When Only Murders in the Building began production during the 2020 lockdown, its premise—three strangers solving a murder in their apartment building—seemed suited for a single, contained story. Five years later, the Hulu show is an Emmy favorite, consistently earning nominations for Outstanding Comedy Series and for Martin Short’s performance as the flamboyant Oliver Putnam.
The series’ appeal stems from multiple factors, beginning with the unique chemistry of its lead trio: Short, his long-time collaborator Steve Martin, and Selena Gomez. The show also mines a rich vein of irony, starting with its first-season satire of the true-crime podcast boom. This meta-narrative evolved into a storyline where the sleuths secured a Hollywood deal and met their on-screen doppelgangers, played by Eugene Levy, Zach Galifianakis, and Eva Longoria.
Producer and head writer John Hoffmann notes that this self-referential quality has become a cornerstone of the series. “The ‘meta’ nature of it seems to be one constant theme,” he says. “I’m surprised that it’s able to hold so much. I still can’t believe the way in which these three can find their ways comedically and dramatically while also holding all of that meta ‘wink-wink’ every now and then. That’s really the key.”
For the upcoming fifth season, Hoffmann reveals a shift in focus. “What I think we’re doing in Season 5 is very different,” he explains. “We’re going straight into a New York story that’s happening very much currently. We’re pulling from the headlines to ask very specific questions about the balance of power in New York and who has that power.” He adds that the plot will explore “the shifting power dynamics of the country” by examining the city’s colorful history of organized crime. “What do the old mob and the new mob look like, and how do they sit on either side, with our trio in the center of it?”
Short, who modestly credits the writers for creating his character, admits he didn’t anticipate the show’s success. “A fifth season in streaming is very unusual these days,” he says. “Steve and I are from the movies also, so we were thinking, ‘Oh, maybe it’s just going to be one great season.’ You’re so invested in where you are right now, it’s hard to get a perspective. But certainly, objectively, I can look at it and say, ‘This is our fifth season—that’s amazing.’”
He realized the show was a hit after reviewing early cuts as an executive producer. “I got a sense of, ‘Boy, actually, this is fun. I like these characters, and I like their interaction.’”
The development of Oliver Putnam began with the script. “It starts, obviously, in the description and what the character’s saying,” Short recalls. He points to an early scene where Oliver yells at a driver, “Did you not see this coat?” From there, he built the character’s persona. “I’ve always been drawn toward any character that has a bravado that’s clearly masking insecurity,” he says, citing Don Knotts on The Andy Griffith Show as an inspiration. “With Oliver, when he tells those stories about all these celebrities he knows, are they really true?”
While the show is tightly scripted, Short occasionally adds his own flair with “freedom takes,” where he improvises after completing the scripted scenes. However, he prefers to leave the show’s overall direction to the writers. “I don’t want it,” he says of having more creative input. “Once you start to feel, ‘No, we’re in safe hands,’ you let that go. It’s more time to learn lines.” This trust extends to the show’s acclaimed guest stars, a decision he, Martin, and Gomez all have a say in. “If they suggested someone that I either personally hated or professionally hated, that vote would go a long way.”
The series has introduced Short to a new generation of viewers, adding to a diverse fanbase from his long career. “I can almost tell as they’re approaching me what they’re going to want to talk about,” he jokes. “If it’s a 45-year-old guy, it’s ¡Three Amigos! If it’s a 40-year-old woman, it’s Father of the Bride. If it’s a 28-year-old who looks like he’s on meth, it’s Clifford.” He notes that Clifford, panned upon its 1994 release, has since found a passionate cult following. “Sometimes, like a lovely wine, a film needs to age a little bit,” he laughs.
Beyond Only Murders, Short continues performing live shows with Steve Martin, a practice he finds essential for staying creatively engaged. “I’m Canadian. In the ’70s, there was no star system, so you just did the three mediums [TV, film, stand-up] always at once,” he reflects. “The much bigger concern is, how do you, after many, many years, still feel motivated and intrigued and—‘Ooh, it’s a new mountain!’—invigorated by it?”