves season two of Only Murders in the Building just as irreverent and addicting as ever.
(featured image: Hulu)
