For Only Murders in the Building's fourth season, the whimsical investigative trio return to their usual hijinx to solve the murder of Sazz Pataki (Jane Lynch), Charles's (Steve Martin) close friend and stunt double, who was killed at the end of the previous season. Despite maintaining a healthy dose of self-effacing silliness, knockout performances from guest stars and unexpected plot twists, the latest season of Only Murders in the Building loses steam and shows signs of wear on a premise already stretched thin.
After ending Season 3 on a titillating cliffhanger (as fans of the show are surely used to by now), Season 4 begins with a tried-and-occasionally-true television trope: the gang takes Hollywood! After film executive Bev Melon (Molly Shannon) offers the trio a film adaptation deal for their podcast, Charles, Oliver (Martin Short) and Mabel (Selena Gomez) are introduced to the actors slated to play them: Eugene Levy, Zach Galifianakis and Eva Longoria, respectively. Playing funhouse versions of themselves, these characters are drawn into the investigation of Pataki's murder.
Joining these heavy-hitters as guests this season are Kumail Nanjiani and Richard Kind as suspicious tenants of the Arconia's West Tower. The moments that these comedic mainstays, along with the rest of the extensive guest cast, occupy the screen provide the most enjoyable parts of the season. Even in moments that the plot meanders, these new characters provide undeniable humour and freshness, as guest characters have often done in the past.
In previous seasons, the subplots better complemented the trio's murder investigation. However, Season 4's Hollywood treatment often seems forcefully smashed into the plot to generate a sense of novelty that will hide the fact that the show is simply repeating its premise once again. Although the Hollywood subplot allows the writers ample opportunities to mock the industry's executive pitch meetings, focus groups and lavish parties, the "Holly-weird" parody runs dry quickly.
By the season's midpoint, the plot begins feeling tired and done before, because, well, it has — three times prior. Although the jokes, new characters, misdirects and twists are laudable (if tepid) efforts at retaining audience interest, Season 4 lacks the momentum — as well as the humour — that made previous seasons so captivating to watch.
The series attempts another oft-used technique in television that breaks up the repetition with an episode compiled entirely of "found" footage from CCTV, hidden cameras, film director duo the Brothers sisters's Super 8 mm film, and quirky sidekick Howard's (Michael Cyril Creighton) documentary camera. Although on its face this seems like a distracting gimmick, it does augment the plot's climax and adds interest, demonstrating some promise.
However, the final scenes of Season 4 are so painfully underwhelming and disappointing that, despite technically being a cliffhanger, it feels more like an undeserved punishment for crossing the season's finish line. It sets up the audience for a fifth season, but fans may find it difficult to not only wait but also to care about the conclusion of this mystery.
Series creators Martin and John Hoffman won the world over with the show's unexpected cast, gripping plot and lighthearted yet whip-smart comedy. But now, four seasons in, Only Murders in the Building has reached a moment of reckoning: it's time for this sleuthing trio to consider hanging up their detective hats.