‘Only murders in building 3’: anything can happen on Broadway (if Meryl Streep arrives)

The series’ third (irresistible) season, starring Steve Martin, Martin Short and Selena Gomez, welcomes luxurious new additions. Which turn an ordinary detective story into a tribute to all actors, from stars to extras. The best response to ongoing strikes

Meryl Streep, as you know, is a luxurious addition to the already amazing cast of the series’ third season. Only murders in the building (August 8 on Disney+), and that’s news. And yet it is not so. The strength and prestige of the series is not given by the Great Actress. It’s already a very strong and polished own series – not many of us spin it, it’s actually one of the most beautiful things on TV (or whatever it’s called today) – which convinces the Great Actress to be a part of it.

Streep comes in and from the very first scenes lays out all his pattern of mischief and self-quoting (albeit irresistible). “I tried a Scottish accent: it’s my process“, – says Loretta during the rehearsals of the play, who has dreamed of acting since childhood, but has remained one of those actors who are always tried and never chosen – on these (arch)typical figures of American cinema and theater, and not on I’ll just be right back.

At one point, Meryl even mentions “adorable little pigswhich cannot help but remind (at least to me) a well-known joke by Dino De Laurentiis, at that time the producer King Kongwhen the then-unknown Streep auditioned, “Why did you send me that pig? This woman is ugly!” (The role then went to Jessica Lange.)

Meryl/Loretta is chosen by Oliver, i.e. Martin Short, a director who is finally returning to Broadway with a great show: Death rattle (literally “death rattle”, it is the murder weapon and the child playing with it is the only witness), thriller a la Agatha Christie loves all the “Manhattan Murder Mysteries” that two seasons refer to Only kills previous. And yellow, mirror-like, now and then appears even in “reality”: another magnificent novelty, Paul Rudd, in the role of Ben Glenroy, a mainstream movie star who made his debut in the theater and has already appeared (die immediately) at the end of the second season, should die on stage.

But outside detective who again collects the trio podcasters tired of the “damned stories” – along with Oliver/Martin Short we find Charles/Steve Martin and Mabel/Selena Gomez – the real protagonist of this season 3 is, in fact, Broadway.

There is Meryl/Loretta, who, as I said, represents all the actresses and all the actors who have never made people say, “Where have you been until now?” not a single director (it will happen to her at the age of seventy); there’s a fan hunter who collects all the memorabilia of his favorite actor (and who will obviously be the prime suspect in the murder in question); there’s a squatter who lives quietly in an old theater in Midtown because he can’t pay the rent; there is “the first rule of the theatre: don’t feed Hugh Jackman after midnight”; there are alleged ghosts of the stage (or dressing room); there is a cameo from Matthew Broderick and Mel Brooks (insert heart emoji); Here “white room“, which is the place where any actor runs the risk of being when he is too busy with his role – a place where anything can happen and from which you come back transformed, for better or worse (right, Steve Martin?).

Death rattlefor reasons I am not talking about here, will become Rattle Dazzlethose. musical (quote in the title, I say this for non-fanatic, from Chicago). And the musical turning point of the entire series (could Meryl be here and not sing after all?) begins with a Bob Fosse-style number, starring Selena Gomez and even Steve Martin in a top hat and tails. Even harder than finding the killer will be finding the song.”show stopper“, this is a song that “stops” the audience, Memory From cats, Maybe this time From Cabareta hit that will even convince Debbie from Duluth to pay for the bus and front row ticket first, and then go to New York for the show – as the producer’s brilliant monologue, played by Linda Emond, teaches.

This third season is a tribute to the actors and their “skill”, as well as disappointments, suffering, revenge, spotlight suddenly into white rooms, the door of which opens every now and then, and then everything changes. A tribute to actors big and small, idolized and forgotten, stars and extras who, at the time of strike in this category, seem to be the only real answer (produced probably unintentionally and definitely in unsuspecting times by a giant like Hulu/Disney) to those who think that in the future Meryl Streep, created with the help of artificial intelligence, will do the same.