Only Murders in the Building isn’t just another whodunit set in a posh New York apartment complex; it’s a reminder of how inventive television can be when smart writing, fearless casting, and genuine heart come together. Created by Steve Martin and John Hoffman, the series proves that strong scripts still matter—and that audiences will happily show up when storytellers trust them to keep up.

At its core, the show follows three strangers who form an unlikely bond through a shared obsession with true-crime podcasts. Charles-Haden Savage, Oliver Putnam, and Mabel Mora—played with pitch-perfect charm by Steve Martin, Martin Short, and Selena Gomez—begin as neighbours with little in common beyond their fascination with murder. Five seasons later, they’ve become one of television’s most endearing trios with a podcast of their own. The show’s popularity isn’t accidental; it’s built on razor-sharp writing, impeccable comic timing, surprising emotional beats, and twists that rarely feel cheap.

The plot

The fifth season of Only Murders in the Building once again revolves around a murder within the Arconia, raising the stakes in a familiar yet compelling fashion. This time, the true-crime podcast trio investigates the death of Lester (Teddy Coluca), the building’s beloved doorman, who is killed during Oliver’s wedding celebrations. With Oliver’s wife (Meryl Streep) away for work and Charles and Mabel doing their best to console him, the trio soon realises that there is far more to Lester’s murder than meets the eye.

As always, the case is anything but straightforward. In their attempt to solve the crime—and push their podcast back into the Top 10—everything goes awry. The trio uncovers secrets buried beneath the Arconia, quite literally. Charles finds himself opening up to love again with the widow of the man Lester was last seen speaking to. Oliver learns, through Lester’s widow, that the deceased wasn’t particularly fond of him. Meanwhile, Mabel unexpectedly runs into a former friend who has since become a global pop sensation.

One bizarre revelation leads to another. A severed finger discovered in Oliver’s food sends them to a hidden casino, where they encounter not one but three suspects potentially linked to the strange happenings around the Arconia. Add the looming threat of selling the building itself, and the chaos multiplies. If that weren’t enough, season five also boasts an impressive guest list, including Téa Leoni, Bobby Cannavale, Renée Zellweger, Christoph Waltz, and Logan Lerman—all deeply connected to the season’s central mystery.

The good

A major part of Only Murders in the Building’s enduring charm lies in how Steve Martin and Martin Short fully embrace their age. They don’t try to appear younger, cooler, or more relevant than they are. Instead, they bumble through modern life with the confidence of men who still feel like it’s the 1980s. From typing “http” into a browser to taking a stand against the revolutionary robot meant to replace Lester, they deliver exactly what longtime fans expect—and more.

Selena Gomez’s Mabel serves as both their anchor and their foil. Often treated like a child by the two men, she is clearly the most grounded and emotionally perceptive of the trio. Gomez matches Martin and Short’s energy beautifully, keeping the show rooted in the present while allowing the dynamic duo to roam freely in their nostalgic bubble.

That said, none of them alone is the star of the show—their collective chemistry is. From their accidental meeting in the Arconia elevator in season one to stumbling upon yet another murder in season five, the trio has consistently entertained audiences with their antics, all while inching closer to the truth. Had Oliver been even slightly more mature, or Charles and Mabel had different personalities, this trio might never have worked—and the show would have lost its magic.

Like its predecessors, season five also leans heavily on its star-studded guest appearances. If earlier seasons featured memorable turns from Matthew Broderick, Paul Rudd, Tina Fey, Meryl Streep, and Sting, the latest installment ups the ante. Téa Leoni shines as Charles’s love interest, Bobby Cannavale brings menace as one of the antagonists, while Renée Zellweger and Christoph Waltz play wealthy figures determined to make the Arconia part of their lives. These aren’t blink-and-you-miss-it cameos; they are thoughtfully integrated performances that add depth, humour, and emotional weight. The result is a show that feels both nostalgic and refreshingly modern.

The bad

Mention Only Murders in the Building, and the first thing that comes to mind is the podcast that made the trio famous. Unfortunately, the biggest drawback of season five is the sidelining of that very podcast. At times, it feels as though the show’s central gimmick has been written out of the narrative, largely due to the billionaire trio who dominate the suspect list. It’s a strange choice for a series built around amateur sleuthing and storytelling.

Speaking of billionaires, Logan Lerman’s character emerges as the weakest link of the season. He struggles to match the gravitas of his two-time Oscar-winning co-stars, Zellweger and Waltz, and his chemistry with Mabel feels off. This disconnect makes it difficult to fully invest in him as a compelling antagonist.

The potential sale of the Arconia would have worked better as a one-episode twist, but stretching it across an entire season proves to be a misstep. The same goes for the subplot involving Mayor Tillman (Keegan-Michael Key), which drags the narrative unnecessarily. Whether it’s lazy writing or box-ticking, the introduction of Robot LESTR—despite being voiced by Paul Rudd—feels more aggravating than amusing. In a building already equipped with security cameras, relying on a roaming robot that records everything could have been handled far more creatively.

Some characters from previous seasons also return this season, but prove irrelevant to the story. The writers must take note of that and apply it in the next season, where, in their attempt to go big, they will have to do better and not crowd the screen with characters from the first five seasons. Either provide the characters with something related to the mystery or keep them away for good. Once the viewer gets bored, it’s difficult to win them back, and Only Murders still has time to avoid that path.

The verdict

The greatest strength of Only Murders remains its ability to connect with viewers—a quality it has maintained since its debut. Season five may not be the series at its absolute best, but it is still better than much of what currently dominates television screens. While many shows rely on shock value or trend-chasing to stay relevant, Only Murders continues to take its mystery seriously while honouring every character who passes through the Arconia.

If critics argue that the fifth season lacks the chutzpah of earlier installments, it’s worth remembering that almost every great television show experiences a season that could have been sharper. Yes, the mystery occasionally takes a back seat to the parade of guest stars, but that spectacle helps maintain momentum. More importantly, the season’s ending is powerful enough to send chills down the spine, suggesting—for the first time—that the Arconia may not be the only place where mysteries are solved.

As the show moves toward its sixth season, now is the perfect time to catch up. Revisiting—or discovering—the earlier seasons only deepens appreciation for what Only Murders in the Building does so well. It’s smart without being smug, funny without being shallow, and heartfelt without ever losing sight of its central mystery. And in today’s television landscape, that combination is rarer than it should be.

All facts and information are the sole responsibility of the writer

Omair Alavi is a freelance contributor who writes about film, television, and popular culture.