The ensemble is also overstuffed this season: Michael Cyril Creighton is elevated to the main cast, but his cat-loving character Howard Morris gains no additional depths beyond an enthusiasm for The Great White Way. The situation isn’t improved by seemingly dead-end plots like famous podcaster Cinda Canning (Tina Fey) offering Mabel a job or the jettisoning of major character growth from previous seasons like Charles’ reconciliation with his daughter-figure Lucy (Zoe Colletti). Season 3 seems to mostly be focused on a parody of the theater world (complete with original songs from the La La Land duo of Benj Pasek and Justin Paul), which has its highs but leaves Mabel highly disconnected from the rest of the cast. Past seasons skillfully blended the mystery with a powerful theme, with season 1 focused on loneliness while season 2 delved into issues of legacy and the complexity of family bonds. But they don’t get on the mic until well into season 3 and until then the characters leave some of the most obvious evidence and suspects unexamined while worrying over clear red herrings. Only Murders in the Building’s meta structure previously ensured that the plot kept moving forward, since the characters always needed new material for their podcast in the form of new clues in the mystery they were solving.
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