S2 E4: Here's Looking at You...

Summary

Only Murders in the Building Official Podcast
Episode: S2 E4: Here's Looking at You...
Host: Elizabeth Keener & Kevin Lan | Featuring: Valentina Garza, Rachel Berger, Zoe Coletti, John Hoffman
Release Date: July 13, 2022

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Episode Overview

This episode of the Only Murders in the Building Official Podcast dives deep into Season 2, Episode 4 of the series, "Here's Looking at You." Hosts Elizabeth Keener and Kevin Lan are joined by episode writers Valentina Garza and Rachel Berger, actor Zoe Coletti (Lucy), and showrunner John Hoffman. Through interviews, scene breakdowns, and behind-the-scenes insights, the podcast celebrates the show’s blend of mystery, comedy, and heart—this time centering on the arrival of Lucy, the ever-complicated web of suspects, the iconic elevator confrontation, and the secrets hidden within the Arconia’s walls.

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Key Discussion Points

1. Episode Recap & Main Developments (01:38 – 03:14)

• Lucy’s Introduction: Lucy surprises Charles on set and becomes a major part of the episode’s mystery energy.
• Teddy & Theo Demas Return: Teddy is out of prison with an ankle bracelet; an emotional scene in the elevator with Oliver foreshadows new threats.
• The Bloody Knife: Lucy produces the apparent murder weapon, deepening the suspicion around the trio.
• Howard’s Accusation: Howard accuses Nina Lin, fueled by a black eye he claims she gave him.
• Secret Passageways: Lucy reveals hidden Arconia corridors, raising questions about who used them the night Bunny was killed.
• Nina Lin as Suspect: Witnessing suspicious plans and arguments, the trio confront Nina—only for her to go into labor, eliminating her as a viable suspect (for now).
• Lucy’s Confession: Lucy admits she was in the walls the night of Bunny’s murder and saw the masked killer—who sneezed or coughed.
• Jan’s Return: The mystery caller is revealed to be Jan.

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2. Writing the Episode: Process and Collaboration

Guests: Rachel Berger & Valentina Garza
(03:18 – 09:39)

• Writing Partnership: Rachel (started as a writer’s assistant, co-wrote S1 finale) and Valentina (genre-bending background) describe their collaborative, cross-genre approach.—"We get to do comedy and we get to do, like, a mystery and a thriller, and it can be dark sometimes, but it's also super fun and poppy and visual..." – Valentina Garza (04:49).
• Zoom Writers Room: Pandemic challenges meant adapting classic writing room tactics for remote work via Google Docs and imaginative scene-splitting.
• Finding Lucy’s Voice: The duo discusses developing Lucy—a Gen Z character meant to make even cool Mabel feel old, integrating authentic youth slang and self-aware confidence.

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3. Authenticity in Generations & Gen Z Slang

Guest: Zoe Coletti (Lucy)
(11:03 – 13:02, 09:39 – 10:41)

• Lucy’s Cool Factor: Writers wanted Lucy to “put Mabel in her place,” representing a new, intimidating generation.—"You are so lucky. It's probably, like, so easy for you to get Xannies and Klonopin and stuff..." – Lucy (Zoe Coletti as Lucy, 09:05).
• Bet, Hundred Gex Tree, and More: Discussion of Gen Z lingo; even Zoe had to Google some lines. Zoe admits, "I understand, like, I want to say like 99% of the things that my character says. There was a few things I had to Google, like the Hundred Gex tree." (12:24)
• Collaboration with Writers: The process felt inclusive for Zoe, allowing some input and creative freedom.

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4. Casting and On-Set Experience

(13:10 – 16:23)

• Auditioning for Lucy: Zoe describes her quick turnaround audition while in Sweden and the whirlwind casting process.
• Working with Legends: Her awe at being on set with Steve Martin, Martin Short, and Selena Gomez, whom she calls her childhood hero.—"They made it such a phenomenal experience... She was my favorite. They say, like, don't meet your heroes. Except I did. And it was the greatest experience." – Zoe Coletti (15:47)

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5. The Elevator Confrontation: Writing & Layered Tension

Writers, Showrunner, Scene Excerpt
(16:41 – 22:09)

• Writing Approach: The writing team wanted the elevator meeting between Oliver and Teddy to be awkward and funny—but also to carry real emotional weight.
• Quote – Teddy’s Threat:
  "I'm going to fuck you. I'm not sure when or how quite yet, but I'm going to. Going to fuck you hard. Harder than you've ever been fucked before in a way you won't see coming until one day you'll slip your nubby little fingers into one of my dips you love so much and realize you're choking. Choking on a big heaping bowl of fucking. Namaste." – Teddy Demas (Nathan Lane), (19:49)
• Showrunner’s Take: John Hoffman explains how this scene pivots Oliver’s story from fear to empathy, highlighting the show’s layered emotional storytelling.—"Just when you think, you know, where this story might be going, even within this one episode, we flip it and it points right back to Oliver's relationship with his own son." (20:53)

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6. Secret Passageways of the Arconia

(23:28 – 27:57)

• Origins & Logistics: The passageways’ origins are creepy, but their presence enables lots of plot twists. The writers detail how they tracked passageway logistics and the passageway’s role in the plot.
• On-Set Experience: Zoe describes filming in cramped, hot passageway sets, frequenting labeled entrances and exits to avoid getting lost.—"There was a few casualties for sure." (26:51)
• Quote:
  "A lot of the passageways were connected. So, like, the entrance one just had a tiny little, like, nub of a passageway at the end of it. But all of the other ones are connected." – Zoe Coletti (26:57)

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7. Suspects, Themes, and Key Evidence

(27:28 – 30:42)

• Nina Lin, Howard Morris: Howard’s accusation, the layers of Nina’s punch, and discussion about whether anyone is truly off the suspect list.
• Quote:
  "Her boyfriend may or may not be an MMA fighter, so she probably knows how to throw a punch." – Valentina Garza (28:29)
• Theme—Fatherhood: Both writers and Hoffman cite the centrality of fatherhood and layered relationships this season. Insight into how intimate, unseen moments (enabled by passageways) create new tensions and empathy.
• Bloody Knife: The reveal of the murder weapon in Charles’ apartment deepens the trio’s involvement.
  "It creates like a really interesting complex cluster." – Valentina Garza (30:39)

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8. Musical Moment: "Angel in Flip Flops"

(30:42 – 32:57)

• Song Creation: “Angel in Flip Flops” (Charles’ hit in Germany) came from EP Kirker Butler and Steve Martin’s musical sensibility.—"Steve wanted to make sure he was singing on the correct key. So we'd play it, like, before we would start. Right. Just before they would say action. So that he could get the key, of course, because, you know, he's brilliant..." – Zoe Coletti (32:15)
• Endearing Repetition: The cast heard fragments of the song up to a hundred times on set, to comedic effect.

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9. Charles and Lucy: Emotional Resonance

(32:59 – 34:53)

• Father-Daughter Dynamic: Charles’s regret and Lucy’s longing for connection lead to a touching heart-to-heart.
• Quote – Lucy’s Line:
  "This is why out of the five dads that I have had, you are by far my favorite." – Lucy (33:47)
• Zoe’s Perspective: This scene was a highlight to film for Zoe, offering vulnerability and closure, but opening hope for a renewed bond.

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10. Teasers, Clues & Audience Theorizing

(36:00 – 42:38)

• Zoe’s Clue:
  "My clue would be that the little peepholes in those passageways, they show some pretty exciting stuff. So I think, look forward to those." – Zoe Coletti (36:10)
• Whodunit Summit:
  • Elizabeth's pick: Howard the Cat Guy—due to sneeze evidence and his behavioral quirks.
  • Kevin's pick: Theo, motivated by possible revenge and knowledge of passageways.
• Fan Theories:
  • Multiple fan emails and theories are discussed, including speculation about Howard, Alice, and far-fetched possibilities like Amy Schumer.
• Quote:
  "You can never assume that anyone is off the board until episode 10." – Valentina Garza (28:54)

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Memorable Quotes & Moments

• "This murder is so relaxing." – Kevin Lan (04:27)
• "Speaking of young whippersnappers, that's kind of creepy... Like, there's a child running through your walls." – Kevin Lan / Zoe Coletti (10:55)
• "It was like watching Darth Vader take off his helmet." – Oliver, recounting Teddy’s vulnerability (22:11)
• "She will cut a bitch. You can use that in the podcast." – Rachel Berger channeling Howard's accusation (28:00)
• "There was a few casualties for sure." – Zoe Coletti, on the cramped passageway set (26:51)

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Timestamps for Key Segments

• Episode Recap: 01:38 – 03:14
• Writers’ Room & Lucy’s Creation: 03:18 – 09:39
• Gen Z Slang & Zoe on Lucy: 11:03 – 13:02
• Zoe’s Audition & Set Stories: 13:10 – 16:23
• Elevator Scene Breakdown: 16:41 – 22:09
• Secret Passageways: 23:28 – 27:57
• Theories & Suspects: 27:28 – 30:42
• "Angel in Flip Flops" Song: 30:42 – 32:57
• Charles & Lucy Heart-to-Heart: 32:59 – 34:53
• Zoe’s Clue & Whodunit Summit: 36:00 – end

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Summary

Episode 4’s podcast offers a rich blend of serious craft breakdowns, hilarious on-set anecdotes, and playful theorizing that matches the show's tone. The writers and cast detail how the episode balances mystery with genuine emotion, notably through Lucy's involvement, the infamous elevator scene, and the show’s ongoing use of physical spaces as narrative devices. The meta-podcast format encourages listeners to become armchair detectives, absorbing clues, reveling in character complexities, and joining the communal guessing game of "whodunit"—all with a wink and a smile.

Transcript

[Zoe Coletti]

Straw Hut Media.

[Rachel Berger]

That's the tragedy of that storyline. It's just Oliver doesn't have dip anymore.

[Elizabeth Keener]

That is the sad. That's the saddest thing of all.

[Kevin Lan]

Who are we? We're a couple of true crime aficionados,

[Elizabeth Keener]

kind of like Charles, Oliver and Mabel, the three main characters in the Hulu original show. Only murders in the building now in season two.

[Kevin Lan]

And we're here making a podcast about a show where the characters make their own pod about a murder.

[Elizabeth Keener]

I'm your host, Elizabeth Keener.

[Kevin Lan]

And I'm your host, Kevin lan.

[Elizabeth Keener]

Why are we here?

[Kevin Lan]

To solve a murder and to try to figure out who the killer is before it all is revealed in the season finale.

[Elizabeth Keener]

We may not be in the Arconia ourselves, but we'll get some inside information from members of the cast and crew and clues to help us piece it all together.

[Kevin Lan]

Today we'll be talking to the writers of episode four, Valentina Garza and Rachel Berger, as well as Zoe Coletti, who plays the only person cooler than Mabel Mora. Lucy.

[Elizabeth Keener]

Plus, we'll hear more from showrunner and co creator John Hoffman. We'll talk about Nina Lind as a suspect and the writing process for that intense elevator scene between Teddy and Oliver.

[Kevin Lan]

We'll explore the secret passageways of the Arconia and learn some cool Gen Z slang.

[Elizabeth Keener]

As of now, we've seen the first four episodes, so listeners beware. We're going to give a quick recap and if you haven't watched, hit the pause button, Stream episode four now and come right back so we don't spoil anything for.

[Kevin Lan]

Episode 4. Here's looking at you. We finally meet Lucy. She surprises Charles in his trailer on the Brazos set.

[Elizabeth Keener]

Teddy Demas is back from prison with an ankle bracelet, and Oliver runs into him in the elevator. Teddy is holding a big grudge.

[Kevin Lan]

The trio meets Lucy back at Charles's apartment. Charles gets ready to make his signature omelet, and Lucy grabs a bloody knife from the knife block.

[Elizabeth Keener]

It's the murder weapon.

[Kevin Lan]

And it's Oliver's missing knife. And now it has sees fingerprints on it.

[Elizabeth Keener]

And Howard Morris shows up. He says Nina Lynn punched in the night of Bunny's murder and gave him his black eye. He thinks she's the one who killed Bunny.

[Kevin Lan]

And Lucy shows the trio the secret door in Charles's bathroom. And of course, they go in.

[Elizabeth Keener]

Oliver goes to spy on Teddy to see what he's plotting, but ends up witnessing an emotional argument between Theo and Teddy.

[Kevin Lan]

They see Nina Lynn with her partner. He says that Bunny had to go and they see her plans for a giant space pod thing on top of the arconia.

[Elizabeth Keener]

They're convinced Nina is the killer, and they go to confront her with her microphone. But Nina goes into labor and she's no longer a suspect.

[Kevin Lan]

Mabel asks Lucy why she really came back to the arconia. And we learn that she was in the walls the night of Bunny's murder. She saw a person in a mask

[Elizabeth Keener]

with a flashlight, and they sneezed or coughed.

[Kevin Lan]

Lucy was feet away from Bunny's killer.

[Elizabeth Keener]

Yes. And then Charles sends her home to Connecticut.

[Kevin Lan]

Then we finally see who's behind the unknown number that's been calling him.

[Elizabeth Keener]

It's Jan. Hello, Charles.

[Jan]

I've missed you.

[Kevin Lan]

So this episode was co written by two amazing writers. You might remember Rachel Berger from last season on the pod. She started as a writer's assistant and then ended up co writing the season one finale with John Hoffman.

[Rachel Berger]

Hi. Nice to see you again.

[Elizabeth Keener]

This Rachel was paired with Valentina Garza, who's worked on some pretty big shows like the simpsons and Jane the virgin.

[Valentina Garza]

I mean, it was very exciting. I didn't really have a context for what the show was. When I jumped in, season one hadn't aired.

[Elizabeth Keener]

Here's Valentina.

[Valentina Garza]

But I read the pilot and I was like, oh, my God, I love this. And it may sound kind of crazy to say this about a show that's about murder, but I was like, this

[Zoe Coletti]

is the most joyful script

[Valentina Garza]

in a long time. And I think I was writing, like, a lot of really heavy, and I was kind of processing a lot of the heaviness of, like, being at home and in the pandemic and a lot of, like, the George Floyd of it and all of the crazy, intense things that, like, as a nation, we were kind of processing. And I was writing into that, like, so I was in a very, like, heavy, dark, emotional space. And then I read the script and I was like, oh, my God, this is so joyful.

[Kevin Lan]

This murder is so relaxing.

[Valentina Garza]

All these killings, they're so great.

[Kevin Lan]

Finally a breather.

[Valentina Garza]

It was like an optimistic, like, I don't know, know, like, finding some levity and humor even in the darkness.

[Kevin Lan]

I think Valentina was hired for season two as a consulting producer and was ready to put her genre bending experience to work.

[Valentina Garza]

And that really is one of the things that attracted me to the show. Just coming from the very specific writing background that I had, which is like, I've worked on a lot of different genres and I've worked on a lot of genre smash shows. So I feel like that was one of the thing that was things that was really exciting to me is like, oh, we get to do comedy and we get to do like a mystery and a thriller and it can be dark sometimes, but it's also like super fun and poppy and visual and all of those things.

[Rachel Berger]

So that's.

[Valentina Garza]

Yeah, that's what's really fun.

[Elizabeth Keener]

Speaking of poppy, that was my guess on episode one and two.

[Rachel Berger]

I love that you guys do that.

[Kevin Lan]

Only Murders has always been a Zoom writers room. So the traditional methods for outlining and writing a show think note cards stuck to a wall and whiteboards that get moved around don't really apply.

[Valentina Garza]

The challenge of Zoom is that you don't have like all of those resources. So it's a lot of just like trying to get as much of a scene on a screen share, you know, as you're breaking it, as you're breaking it in the room. And then like, truly us walking away and kind of like talking it through and seeing what makes sen. And then I think the way that we did it was. It was like, Rachel, you take. I think I took act one and she took act two, and then, and then we were like, let's split act three and then swap everything. And then you get eyes on. On my half and I get eyes on your path. And yeah, we'll talk through the problems and what's working and what's not working. So definitely not, I think like a super traditional classes. Thank you, COVID 19.

[Elizabeth Keener]

But there is, of course, Google Docs and good old fashioned pen and paper. Here's Rachel.

[Rachel Berger]

I'm sure every writer has their own notebook. I have this really fun Beauty and the Beast one that looks like a VHS tape. So I did a lot of like, writing in that just like on my own if I didn't want to put it in the Google. But the Google Doc was like the, like the final phase of like, here's my brain for you to look at, you know?

[Elizabeth Keener]

Right.

[Valentina Garza]

And then to make it, like, to make it extra challenging, you know, as a consulting producer on the show. So I was there three days a week. So a lot of times it would be like, you know, let's talk about the episode. They would talk about the episode and I'd read the notes. So then poor Rachel would have to be like, okay, I'm done in the room and now I have to start a new room with Valentina because she has no idea what's going on.

[Rachel Berger]

No, I loved it. She joined me on my evening walks with my dog. Like, I get off the room and then be like, ellie, are you free? Can I call you?

[Kevin Lan]

This was the first time Rachel and Valentina had ever written together.

[Rachel Berger]

But I do remember when I first met Val. I was like, oh, my God, I hope I get to do my episode with her. I willed it into the universe. Yeah. So I was like, oh, my God, a really cool person that I can learn from. And, yeah, it was cool.

[Valentina Garza]

Oh, sure, let's.

[Kevin Lan]

Yeah. Fantastic.

[Valentina Garza]

Yeah. And I think also John was really thinking about, like, creating this character, this young woman who we owed from season one in Lucy. I think he probably put us together because he thought that we would be really successful at kind of trying to find a voice for this young woman and really thinking about who she could be. So I think that that made a lot of sense, and we did have a lot of fun. It was a very meandering journey. At one point, she was, like, a lacrosse player.

[Rachel Berger]

Oh, yeah, I remember that.

[Valentina Garza]

Who was, like, taking out Oliver with a lacrosse stick in the bowels of the show at one point. So, yeah, totally trying to find her.

[Rachel Berger]

We had this task of creating this character that everybody knew, but, like, no one did know. So it was kind of a fresh slate. And we knew we wanted her to be, like, the Mabel and how she is to Charles and Oliver, you know? So it's like the making fun of the generational gap. And we recognize that there's, like, this really cool younger generation, like, that's even cooler than millennials that are just, like, they're vulnerable but, like, self aware and have this, like, confidence to them. And you're kind of, like, intimidated because you're like, why are you so well rounded? And we knew that, like, that was the vibe we wanted to bring to life. And there was a lot, like, trying to figure out the balance with her.

[Zoe Coletti]

Anyway, you are so lucky. It's probably, like, so easy for you to get Xannies and Klonopin and stuff. I prayed to the 100 dextry to get a real diagnosis, but my mom, she, like, hates Big Pharma.

[Kevin Lan]

So,

[Zoe Coletti]

guys, is the adult business concluded?

[Rachel Berger]

Please.

[Valentina Garza]

I'll give you $200.

[Rachel Berger]

But we did go into it having kind of an idea of, like, her personality. And it was really fun crafting, like, her backstory, in a sense. And I think you get some good, juicy stuff in episode four. And, yeah, it was a lot of fun.

[Kevin Lan]

Yeah. Because we actually noticed it did seem, like, to Lucy, Mabel seemed like a Charles and Oliver to her. She has to explain things.

[Elizabeth Keener]

Can you explain to us what is bet.

[Rachel Berger]

Oh, bet.

[Kevin Lan]

The BET text. Yeah, the text. The text that she talks about Lucy.

[Rachel Berger]

To be honest with you, I don't necessarily know. I feel like. Valley, your kids might say. I know that.

[Valentina Garza]

Like, I know it's totally. Kids speak.

[Zoe Coletti]

Yeah.

[Rachel Berger]

And you guys talked to Noah Levine, and that was, like, his pitch. And he was like, really? Like, this is what kids are saying. And we're like, that must be true.

[Valentina Garza]

So my kids are saying that one

[Kevin Lan]

of our producers explained BET to us, and I'm gonna try to do my best to relay the explanation to you now.

[Elizabeth Keener]

Okay.

[Kevin Lan]

So think of BET as an affirmative. It's an agreement you could swap it with for sure pretty easily. So you want to grab some breakfast?

[Elizabeth Keener]

Bet.

[Kevin Lan]

Do you like dogs? Bet. Are you going to do the dishes? Bet. Get it now? Bet.

[Rachel Berger]

Yeah. We wanted Mabel to feel intimidated, which she's already cool. So the fact that, like, how do you make a character cooler than her?

[Zoe Coletti]

Enter Lucy.

[Elizabeth Keener]

Oh, yeah.

[Kevin Lan]

And this young whippersnapper comes up and.

[Zoe Coletti]

Yeah.

[Kevin Lan]

Puts her in her place.

[Valentina Garza]

Yeah.

[Kevin Lan]

And speaking of young whippersnappers, that's kind of creepy.

[Zoe Coletti]

Like, there's a child running through your walls. You don't know how long Lucy's been living in there.

[Kevin Lan]

This is Zoe. Margaret Colletti, who plays Lucy. She talked to us from New Jersey.

[Zoe Coletti]

All of my family is home, like, for the first time in a million years. So we're all just at home enjoying the summer. The only time in New Jersey that it's actually nice to be here is when it's lovely and sunny.

[Elizabeth Keener]

So she's a real live Gen Z er. She's even on TikTok. And so we wanted to know how much of her own life she brought to Lucy.

[Zoe Coletti]

They wrote such a phenomenal character, so there wasn't, like, a ton I feel like I had to do for Lucy that they hadn't already added just because all of their character work for their writing is just awesome. But I think one of the most fun things for me to get to play with is just that kind of dynamic between not only Lucy and Charles, but also Lucy and Mabel, which I know people have talked about before. But, you know, the whole aspect of Mabel being the one to make, you know, Oliver and Charles feel so old. Mabel's world is kind of shattered when somebody comes in and makes Mabel feel old. So that was a dynamic that was super, super fun. The writers did a great job of, like, hitting it on the head with, like, the young, like, Gen Z slang as well, and it was a really collaborative process. They were really great. If I had any ideas or, you know, it was just a really, like, welcoming kind of process.

[Kevin Lan]

If hearing all Lucy's slang made you feel old, don't feel too bad. Even Zoe didn't get everything.

[Zoe Coletti]

I understand, like, I want to say like 99% of the things that my character says. There was a few things that I had to Google, like the Hundred Gex tree. I had no idea what that was like in my. I had to Google that like back when I did my tape because I was like, I can't remember, to be honest with you.

[Kevin Lan]

It's still a question mark.

[Zoe Coletti]

It's still a question mark. Lucy knows. I do not know we separate the two because I. She is not me. We are separate people. She is cooler than me, apparently, because, I don't know, I'm a little bit older than Lucy. So, you know, it makes sense that she, like, knows some more stuff than I do. But it's making me feel really old because I'm not that old.

[Elizabeth Keener]

We googled the Hundred Gecks tree too. And honestly, we're still confused. If any of you listeners want to enlighten us, we welcome the help.

[Kevin Lan]

Back when Zoe was about Lucy's age, she watched season one of Only Murders in the Building and loved it.

[Zoe Coletti]

So I watched it after it had come out. So I didn't realize that they kind of formatted it, you know, releasing it even though it's on the streaming platform, kind of releasing episodes per week. Which now with this season, I'm like so angry. I'm like shaking my fist at them because I don't want to have to wait. I'm like, what's the point of it being on a streaming platform if they're not going to give it to me all at once? I am a hardcore binge watcher and

[Kevin Lan]

at the time she had no idea she'd have the opportunity to audition for the part of Lucy. But she did.

[Elizabeth Keener]

She was in Sweden with her boyfriend, also a tiktoker.

[Zoe Coletti]

So I just, you know, filmed a few of the scenes and sent them off into the usual black hole that you send all your auditions into. And one of the nice ones that you actually hear something back from and they had me do another tape where they gave me like, my gosh, I don't know how many. It was like, pretty almost, I think all of my scenes from episode four and they're like, we need it. It crazy enough by tomorrow. You don't have to be completely off book with the lines, but we need it by tomorrow. And I was like, ah, okay.

[Kevin Lan]

You're like, it's already tomorrow in Sweden.

[Zoe Coletti]

I'm like, I don't know what you mean, but yeah. So I then like super quickly turned it around, got the scenes I did go off book because I don't love doing scenes when I have to read the lines just because I feel like it makes it harder to actually pay attention to the scene. But I managed to learn like all the, I don't know, 20 pages of the scenes and sent it off to them. And then I ended up finding out I got the job like within the week. It was all like super, super quick.

[Elizabeth Keener]

Production started pretty quickly and when Zoe got to set, she was working with legends.

[Zoe Coletti]

First of all, Steve and Marty, they are like the funniest people on the entire planet, which obviously everyone knows. But like getting the opportunity to just be around them when they're just kind of hanging out. It's absurd how hilarious they are just all the time. Like, I, I, that's, I found that so funny. Just in between scenes, they're just, they have these whole comedy bits that they just pull out of nowhere. And like both of them are completely committed to them. It's hilarious. I, I get like the best behind the scenes ever. It's like so funny and they're just so talented and amazing. And also all three of them were so welcoming and kind and complimentary, which, like you said, kind of going into, you know, a cast that is not only on their second season but, or they're just, you know, they're, they're the big guys, you know, so it could be really threatening or like nerve wracking to kind of jump right into a set like that. But they made it such a phenomenal experience. And I, I, I have to say, I'm like a massive Selena Gomez fan. She was my favorite actor of all time. When I was young, I used to. What would it have been? I don't know when I was like in first grade. And even my dad knows all of the lyrics to her songs. And my mom, because I had one CD that went in my dad's car and it was her CD from when she was Selena Gomez in the scene. And it was the only CD I had that I bought at justice, which is a relic of a store at this point. And so it was all I would play on my way to and from first grade. And so even my dad knows all of the lyrics to her songs. She was my favorite. They say, like, don't meet your heroes. Except I did. And it was the Greatest experience. And now I just love her more.

[Kevin Lan]

We're going to take a quick break, and when we come back, John Hoffman returns to talk about some of the themes in the episode. We go inside the passageways of the Arconia, and Zoe gives us something to look forward to with a clue.

[Valentina Garza]

At some point in the room, there was some conversation of, like, when we see Teddy for the first time, like, it would be really cool if, like, you just see the ankle bracelet.

[Rachel Berger]

Right.

[Valentina Garza]

Sticking out of the elevator. And we always kind of felt like that was first moment, and it was such a great, like, sight gag. And so. And then, you know, it's just. It becomes a very classic. Only murders in the building, really uncomfortable ride up the elevator, you know?

[Elizabeth Keener]

We're back with Valentina and Rachel, co writers of episode four, discussing some of the key scenes of the episode.

[Jan]

Come in, Titty. I'll just get another one. Oh, don't be silly. I insist.

[Elizabeth Keener]

Okay.

[Jan]

How are you? I'm good. You're back for a few months awaiting trial. Ah, I see. So how was prison?

[Valentina Garza]

But, yeah, but it's also kind of like, okay, so now I'm Oliver, and I'm stuck in the elevator with this guy whose life I've totally turned inside out and I've hosted. So, like, what do I say? How do I make chit chat? So how was prison? Yeah, you know, it kind of is

[Rachel Berger]

the first thing you would say, though. You know what I mean? It's like, what else am I gonna. Like, how are you?

[Kevin Lan]

It really agrees with you.

[Zoe Coletti]

Yeah.

[Valentina Garza]

Valley and I had a lot of

[Rachel Berger]

fun writing that scene too. Cause I feel like we had, like. Like, we went in all different directions to kind of like, see where we wanted to go with the humor in it. But I'm pretty sure we had, like, a more intense scene. And then we, like, had it even lighter. And he got really into his yoga and, like, what he's doing. And, like, he basically was in a

[Zoe Coletti]

cult, like, you know what I mean?

[Rachel Berger]

You're like, what did you do with your time there? So it was just a lot of fun to write. And I think kind of like the level of emotion that we're in every iteration is what ended up in the

[Jan]

final version actually transformative. I don't know if you know Master Han, but he's helped me realize I don't have to act on my thoughts. For example, right now, the thought of wringing your neck really stimulates my root chakra. But it's probably not worth losing three of my mindfulness badges.

[Kevin Lan]

That's good.

[Valentina Garza]

Yeah. And I think we also just love the idea of, like, him trying to. Trying so hard to find his Zen and not have murderous thoughts, but all he wants to do is, like, kill him, like, right then and there. Yeah. And I'm also kind of like. I'm like a shameless. Like, I will walk an extra half mile just to get, like, that badge on my app. So I thought it was kind of funny that he's like, I'm gonna stay Zen because I want. I want that badge.

[Kevin Lan]

I don't want to fall out of the league.

[Valentina Garza]

Exactly. Exactly.

[Jan]

Well, I guess I'll see you around. Oh, definitely. Because I'm going to fuck you, Oliver.

[Elizabeth Keener]

Excuse me?

[Jan]

I'm going to fuck you. I'm not sure when or how quite yet, but I'm going to. Going to fuck you hard. Harder than you've ever been fucked before in a way you won't see coming until one day you'll slip your nubby little fingers into one of my dips you love so much and realize you're choking. Choking on a big heaping bowl of fucking. Namaste.

[John Hoffman]

That threat that Teddy gives Oliver in that elevator is one of my favorite moments, and I'm waiting for it. You know, please tell me, you know, where are we going with this?

[Kevin Lan]

Here is showrunner and co creator John Hoffman.

[John Hoffman]

Oh, and Nathan was brilliant in that scene. I thought both of them were. I. I thought, you know, it just is taught throughout that whole scene. But I. I think the flip. The flip is really the nice part of that because, you know, I think it's a. It's a signature of the show. Just when you think, you know, where this story might be going, even within this one episode, we flip it and it points right back to Oliver's relationship with his own son. And we're telling Oliver's story in that moment where he's sure Teddy is out to, you know, eff him, because he said it 14 times to him in the elevator. And so he's on defense, and he's ready to go and he's ready to take on the offense when he finds these passageways and he goes after him. And then, boom, it all flips. And he's seeing something. A side of Teddy he'd never seen before, a side that he wouldn't be seeing if. If he hadn't revealed the truths about Teddy and the enterprise that he was engaging in with his own son. And then it points back onto Oliver, and he comes back from that experience saying, I've never wanted to Hug my son more. And he knows where he needs to go at the end of the episode. He needs to be with his son and help him out.

[Kevin Lan]

What did you find out about Teddy?

[Jan]

Nothing, except I saw him weep. It was like. Like watching Darth vader take off his helmet. I'm in a total state of shock. I really am. And I've never wanted to hug my son more.

[Rachel Berger]

I mean, a big theme, as you probably have guessed this season, is just like, fatherhood and what it means to be a parent. And we kind of talked about kind of, like the levity of emotions that we have and different genres of the whole show. And I think it was important that, like, you know, they were huge characters. Season one, they were villains, but, like, they're human. So we were kind of showing an empathetic side, and they kind of have a softer storyline than we're probably used to. But, I mean, their chemistry is so great. So any chance that we get to write for them, we're like, yes, let's bring them back. And it kind of spoke to, like, the purpose of the passageways. It's like, yes, it's a violation of privacy, but it's like, it's not necessarily, you know, for perving, as Mabel says. But it's like, what are these intimate moments that you're not supposed to see that you see? And I think that's also more haunting to Oliver is the fact that, like, here's this menace, and I'm seeing his human side, and now I feel bad for him. So it's like, it's very layered and complicated and, yeah, it's just everybody has empathy because we're all human.

[Elizabeth Keener]

We learned about the existence of the passageways in episode two, Right.

[Kevin Lan]

We saw Archibald, the architect of the arconia, and Bunny's grandfather creepily spying on a woman getting undressed.

[Elizabeth Keener]

Right, Exactly. He wasn't just creepy, he was a creep. But it isn't until now, thanks to Lucy, that we see that they're still accessible. And it makes you wonder who else knows about them.

[Rachel Berger]

I will say, if the secret passageways were well known, then I feel like Teddy would have utilized that more with his side business, you know what I mean? So I don't think they're a wildly known thing, especially because they were originally intended for such a gross purpose and violating purpose that it's like you kind of don't want people to know about the quirks that you create.

[Kevin Lan]

Season one, it was important to know which floor everyone lived on when it came to solving the murder. So we were wondering if the writers had to come up with a detailed map of where all the secret passageways were and how they were connected, especially

[Elizabeth Keener]

because the killer would have had to use them on the night of the murder and again afterwards to plant the evidence.

[Valentina Garza]

Yeah, totally. We had everything laid out in every possible way we thought of everything.

[Elizabeth Keener]

Guys.

[Rachel Berger]

Oh, my gosh. Pete was our amazing writer's assistant, so I will say he probably is the map guy, because there would be constantly, like, hey, are we allowed to go down? Like, whose apartment's down if we go down? Exactly up. So, like, we left that in the minds of our, like, brilliant logistics in the room. So, yeah, okay, there's a version.

[Valentina Garza]

Why Rachel? She's being modest because she would totally police me when we were in our Google Doc. And she's like, you can't do that. Because someone told us on hand.

[Kevin Lan]

Classic Rachel.

[Jan]

She knew.

[Valentina Garza]

She was like, no, they don't have time to go up this many flights. So, yeah, no, Rachel. Rachel's on top of, like, who's where and on what floor and what you can do.

[Kevin Lan]

Can you tell us about what it felt like on the sets inside the passageways? Those kind of catacombs at the Arconia?

[Zoe Coletti]

Yeah, they. I mean, first of all, they looked amazing.

[Elizabeth Keener]

Here's Zoe Coletti. She plays Lucy.

[Zoe Coletti]

Like, it was really, really cool. And obviously, because it was built up in the studio, it really were like, it. It really was like these huge, long hallways and passageways. And then the one that's kind of the entrance to it in the bathroom, that was super, super cool. So they did a phenomenal job building all of them. They just looked insane. But in terms of actually filming, it was super, super cramped. So them having to fit what, when all of us were in there, four actors in there, two cameras, all of the camera operators, people having to try and, like, just even doing, like, touches for makeup and hair in between was so difficult because we'd all have to funnel out of the little hallways to do the touches and get go back in. It was, like a ton of cramped, tight spaces, trying to move everybody in and fit everything in there. That was the hardest part about that, because it was very, very teeny, tiny spaces.

[Kevin Lan]

It feels like it would get hot in there, too.

[Zoe Coletti]

Oh, it definitely was. There's definitely a lot of sweat. There's. I feel like people are always really hot on set in general because you're, like, running around like crazy people, like, trying to get everything done. Everything's always feeling like. Like the world is going to end if we don't finish shooting, like, in time. So I feel like everyone's always like, oh, my God, we're going to die. But extra. Extra pressure in the tiny, little hot compartments. Also with the little sliding door. Definitely a few people hitting their head trying to get in and out of there. It's. I thought it was hilarious, but it's. There's a few casualties for sure.

[Elizabeth Keener]

And even though the interior of the arconia is all on a set, the passageways felt very real.

[Zoe Coletti]

A lot of the passageways were connected. So, like, the entrance one just had a tiny little, like, nub of a passageway at the end of it. But all of the other ones are connected. So, like, the little entranceway is the only one that was separate. Otherwise they were all intertwined. They had to label all of, like, the entrances and exit. You know, I'd be like, oh, you know, the actors are going to meet at exit B. Like, they were all labeled, so we knew, but it wasn't too big. I know. Yeah, I would have been the one to get lost for sure. And it's like, pretty much most of my scenes are in there.

[Kevin Lan]

So. What Charles and Mabel see while they're spying on Nina Lynn in the secret passageways cements her in their minds as a key suspect. But it's actually Howard Morris who's the first to accuse her. I was not truthful about the way I obtained my injury. The night of Bunny's death, Nina Lynn punched me. She is violent, and after backstabbing Bunny, I think she might have front stabbed her too. She will cut a bitch. You can use that in the podcast. Why would Nina punch Howard in the face?

[Zoe Coletti]

Why are you all looking?

[Valentina Garza]

Cause Nina is a bitch, and she will cut a bitch.

[Rachel Berger]

I feel like there might have been another cut where we went deeper into that, but it might be revealed later. So I feel like we can't really say stuff about it.

[Elizabeth Keener]

Yeah. Okay. Okay, I'm gonna make it. Nice try, K.K. nice try. Nice try.

[Valentina Garza]

I mean, also, I'm just gonna say, like, I don't.

[Rachel Berger]

I mean, say what? Say it.

[Jan]

Yeah, go ahead.

[Valentina Garza]

Her boyfriend may or may not be an MMA fighter, so she probably knows how to throw a punch.

[John Hoffman]

Right?

[Elizabeth Keener]

Right.

[Rachel Berger]

It's called foreplay, and she was really into it, and it got out of hand.

[Elizabeth Keener]

Oh, yeah. I'm starting to like Nina.

[Zoe Coletti]

Yeah, she's cool.

[Elizabeth Keener]

But by the end of the episode, even though she is looking guiltier and guiltier, we think it's safe to say that Nina's no longer a suspect.

[Valentina Garza]

I mean, I think that you can never count anybody out, you know, so we're. We're gonna go on the journey. And you can never assume that anyone is off the. The board until episode 10.

[Kevin Lan]

And for the conspiracy theorists who thought maybe Nina had been faking her pregnancy, which we have, confirmation that she was indeed preggo.

[Rachel Berger]

Well, I can confirm she really was pregnant. Her water really did break. That wasn't a gimmick.

[Kevin Lan]

And another key piece of evidence pops up in this episode.

[Elizabeth Keener]

Oh, the bloody knife.

[Valentina Garza]

Obviously, it makes them look guilty for having the murder weapon, like, in their apartment. But for Mabel, who presumably has never touched it, it's actually, like, proof of her innocence. Right? So it's. It creates, like, an interesting conflict between, you know, all of the players. Like, what are we gonna do with this? What does it mean? And it's also just like, how did this get in here? And is this about, like, us being framed or is this about us being toyed with?

[Elizabeth Keener]

Right.

[Rachel Berger]

And now Oliver's involved, which he's been like, I'm not a part of this. But now he is.

[Elizabeth Keener]

That's right. Now all three of them are implicated in Bunny's murder. It was Mabel's knitting needle. And obviously the stabbing happened in her apartment.

[Kevin Lan]

The painting shows up in Charles apartment, and now this knife, but it's Oliver's

[Elizabeth Keener]

knife, so now he's a suspect too.

[Valentina Garza]

And then, of course, it also, by the way, it also just, like, involves Lucy. All of a sudden, it's like, oh, my God, now she is implicated in this whole thing, and she's not a part of this, and we want her to be a part of this. And all of a sudden, damn it, now she's a part of. This is so.

[Rachel Berger]

So it just.

[Valentina Garza]

It creates like a. A really interesting complex cluster.

[Kevin Lan]

And right before Lucy pulled that bloody knife out of the block, we get to hear Charles's hit song, angel and Flip Flops.

[Elizabeth Keener]

Yeah, yeah. All the way at the top at number 83 in Germany.

[Jan]

Walking all alone with my past in front of me Lonely as a man with nowhere to go Looking for the

[Rachel Berger]

woman that the thongs all promise yeah, it definitely came from the brilliant mind of our ep, Kirker Butler. And I don't remember exactly. Like, I think he just, like, went on a pitching thing, and he was like, guys, this is gonna happen. And Steve was all about it. And he would pop in on Zoom, be like, guys, I'm so sorry, but I just thought of this part. And he would, like, sing on his banjo a little part of it. And then and then we were like, oh, my God, this is amazing. He'd be like, okay, I'm so sorry. I'm so. We're like, no, play more.

[Elizabeth Keener]

Yeah. Oh, I love to Pita Potter. Yeah.

[Zoe Coletti]

So, yeah, I. I feel like that's

[Rachel Berger]

kind of what we were saying about, like, you think of things and you don't necessarily know where they're going to land in the episode. So I kind of felt bad that, like, it landed in ours when it was, like, from his brilliant mind. But, like, it is the most delightful thing.

[Jan]

Good God. How much money have you made from this? I made about 200 grand a year. Yeah, you're going be to be okay.

[Rachel Berger]

Okay.

[Jan]

Big finish.

[Zoe Coletti]

Loving a man like me. Steve wanted to make sure he was singing on the correct key. So we'd play it, like, before we would start. Right. Just before they would say action. So that he could get the key, of course, because, you know, he's brilliant, so he needed to listen to his own song.

[Elizabeth Keener]

Here's Zoe talking about what it was like to shoot that scene.

[Zoe Coletti]

It was honestly such a hilarious song. And it did help the scene. It did help it to be able to actually have it playing just before. They couldn't do it every time because, like, you know, for sound purposes, like having it over all of the dialogue and stuff, but I couldn't get enough of it. I loved it.

[Kevin Lan]

How many times do you think you heard it?

[Zoe Coletti]

Because we played it before every single take. And there's so many angles and so many takes for each angle. I mean, I feel like we're looking in, like, nearly 100 times, I think not the whole song, but, like, a decent bit for sure.

[Kevin Lan]

And then it'd be ingrained in your head later that night when you're trying

[Zoe Coletti]

to for all eternity. Like, I went to sleep hearing it, I woke up hearing it. It's just forever. Forever. Internal loop.

[Kevin Lan]

Thanks, Steve.

[Zoe Coletti]

Yeah. God, jeez. Thanks.

[Elizabeth Keener]

At the beginning of the episode, we see Charles and young Lucy singing the song, and we get a little more of the history of their father daughter dynamic.

[Kevin Lan]

Yeah. Charles clearly felt like a father to

[Elizabeth Keener]

Lucy, but when his relationship with Lucy's mom ended, he thought he had to give it all up.

[Kevin Lan]

And while he's thrilled to have Lucy back in his life, there are some complications when they finally have their heart to heart. It feels really sweet, you know, it

[Zoe Coletti]

was really, really nice to finally get a text from you, but eight years is like, that's like a really long time.

[Jan]

I'm sorry, I didn't know I was allowed Your mom said no contact.

[Zoe Coletti]

Well, you're allowed.

[Jan]

Okay.

[Zoe Coletti]

See, you know, this. This is why out of the five dads that I have had, you are. You are by far my favorite.

[Jan]

I'll take that.

[Zoe Coletti]

It was one of my favorite scenes to film, honestly, from the whole season. And for me, it was really cool because, you know, obviously by nature, the show is a comedy, so being a part of some of those more emotional or sad scenes in the show, having that be kind of one of the things that I got to bring to it was really cool for me, especially with so many great actors and great directors around me. But I think it's a really, really important part of Lucy and Charles relationship, and it was kind of the elephant in the room. So I think it was kind of inevitable that they had, you know, a more genuine conversation about everything that's happened. And getting to see that side of Lucy and also getting to see that side of Charles, I think is something that's really sweet and much needed from all of the kind of discussion, all of the omelette making that comes from Charles in the first season, I think it's closure for their relationship, but it's also an opening for a fresh start for them.

[Kevin Lan]

After their Heart to Heart, Charles sends Lucy home to Connecticut. But we have a feeling that it's not the last we'll be seeing of her.

[Elizabeth Keener]

Well, I hope not.

[Zoe Coletti]

I think from what we can tell of Lucy's character so far, she's very persistent. And if Charles says up, she says down. So I have a feeling him telling her to stay away will not stick. She is the perfect kind of teenager, and he's in that sort of the dad role. So I think anything that he says to her, she's gonna just ignore, pretty much.

[Kevin Lan]

But as Lucy leaves, an old character returns.

[Jan]

Well, unknown caller, I need your help with something. Hello, Charles. I've missed.

[Rachel Berger]

We are so delighted by Silence of the Lamb. Jan. She's.

[Valentina Garza]

I think we.

[Rachel Berger]

She's just even more now that she's,

[Zoe Coletti]

like, exposed as to her true color.

[Rachel Berger]

She's just, like, really leans into that. It's so fun.

[Elizabeth Keener]

That's our episode. But before we get to the whodunit summit, a clue from Zoe.

[Kevin Lan]

Is there any. Any clue you would like to share with everyone?

[Zoe Coletti]

Ooh, is there a clue I do not like. You are sneaky asking that question. Is there a clue? Oh, my gosh. That is a hard question, sir. My clue would be that the little peepholes in those passageways, they show some pretty exciting stuff. So I think, look Forward to those.

[Kevin Lan]

Ah, that's a great clue. Perfect. I'm writing that one down.

[Zoe Coletti]

Oh, God. I'm afraid John Hoffman. Immediately, my phone starts ringing right now. She's like, what did you do? I'm like.

[Kevin Lan]

The zoom cuts out.

[Elizabeth Keener]

Alrighty. Kk.

[Kevin Lan]

Yes, Keener. Is it time?

[Elizabeth Keener]

Yes. You know what time it is? It's time for the who done it?

[Kevin Lan]

Whodunit.

[Elizabeth Keener]

Woo.

[Kevin Lan]

This is where Keena and I come up with who we think the murderer is, based on the episodes we've seen so far. So we're up to episode four, and we write down who we think the murderer is on a piece of paper, put it in an envelope, and reveal it now for the first time live.

[Elizabeth Keener]

Okay, so do you want to read mine first?

[Kevin Lan]

Yes.

[Elizabeth Keener]

Okay, here we go.

[Kevin Lan]

Okay. And you put Howard the cat guy.

[Elizabeth Keener]

I put Howard the cat guy.

[Kevin Lan]

Why did you pick Howard?

[Elizabeth Keener]

Well, you know what? That sneeze. The sneeze got me the sneeze. I don't know. I feel like. I feel like he.

[Kevin Lan]

In the passageway when Lucy was hiding there and the masked man sneezed.

[Elizabeth Keener]

Yes. And I think that it made me think, okay, you know what? He's that kind of guy that needs an antihistamine. You know what I mean? That's just maybe. Maybe not for cats, because he might be fine with that, but for birds or dust or things like. Of that nature, you know, I think that he needs that. And then I watched. I watched the walking, and I thought, is that Howard? Those were my two.

[Kevin Lan]

Based on his walking.

[Elizabeth Keener]

I tried. I tried. You know, you. Sometimes they'll have somebody else walking. It's not even that person. I don't know. But, I mean, I'm sure.

[Kevin Lan]

And they probably want someone who you'd be like, is that a guy or a girl walking?

[Elizabeth Keener]

Yeah, I didn't. You know, really, I had no idea who was. You know, they were walking.

[Kevin Lan]

So you're going with Howard the cat guy.

[Elizabeth Keener]

Yes. So now. Okay, so I'm going to open yours.

[Kevin Lan]

Yep.

[Elizabeth Keener]

That was. Oh, Theo.

[Kevin Lan]

Yes.

[Elizabeth Keener]

Quotes even. You know, you actually crossed out something lower than that. I'm not gonna say I couldn't tell what that was, but Theo. Wow. Now, why Theo?

[Kevin Lan]

Okay, so Theo is backed in this episode along with Teddy. So they're out of jail for the moment, so.

[Elizabeth Keener]

And tell who Theo is again, just to.

[Kevin Lan]

Theo is Teddy's son, who they were caught smuggling the jewels in dead bodies last season. It's kind of gross, but they're back this episode, and if you recall, last season, Theo had That hidden room in their apartment building. So maybe he knows about the secret passageways already. Already? He already discovered it. And he could be framing the trio for sending him to jail, he and his father. But we also know that he's fighting with his father, Nathan Lane. So maybe he stole the painting to have a million dollars. Since his father will be in jail, he won't have access to money anymore, and it's to finance his future. So I'm working with Theo. Thanks for listening to season two, episode four of Only Murders in the Pod. Our inbox is open again, so please send over your thoughts and theories to to Only murdersrawhutmedia.com and if you're enjoying the show, please, please leave us a rating and a review. It really helps people find the show.

[Elizabeth Keener]

Only Murders in the Pod is a production of Straw Hut Media, hosted by Elizabeth Keener, me and Kevin Lan Me, produced by Ryan Tillotson and Maggie Bowles. Associate producer is Stephen Markley. Original music by Kyle Merritt. And Only Murders theme music by Siddhartha Koslave. And a big, big thanks to John Hoffman, Xavier Salas, Luisa Moltini, and of course, the entire Hulu team. Thank you, everyone who sends any kind of emails in fan mail with your theories, your thoughts, your ideas. We appreciate them all.

[Kevin Lan]

We got a lot this week.

[Elizabeth Keener]

Right. So Jackie. Jackie, she had some great thoughts. Ursula had an invoice for an elevator inspection, but obviously she didn't. The elevator broke out working properly. And she had other ideas about Mrs. Gambollini's cage being moved. And Howard and very interesting stuff. So that was. That was a cool. Yeah, yeah.

[Kevin Lan]

And Howard, Nina, Liam, and Dr. Stanley are all kind of suspects because they've been in Bunny's apartment.

[Elizabeth Keener]

Yep, Exactly. Exactly. And then we have Jennifer. Hi. Jennifer from New York City. She thanked us for having the cocatini recipe put.

[Kevin Lan]

Yes, she actually made drink.

[Elizabeth Keener]

Yeah.

[Kevin Lan]

Lily from Chicago agrees with you. She thinks it's Howard.

[Elizabeth Keener]

And yeah, she. I love when someone agrees with me, so thank you, Lily.

[Kevin Lan]

Alice was a very popular suspect this week. And several people, like Chloe from Hawaii, Heather, Julia and Ryan, they all kind of think that Alice could be the granddaughter of Rose Cooper.

[Elizabeth Keener]

Ooh, that's good.

[Kevin Lan]

So she's trying to get back her grandmother's painting. Edward from the uk, he thinks it's Amy Schumer.

[Elizabeth Keener]

Yeah, this is pretty good. You know what it might be? We don't know. We'll see who her again. And. And he. He loved listening to Ben Smith's thoughts, which was great. We just want to thank people. Ellen from South Carolina and Chloe is from Aloha. Hey Chloe, we mentioned you that you agreed with them the only from Greece

[Kevin Lan]

Keep them coming again the email address is only murdererstrawhutmedia.com we love layers.

[Rachel Berger]

We love layers in 100 degree weather.

[Zoe Coletti]

She's been living in there since like like since Charles and then Lucy's mom broke up. Lucy's just been scuttling around in his walls. It's really scary.