Only Murders in the Building Season 4 Review: Less Cozy

Yes, someone uses the word “cozy” in the fourth season of “Only Murders in the Building.” I won’t spoil the why, who, or how of it, but suffice it to say, they’re describing seasons past. It makes sense because, while the show remains as comically meta as always, this is the least cozy season to date.

There has always been an undercurrent of sadness in Hulu’s Emmy-winning show. It is, after all, about three isolated New Yorkers. Mabel (Selena Gomez) is haunted by trauma. Oliver (Martin Short) may have the sunniest demeanor, but he uses it to hide the ghosts of his failure. And former TV star Charles (Steve Martin) is positively aching with loneliness, unable to connect with anyone.

Or at least, that’s how we met them way back in 2021. Now that they’ve solidified their friendship, solved three murders, and become local stars, our favorite Arconia residents should feel less sad. But this season’s murder is different. Sazz Pataki (Jane Lynch, perfectly cast), shot in the season finale last year, was perhaps Charles’ only true friend outside the trio. She was certainly his oldest comrade, having worked with him all those years ago as his stunt double on the fictional “Brazzos.” He truly grieves her and the emotions are only heightened as it’s unclear whether the murderer was trying to kill her or Charles.

Yes, Mabel knew season one’s victim, Tim Kono (Julian Cihi), but they’d been out of touch for years. Bunny (Jayne Houdyshell) and Ben Glenroy (Paul Rudd) were difficult, ancillary characters. Not so with Sazz. She was beloved, gently ribbing Charles while nudging him to be better (and hilariously stealing his love interests). So her death hits differently. And while sadness seems to occupy the corner of most frames of “Only Murders in the Building’s” fourth season, it’s still a comedy with plenty of funny moments and all the elements that fans of the show have come to expect.

For its star-packed fourth outing, “Only Murders in the Building” blends the celebrities-playing-a-heightened-version-of-themselves with the ever-precious play-within-a-play, and the result is pretty fun. Hollywood has come to the Arconia, wanting to adapt the podcast for the silver screen with Eva Longoria, Zack Galifianakis, and Eugene Levy as the amateur sleuths (and Molly Shannon producing). Longoria is particularly having fun with it, although they all delight. The result of this combination of elements is more time with the central three, which works nicely, while still allowing the show to have plenty of self-knowing jokes.

There are other guest stars (including Meryl Streep, reprising her role as Loretta, Oliver’s talented girlfriend) to enjoy. And the mystery remains as unsolvable and compelling as always. With the first seven episodes available to critics, I can only say that it’s entirely unclear who killed Sazz and to even attempt a guess would be a folly.

And, of course, the cross-generational jokes are back, made even more poignant by the lack of age divide in their on-screen doubles (Levy, Galifianakis, and Longoria are just 28 years apart while our central three span nearly five decades). Does Oliver know how to use his iPad? Is Mabel a Millennial cliche? Does Charles’ showbiz knowledge translate into the Hollywood of today? You’ll have to watch to find out.

And my guess is that you will. “Only Murders in the Building” has been a runaway success for Hulu, its most-watched comedy to date with Emmy nominations up the wazoo. Fans of the show, and they are legion, will certainly enjoy it. Unlike some series that get more outlandish as they go on, “Only Murders in the Building” has managed to up its stakes without feeling false. Season four has a human scale that is compelling if less escapist.

Now, if you didn’t like the first season, I wouldn’t tune in now. Either you like cozy murder, to whatever degree “Only Murders in the Building” is offering it, or you don’t. But I still want to know who killed Sazz, if Oliver finds happiness, if Charles can break out of his shell, and if Mabel can find purpose. It’s okay, maybe even good, if the journey isn’t quite as cozy. It’s still warm enough.

Seven episodes screened for review. Premieres on Hulu on August 27th.