Only Murders in the Building Official Podcast

S3 E10: Opening Night (Part 1)

October 4, 2023 — Hosted by Maggie Bowles & Ryan Tillotson (Straw Hut Media), featuring Ben Smith (writer), Jamie Babbitt (director), and John Hoffman (co-creator/showrunner/writer)

Episode Overview

The season finale podcast for Only Murders in the Building Season 3, “Opening Night,” delivers a behind-the-scenes look at the show’s climactic moments and creative choices. Hosts recap the big reveals, discuss the thematic focus on parent-child relationships, and speak with writer Ben Smith, director Jamie Babbitt, and showrunner John Hoffman about developing the murder mystery, musical numbers, and character arcs. Memorable moments, favorite scenes, and on-set stories fill this episode, revealing how the magic of the Arconia comes to life.

Episode Recap & Key Plot Points

(Timestamps 01:07–03:59)

• The podcast opens with a recap of the finale’s dramatic events:
  • Donna’s backstory as a workaholic mother is revealed via voice-over.
    (01:23)
  • Loretta is out of jail, with the bloody handkerchief now in the hands of the trio.
    (01:36–01:50)
  • The trio confronts Donna, who almost too easily confesses to poisoning Ben Glenroy—but insists the show must go on before she turns herself in.
    (01:58–02:12)
  • Jonathan can’t perform due to medication, forcing Oliver on stage for opening night.
  • Tobert confesses his feelings to Mabel. Loretta admits to Dickie that she’s his mother—he says, “I always knew.”
    (02:30–02:43)
  • Mabel discovers it was actually Cliff, not Donna, who pushed Ben down the elevator shaft—an act of emotional impulse when Ben confronts him about Donna’s poisoning.
    (02:43–03:18)
  • In a tense sequence, Cliff contemplates jumping from the trapdoor but is saved by Donna. Both are arrested after the show: the mystery is solved.
  • At the after-party, Loretta prepares to move to LA; Oliver considers joining her. Mabel decides to stay in NYC.
  • The dramatic next murder is set up: Saz is killed by a mysterious gunshot through the window.
    (03:44–03:59)

The Writers' Room & The WGA Strike

(04:13–07:12)

• Ben Smith discusses the challenges and emotions of the recent Writers Guild Strike and the outcome:

  “It's very scary to proactively stop working. But it was something that we felt we had to do because the studios gave us no option.”
  — Ben Smith (04:44)

  • Smith reflects on solidarity among writers, pride in the final deal, and gratitude for preserving the writing profession’s future.

Building the Season—From Finale to Mystery

(07:12–11:51)

• Smith reveals the season’s plot twists were devised week-by-week, not fully outlined from the end of Season 2:

  “We did not know that we were going to have him come back to life and then die a second time... That was a very exciting discovery.”
  — Ben Smith (07:44)

  • They reverse-engineered elements: scrutinizing Ben Glenroy’s appearance and backstory to build the play’s (Deathrattle Dazzle’s) world.
  • The writers fleshed out supporting characters, landing on Cliff as the eventual killer after considering various motives and connections.
  • Musical elements “were teased early,” but collaboration with Pasek and Paul and creative brainstorming really brought them to life.
    (09:21–10:56)
  • The music’s Broadway authenticity came from direct partnership with real composers, while writers focused on how to integrate songs with on-screen action.

Orchestrating the Finale’s Numbers & Editing

(11:06–12:37)

• By the scripting stage, the lyrics for musical numbers were in place, but the episode’s structure—the interplay between song, montage, and plot—remained fluid:

  “A lot of credit goes to the editors... Shelly and Peyton did an incredible job...reordering it to make it its best form.”
  — Ben Smith (11:54)

  • Finale numbers, like “For the Sake of the Child,” had to simultaneously reveal the murderer, advance action, and provide spectacle.

Themes: Motherhood & Motive

(13:13–15:18)

• The murder’s emotional “spin” stands apart from previous seasons—this time, the motive is protection, not premeditation or revenge.

  “There’s no premeditation with Cliff... he’s impulsively standing up for his mom. And he’s wounded. He’s been called boy. He just... snaps...”
  — Ben Smith (13:13)

  • Donna’s guilt, too, is portrayed as the desperate act of a mother—she claims not to have intended murder, but to protect her son and their show.
  • Intergenerational protection—mothers for sons, and vice versa—ties the mysteries together.
  • Mabel’s realization about the mother-son theme ultimately cracks the case.

Writing for the Legends: Meryl Streep and Character Arcs

(15:21–16:44)

• Smith shares the intimidation and delight of writing for Meryl Streep:

  “Oh my god, we have to write something worthy of her... But you also can't get too wrapped up in trying to psych yourself out and override anything.”
  — Ben Smith (15:38)

  • The challenge of providing substantial roles for all five leads (the core trio plus Meryl Streep and Paul Rudd) was balanced by trust in the actors’ abilities.

Final Drafts, Lost Scenes & Filming Out of Order

(17:31–20:13)

• The finale script was drastically trimmed to fit the episode length:

  “When John and I wrote our first draft... it was like 50 pages, and then we spent a day... then a week trying to get it down to 35 or something like that.”
  — Ben Smith (17:31)

  • Fun scenes with the trio at a bail bondsman were cut for pacing.
  • Scenes with Paul Rudd were filmed before the rest of the script was complete due to scheduling conflicts with Ghostbusters.
  • This created logistical and narrative challenges, requiring later rewrites to ensure cohesion.

The Resonance of “Phony” and “Boy”

(20:14–22:29)

• Little character details—like Cliff’s anger at being called “boy” and Ben being called a “phony”—were throwaway moments that became crucial in the finale’s emotional climax:

  “When you get to 10, you’re like, oh, what do we have? You kind of search the previous episodes... it actually is hitting at something much deeper…”
  — Ben Smith (20:49)

Favorite Scenes, Improvisation, and On-Set Moments

(22:52–23:31), (24:07–26:57), (27:28–27:52)

• Smith loved Donna’s confession interrogation scene—watching the trio’s self-awareness (“God, we never get a confession that easily... I hope that was recorded!”).
• Meryl Streep’s performance, especially her dynamic with Dickie and Oliver, and the “nanny lullaby” scene resonated deeply.
• Giving Martin Short a musical number was always a “wish list” item for the writers:

  “We have Marty Short...let’s give him a time to be on stage. Like, why wouldn’t you?”
  — Ben Smith (26:57)

• Improvisational beats (the card scene, Steve Martin’s “Scott Bakula says hi” text) brought extra charm.

  “That was my favorite improv.”
  — Jamie Babbitt (31:13)

Director’s Chair: Jamie Babbitt’s Perspective

(27:52–34:09)

• Babbitt relishes returning to the theater for the finale, seeing the show expand its “theatrical” premise.

  “What a thrill as the director to be able to kill one of my favorite characters from the first season and have the promise of her for the whole next season.”
  — Jamie Babbitt (28:13)

• On musical numbers: Professional choreographers taught Broadway dancers for weeks; the stars received simpler choreography on the day. The lighthouse stairs’ choreography was filmed earlier by John Hoffman due to cast scheduling.
• Remarkable moments: Meryl Streep cuddling the baby doll in between takes; Martin Short’s surprise showcase as a singer; the entire ensemble’s musical prowess.

  “Steve has, like, perfect pitch. Marty's a great singer. Selena's literally a pop star.”
  — Jamie Babbitt (33:53)

Staging, VFX, and Emotional Beats

(34:09–39:12)

• Visual effects helped age or de-age characters subtly in flashbacks (e.g., Donna).
• The “Cliff pushes Ben” scene was pre-filmed by John Hoffman, then integrated into the rest of the finale for narrative pacing.

Showrunner’s Vision: John Hoffman

(39:59–49:53)

• No pushback on “musicalizing” the mystery; the ridiculousness was always intended to be heart-filled and in the show’s DNA.

  “If there’s the Heart, you can pull off ridiculous premises and make a musical of it and people will be drawn to it in some ways.”
  — John Hoffman (40:49)

• John laments never finding an organic way for Mabel (Selena Gomez) to get her own musical number (“unless she’s in a dream sequence”).

  “The only thing that bums me out... is how the hell can we get a Selena Gomez number?”
  — John Hoffman (42:47)

• The theme of parental protection runs through the season, mirrored in Loretta’s and Donna’s stories, culminating in the dual mysteries’ resolution.
• On Mabel and Tobert: The writers purposely left ambiguity about Tobert’s intentions, reflecting fans’ desire to be protective of Mabel.
• The recurring “LA” plot is left unresolved, hinting at future possibilities.

The Joy & Legacy of Meryl Streep

(48:20–49:53)

• Wrapping the season with Meryl Streep was a highlight for the entire cast and crew.

  “Our literal lighthouse this season has been Meryl Streep and the joy she brought... she just had one of the best times ever.”
  — John Hoffman (49:36)

Notable Quotes & Memorable Moments

• “[The strike] was something that we felt we had to do because we felt as though the studios gave us no option.”
  — Ben Smith (04:44)

• “We did not know that we were going to have [Ben] come back to life and then die a second time. That was a very exciting discovery.”
  — Ben Smith (07:44)

• “There’s no premeditation with Cliff...he just kind of impulsively standing up for his mom. And he’s wounded. He’s been called boy.”
  — Ben Smith (13:13)

• “Oh my god, we have to write something worthy of [Meryl Streep].”
  — Ben Smith (15:38)

• “[Martin Short] is a great singer... Why wouldn’t you [give him a number]?”
  — Jamie Babbitt (33:41)

• “Our literal lighthouse this season has been Meryl Streep and the joy she brought.”
  — John Hoffman (49:36)

Standout Segments

• WGA Strike Reflection: Ben Smith’s reflection on the strike (04:44–07:12)
• Unpacking the Mystery Creation: How the plot was discovered as the writers went along (07:12–09:13)
• Music Integration: Collaboration with musical professionals and choreography (09:21–12:37, 34:09–35:42)
• “Boy” and “Phony” Return: A callback detail that retroactively enriched the major murder reveal (20:14–22:29)
• Directing with Legends: Jamie Babbitt on working with Jane Lynch, Meryl Streep, Martin Short, and the rest of the cast (27:52–34:09)

Episode Timestamps at a Glance

• 01:07–03:59: Finale episode recap, plot summary
• 04:13–07:12: Ben Smith on the WGA strike
• 07:12–11:51: Writing the season’s murder and musical elements
• 11:51–15:18: Breaking down the mother-son theme, murder motives
• 15:21–16:44: Writing for Meryl Streep and main cast arcs
• 17:31–20:13: Finale scripting challenges, cutting room insights
• 20:14–22:29: The resonance of earlier character moments
• 22:52–23:31: Favorite interrogation & physical comedy
• 24:07–26:57: Giving Martin Short his musical moment
• 27:52–34:09: Jamie Babbitt on directing and musical numbers
• 34:09–39:12: Choreography, visual effects, and Dickie-Loretta reveal
• 39:59–49:53: John Hoffman on the season’s creative vision and character arcs

This episode is a must-listen for any fan wanting to understand the intricate craft, playful spirit, and emotional foundation underpinning Season 3’s grand finale—and the ongoing legacy of Only Murders in the Building.