S4 E10: My Best Friend’s Wedding (Part 1)

Summary

Only Murders in the Building Official Podcast
Episode: S4 E10 – "My Best Friend’s Wedding (Part 1)"
Date: October 30, 2024
Host: Maggie Bowles & Ryan Tillotson
Guests: Jane Lynch (Saz Pataky), Jin Ha (Rex Bailey / Marshall P. Pope), John Hoffman (Showrunner/Co-creator/co-writer), JJ Philbin (Co-writer)

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Episode Overview

In this behind-the-scenes breakdown, hosts Maggie and Ryan unpack the explosive Season 4 finale of Only Murders in the Building, "My Best Friend’s Wedding." The discussion features cast and creative team insights into the episode's emotional climax, surprise reveals, technical movie magic, standout comedic moments, and the ever-present blend of mystery and heart that define the show.

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Key Discussion Points & Insights

1. Recap of the Finale’s High Stakes

• (00:23–03:42) The hosts meticulously walk through the plot: Saz’s daring stunt for Charles, Mabel’s peril with the unmasked Rex, the trio’s ledge-scaling rescue, and Jan’s dramatic return to foil Rex.
  • Main revelations:
    • Rex (formerly Marshall P. Pope) confesses to killing Saz and Glenn, motivated by jealousy and ambition.
    • Charles, Oliver, and Mabel work together to subdue Rex with the “Eva Longoria 19-in-1 Multi Tool.”
    • Jan, hiding in the building’s walls, delivers the final blow to Rex.
    • The finale closes with a wedding, emotional farewells, and a new mystery: Lester is found dead in the fountain.

2. Bringing Depth to Saz & Jane Lynch’s Reflections

• (04:39–06:25; 07:36–08:12)
  • Jane Lynch delves into Saz’s deeper emotional arc, from stoic stunt double to fiercely loyal confidante.

    “She talks about throughout this season about the importance of her number one, and she is just fiercely loyal… It’s news to him what she endured for him, the injuries, how it was all about for her, her devotion to him.” — Jane Lynch (07:02)

  • The set’s meta moments: Saz’s stunt double was previously cast as "Slim Pataky" and a memorable on-set photo featured four “Charlies” (Steve Martin, Jane Lynch, Eugene Levy as Charles in the movie, and the stunt double).

3. Movie Magic: Filming Emotional Confrontations Amidst COVID

• (09:19–13:45)
  • Jin Ha shares the technical artistry behind the crucial Saz–Rex confrontation, shot without the two leads in the same room due to a last-minute COVID diagnosis. Stand-ins and split-screen effects brought the scene to life.

    “Both of us had to shoot that scene without each other… But we were able to see it on the monitors and try it again. It was kind of amazing.” — Jin Ha (10:41)

  • Jane Lynch praises the stand-ins and recounts the unusual shooting experience.

4. Saz & Rex: Betrayal, Ethics, and Humorous Touches

• (15:18–18:14)
  • Lynch discusses Saz’s strong personal code, her “soldierly” devotion, and the emotional core of her betrayal by Rex.

    “For Saz, that would be flipped. Her ambition was not greater than… She would never betray somebody… to achieve a goal.” — Jane Lynch (16:57)

  • Standout comedic moment:

    “I had a dream too. I had the dream to sell my script and build a trampoline park in New Jersey.”
    “A what?”
    “Never the fuck you mind.”
    — Jane Lynch as Saz, Jin Ha as Rex (18:29–18:36)

5. Writing & Structural Decisions: Rex’s Reveal and Mabel in Peril

• (19:27–20:59)
  • JJ Philbin and John Hoffman discuss narrative choices, particularly the tension of isolating Mabel with Rex and the rare step of putting her “in real peril.”

    “We hadn’t put Mabel alone in peril… in that way before.” — John Hoffman (20:05)

6. Rex’s Complex Backstory & Performance Praise

• (21:14–23:55)
  • Hoffman and Philbin commend Jin Ha’s chilling performance and share how Rex was imagined: an aspiring writer, pressured by a tough father, whose stunt background and ambition drive his choices.

    “I watched him do it, and he was flawless each time… I just went, fuck, he’s good.” — John Hoffman (22:04)

7. The Eva Longoria 19-in-1 Multi Tool: A Running Gag Pays Off

• (25:07–27:45)
  • Discussion of how a running joke (the “Eva Longoria 19-in-1 Multi Tool”) serendipitously became a Chekhov’s Gun for the finale.

    “It’s one of those things that happens so often in the room, something gets pitched as a joke… and then as we’re breaking that scene in the finale, it’s like, oh my god, we did all this work without meaning to.” — JJ Philbin (25:39)

  • The tool’s various functions (nail gun, vibrator, autotune recorder) are playfully listed, driving both plot and comedy.

8. All About the Ledge: Stunt Work and Thematic Reveal

• (29:08–34:41)
  • Rex’s ability to navigate the building ledge solo ultimately solves “who was the accomplice” (answer: the ledge itself).

    “The ledge was his accomplice.” — John Hoffman (29:53)

  • Technical trickery: Jin Ha’s green screen work; Steve and Marty’s in-character (not real) stunts add comedic flair.

9. Doubles, Red Herrings, and Subverting Expectations

• (33:06–34:41)
  • The writers tease the season’s “doubles” motif and address fan theories about yet another twist (e.g., Rex’s possible twin).

    “Every season, they know what they have to try to work against… Layering in so many different suspects, but also stories and relationships.” — Jin Ha (34:14)

10. What Regrets? And Handling Tragedy in a Comedy

• (35:10–39:53)
  • John Hoffman recounts his one regret: missing a shot of Rex stuffing Saz’s body and himself down the trash chute post-murder.

    “I was excited to see that moment… and I missed or forgot that it wasn’t in the script.” — John Hoffman (36:57)

  • JJ Philbin weighs the balance between dramatic realism and comedic tone, especially regarding on-screen violence.

11. Jan’s Triumphant (and Poetic) Return

• (39:53–44:54)
  • The creative team discusses Jan’s climactic role in bringing down Rex, her peculiar code of honor, and Amy Ryan’s improvisational choices in her return scene:

    “I love, like, the thumbs up…” — Ryan Tillotson (41:38) “She’s got a code of honor, and I really appreciate that. So I think that whatever heaven Saz is in… that made her really happy.” — Jane Lynch (45:17)

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Notable Quotes & Memorable Moments

• Jane Lynch on Saz’s ethos:
  “She is all about devotion, following the rules, doing things the right way in order to protect… she’s a good soldier.” (15:18)

• Jin Ha on filming without Jane Lynch:
  “Both of us had to shoot that scene without each other… split screen, me and Jane with like a shadow of our stand ins so that we could see like, oh, how well can we time out, us walking down the steps into the living room.” (10:41)

• Saz’s humor in heartbreak:
  “I had a dream to sell my script and build a trampoline park in New Jersey.”
  “A what?”
  “Never the fuck you mind.” (18:29–18:36)

• John Hoffman on Jin Ha’s performance:
  “I just went, fuck, he’s good. And everybody kind of like, it just came out of me…” (22:04)

• JJ Philbin on the 19-in-1 Multi Tool:
  “It's a vibrator, and it's a nail gun… I would buy one of those.” (27:03–28:08)

• The ledge as accomplice:
  “Was it, in any way, disappointing? Because I’m like, oh, that’s a setup that people could feel a little bit of a disappointment about… But it also felt like an answer that I don’t think a lot of people will see coming.” — John Hoffman (29:53–30:45)

• Jan to Charles:
  “You've been hiding in my apartment closet for three weeks?”
  “And the secret passageways. I was just waiting for you to figure out the case so I could exact my revenge…” (41:47–42:13)

• Jane Lynch on Jan avenging Saz:
  “It shows that she also operates from her own code of honor. And even though she’s, you know, a criminal and a murderer, she’s got a code of honor…” (45:17)

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Episode Timestamps

• 00:23–03:42 – Finale Recap (plot points, rescue, Jan’s return, wedding, new mystery)
• 04:39–08:12 – Jane Lynch on Saz’s character depth & season highlights
• 09:19–13:45 – Jin Ha and Jane Lynch on secretly filming face-off scenes
• 15:18–18:14 – Saz’s code of ethics and comedic moments (“trampoline park”)
• 19:27–20:59 – Writers on isolating Mabel and crafting tension
• 21:14–23:55 – Creating Rex’s backstory and actor praise
• 25:07–27:45 – The birth and payoff of the Eva Longoria 19-in-1 Multi Tool
• 29:08–34:41 – Ledge stunts, green screen, and playing with “accomplice” expectations
• 35:10–39:53 – Creative regrets, editing choices, and show’s tone on violence and murder
• 39:53–44:54 – Jan’s reveal, Amy Ryan’s performance, and the satisfaction of poetic justice for Saz
• 45:13–45:50 – Jane Lynch’s feelings about Saz’s avenger
• 46:01–46:21 – Final fun quotes and sign-off

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Summary & Takeaways

• The creators and cast provide an engaging, often humorous, look behind the curtain—sharing both the emotional undercurrents and the unique production challenges of the season finale.
• The episode highlights Only Murders in the Building’s deft balance of drama and comedy, exemplified by the “trampoline park” line, the recurring multi-tool gag, and Jan’s grand re-entrance.
• Major technical feats (stunt work, split-screen scenes) are celebrated, as are the actors’ performances and the writers’ skillful, sometimes serendipitous, plotting.
• The finale wraps up key mysteries, seeds the next season, and leaves the hosts and guests reflecting on the show’s knack for the unexpected—as well as its big-hearted, eccentric sense of humor.

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Next episode:
More in-depth wedding details, Lester’s fate, and teasers for Season 5!

Transcript

[Maggie Bowles]

Straw Hut Media.

[Jin Ha]

I mean, who the hell? I just. I love parkour personally. And have I been jumping around cities all over, you know, since my teenage yelling Parkour? Yeah, absolutely. 100% I've been doing that.

[Maggie Bowles]

Hello and welcome to the Only Murders in the Building podcast. I'm Maggie Bowles.

[Ryan Tillotson]

And I'm Ryan Tillotson. We are looking behind the scenes and mining for clues as we meet the cast and creators of the Hulu original series, Only Murders in the Building.

[Maggie Bowles]

Today on the show, we're talking all about the season four finale, My Best Friend's Wedding.

[Ryan Tillotson]

We'll hear from Jin, Jane, John and J.J. what a lineup. Wow, that's Jin Ha, who plays Marshall P. Pope slash Rex Bailey. Jane lynch, who plays Saz Pataky, showrunner, co creator and co writer of this episode, John Hoffman and JJ Philbin, who co wrote the episode with John, Jin,

[Maggie Bowles]

Jon, Jane and JJ we'll talk about the movie magic that made the emotional scene between Saz and Marshall possible, putting Mabel in pain, and the triumphant return of Jan.

[Ryan Tillotson]

But first, a quick recap and listeners. There are spoilers for episode 10, so if you haven't watched, hit pause, go watch, come right back.

[Maggie Bowles]

Episode 10, My Best Friend's Wedding.

[Ryan Tillotson]

Saz voiceover opens up the episode. We see her tap in for Charles and jump off a building.

[Maggie Bowles]

Charles and Oliver realize that Mabel is trapped in her new apartment with the man formerly known as Marshall P. Pope, and he says he'll kill her if they come near them. We're gonna call him Rex from now on because it's confusing.

[Ryan Tillotson]

Rex admits he killed Szazz and Glenn Stubbins. Mabel convinces him to keep her alive, at least long enough to help him with the script.

[Maggie Bowles]

Charles and Oliver decide that the only way to get to Mabel is to scale the ledge. So they go to Vince's apartment to get as close as possible, and on the way, they run into Loretta, who says she has to move to New Zealand for the show.

[Ryan Tillotson]

Charles leads the way on the ledge and Oliver joins him. They merengue to Mabel's window. At the same time, Vince and Rudy ring the doorbell to distract Rex so that Mabel can let Charles and Oliver in.

[Maggie Bowles]

Once they get inside, Charles grabs Eva Longoria's 19 in one multitool and Oliver manages to get the gun from Rex and we learn how and why he killed Saz.

[Ryan Tillotson]

Apparently, Rex's writing career was not going well, but his dedication inspired Szasz to write a screenplay of her own. After he read it, Rex, he lied and told her it's no good. And so he took a copy to give her notes.

[Maggie Bowles]

Then he sent it out and he says he just wanted an agent and that he didn't expect it to get greenlit and fast tracked. But Szazz found out and confronted him and told him she was going to tell Charles.

[Ryan Tillotson]

So Rex decided he had to kill Szasz. He knew about the Dudenoff apartment from the B story in Szasz's script that he cut. He shot her through the window, then scaled the ledge and threw her body down the trash chute.

[Maggie Bowles]

So sad. Back in Mabel's apartment, Rex parkours. He gets the gun back and it looks like it's the end for the trio. But then he's shot Jan. Jan got him from Charles apartment. She's been hiding out in the walls the whole time.

[Ryan Tillotson]

Three weeks.

[Maggie Bowles]

Now that they know that Saz wrote the script and Rex is gone, Charles, Mabel and Oliver decide to get a little bit more involved in the movie.

[Ryan Tillotson]

Then it's the wedding. It's beautiful. Charles brings Saz's ashes and Dickie and Will walk Loretta down the aisle. So sweet Loretta tells Oliver he should stay in New York while she goes to New Zealand.

[Maggie Bowles]

And then a woman approaches Charles and Mabel to ask for their help in finding her husband. And Charles tells her they only do murders in the building. But she says her husband has everything to do with the building. What?

[Ryan Tillotson]

Loretta leaves, they wrap up the podcast, and then they find Lester dead in the fountain.

[Maggie Bowles]

Lester?

[Jane Lynch]

Yeah.

[John Hoffman]

Wait.

[JJ Philbin]

Oh, my God.

[Jane Lynch]

Lester.

[John Hoffman]

Lester.

[Jane Lynch]

Call 911.

[Maggie Bowles]

Oh, my gosh.

[John Hoffman]

Lester.

[JJ Philbin]

No, no, no, no, no.

[John Hoffman]

Oh, my God.

[Jin Ha]

No.

[Maggie Bowles]

Lester.

[John Hoffman]

Thank you for calling 91 1.

[Maggie Bowles]

There are 72 emergencies. We were so, so, so lucky because the amazing Jane lynch agreed to talk to us one more time after the finale.

[Ryan Tillotson]

After we watched episode 10. We're like, we have to talk to you because it was such a great episode. You were so fantastic.

[Jane Lynch]

Thank you.

[Maggie Bowles]

Yeah, we got like, we got such an emotional side of Szaz that we had never really seen before. And it was, you know, John had kind of teased it to us. He's like, just wait. Where. Just wait till you see sort of what's coming this season for Szas. And he was right. So we really loved that.

[Ryan Tillotson]

Absolutely.

[Jane Lynch]

Good. Yeah, I thought it was just. It was a delight to do. I was. The whole season was just, you know, mostly a surprise. I didn't know what was going to happen. And then when we got to that

[Maggie Bowles]

final episode, we also get some voiceover from Szaz in this episode, which I loved. I loved hearing her, like, perspective on making a movie. Everyone's together to tell a story. Oh, and we learned that your stunt double for the Jump off the Building was the same actor that played Slim Pataky.

[Jane Lynch]

Yeah, my dad.

[Maggie Bowles]

Yeah, I love that.

[Jane Lynch]

So it was so meta. It was so weird, especially when Eugene was on set. So here, Eugene Levy. So you have Steve Martin. Then you have me playing a stunt double, dress just like him. Then you have Eugene Levy playing him in the movie, looking just like Steve Charles. And then you have our stunt double. And I forget his first name, but he did everything for me. He did all my stunts. And so at one point, all four of us were together, and we took a picture.

[Maggie Bowles]

Oh, I love it.

[Ryan Tillotson]

That's so great.

[Maggie Bowles]

So one of the really cool things we get both in episode nine and episode ten is we get to see Szaz on set doing her thing. Like, in nine, we see her being a mentor and sort of stunt coordinating. And then in 10, we actually see

[Ryan Tillotson]

her do a stunt jumping off that building.

[Maggie Bowles]

Jumping off the building, tapping in for Charles. What was it like filling in that sort of, like, dimension for sass?

[Jane Lynch]

Well, it's. You know, she's powered by this job. Everything about it. She takes everything seriously about it. So it was really fun to inhabit that. You know, she sits in the same apple box, always ready to go. She's, like, in a position where she's ready to get up, tap in, and. And they have their thing that they do, you know, where she taps with the right, pushes with the left. And we've got, like, this choreography that we. We worked out. And for her, it's almost like, militaristic. And her loyalty to him is almost like her. Her loyalty to her commanding officer. She talks about throughout this season about the importance of her number one, and she is just fiercely loyal. And I think that's what's revealed throughout the season, that, you know, Charles, Steve Martin's character maybe doesn't even know, you know, some of it. It's news to him what she endured for him, the injuries, how it was all about for her, her devotion to him. And I think he found that just a. Kind of a surprise and so touching. And you can see. I mean, his acting in this is just brilliant.

[Maggie Bowles]

And.

[Jane Lynch]

Yeah, so that. That was really fun. Who. Who would have thunk it would go that deep in that, you know?

[Ryan Tillotson]

Yeah, well, yeah, and he does.

[John Hoffman]

He.

[Jin Ha]

He.

[Ryan Tillotson]

He appreciates the movie so much more when he discovers that you wrote it, that it was done, and out of this Love, you know. Yeah. It's very beautiful.

[Maggie Bowles]

Yeah. And it makes a lot of sense knowing that Szasz is actually the one who wrote the Only Murder.

[Ryan Tillotson]

Yeah.

[Maggie Bowles]

And of course it was very good.

[Jane Lynch]

Yeah, yeah, yeah, yeah. But I like how she has such humility and it's something she's not an expert at. So when she gives it to Jin because she thinks that he's, you know, he's the expert and she really, you know, when he says, you know, she really listens because she's that humble. She doesn't assume she knows anything about this and she's wants to learn. And you know, of course he took advantage of that. And. Nice beard, Rex.

[Jin Ha]

Thanks.

[Jane Lynch]

Have a seat. Or should I call you Marshall? The list of suspects wasn't long, but you were the only person I let see the script.

[Jin Ha]

Sass. This just got out of hand so quickly. I wanted to tell you, but.

[Jane Lynch]

No, you didn't. You told me the script was bad and then you stole it from me. You know me, I can take a hit. Nearly lost a leg during Police Academy 7.

[Jin Ha]

But this, I love that. I love that scene.

[Ryan Tillotson]

This is Jin Ha. He plays Rex Bailey in Marshall P. Pope, the murderously ambitious stuntman and writer that killed Saz and Glenn Stubbins.

[Jin Ha]

I mean, right. Like, in addition to everything about this job has been not just pinch me, but like slap me dreams, you know, like in addition to every element of performance and preparation that we've talked about. Like, we're not even talking about the people that I got to work with because that seems like it's already a given. And we, we. We know all those things. This is incredible group of people. And then on top of all of that, like to then have scenes with Jane lynch and not on like meaty scenes with Jane. Lynch was such a gift and the nicest person and the warmest and so easy to play with and like to assume that history and that relationship with her. And then the funny thing is that two days maybe before I had to, we were shooting that scene. I got Covid.

[John Hoffman]

Oh, no.

[Ryan Tillotson]

So then.

[Jin Ha]

But Jane lives in California and so she had a very like a narrow window to shoot. And so they shot. Both of us had to shoot that scene without each other.

[Jane Lynch]

What?

[Jin Ha]

Yeah, it's. I mean, it's kind of amazing how they did it. And kudos to both of our stand ins. They were amazing. And so both of us had to. On. On that like Friday, I think Jane shot and Jane shot with my stand in and he had to. He had memorized my Lines. And then essentially it was okay with like, you know, over the shoulder, like dirty coverage or whatever, or like clean coverage. It was okay with that. But there were a couple of like wide shots, I think you see, where like I enter the building, I enter their apartment for the first time. When I was there a couple days later or however many days later working with her stand in, she had memorized her lines, but then also had to memorize the gestures and the movements that Jane had done to match it. Like, for example, if it's something over her shoulder, the director would come in or the script supervisor would be like, well, she actually put her hand out like this in this moment or did some gesturing. So just make sure to do that on that line. And then with that wide shot where we're entering, it was kind of incredible what Video Village, what they were able to do with. Because they were. We did a take with both of our stand ins, you know, different, different times. And then they were able to superimpose, like split screen, me and Jane with like a shadow of our stand ins so that we could see like, oh, how well can we time out? Us walking down the steps into the living room. And it didn't take that many tries, thankfully, but it was like, oh, you're walking down a little too soon. Or like as you're walking down, just take a little bit more time. So you kind of land at the same time on the couch. But we were able to see it on the monitors and then like try it again. It was, it was kind of amazing. And I was watching her monitors to see the take and then essentially build my performance around that.

[Ryan Tillotson]

Yeah, so wild movie magic right there. Yeah, truly, you would have no idea. Like, that scene is so powerful and to know that you guys weren't even there to get together is so wild.

[Jin Ha]

Well, I'm so glad to hear that. But it really was like, yeah, it was another one of those experiences of this is so typical. Like, this is so peak, like movie magic, as you were saying, and that I got to experience it. I mean, you know, it was obviously like, ideally I would have loved to have been in the scene in the room with her and worked on that. But I was so excited to like witness this technology happening, you know, in real time. And also I found out I was like in tradition of the show as well. I think Michael had had to do similar things in season one or something because he, he was called out. And like, I think he told me it was the first time when they interview him about the dead cat that was actually like he was on the couch. And I think Steve and Marty maybe were like on iPads or something. Yeah, yeah. So I was like, okay, I'm happy to have carried on this Rich, you know, this tradition.

[Maggie Bowles]

Wow. Wow.

[Jin Ha]

The standards really were the heroes. They were, they were fantastic.

[Ryan Tillotson]

Unbelievable.

[Maggie Bowles]

That's amazing.

[Ryan Tillotson]

Yeah.

[Jane Lynch]

He got Covid.

[Maggie Bowles]

That's what he said. Yeah.

[Jane Lynch]

Yep. Right at the, right at the end there.

[Ryan Tillotson]

We're back now with Jane Lynch.

[Jane Lynch]

Yeah. And you know, his, his stand in and I wish I could remember his name. He was great. He was really good. You know, I mean, Jin's. He wasn't an actor, but he learned the lines and, and the same thing happened with my stand in. She learned the line. So, you know, Jen had somebody to act with. We didn't have each other, but we, we had acted together before in other scenes. So. But yeah, I think it was just a happy accident, especially for those stand ins. I mean, they really got it. You know, they got some good strokes for being able to do what they did, which was great. But I, of course would have rather shot the scene with Jin.

[Maggie Bowles]

Yeah, we talked to him the other day. He's lovely.

[Jane Lynch]

Such a lovely, great guy.

[Maggie Bowles]

Not at all a murderous psychopath in real life.

[Jane Lynch]

Big surprise.

[Ryan Tillotson]

Big surprise.

[Maggie Bowles]

Yeah.

[Jane Lynch]

I would be surprised if he ended up being a psychopath or a murderer.

[Ryan Tillotson]

Well, can you just tell us about shooting this scene where you ask him to come over for a drink? I mean, I mean, obviously he wasn't there, but I'm just curious, like, can you, can you just. What was the process like doing it with a stand in?

[Jane Lynch]

Well, the scene itself, you know, it was kind of the, the climax to her code of ethics. You know, she. She is all about devotion, following the rules, doing things the right way in order to protect. You know, it's militaristic almost. It's like she's a good, She's a good soldier. And then he, Jin Marshall, slash Rex, I think she called him Rex. He betrayed her. And she's never been betrayed before and she would never. It's not even in her, her, you know, her, the way she operates, it's. It's the worst possible thing. Thing that you can do to another person is to betray them. And she's kind of guileless. She's very trusting and she's very earnest. Yeah, very earnest. And, and she doesn't judge. Like she loves Amy Ryan's character even though she's a murderer and you know, kind of turns her on and everything. But I mean, Even Jan operates from ethics that are kind of line up with says is, you know, you're.

[Ryan Tillotson]

You're.

[Jane Lynch]

Even if it's about murdering you, you stayed true to your mission. And he. He didn't do that. He. He. He betrayed me. And so as we're shooting that scene, when I saw that scene, it was the. Probably something she has never experienced in her life and she's completely thrown by it. And she's going to tell him what you know she's gonna. And what I love about it, the stand in as well as Jin the actor. You know, there was a shame. But not enough, right? Yeah, not enough. His ambition was greater. Whereas you know, for says that that would be flipped. Her ambition was not greater than. She would never betray somebody. And you know, to. To achieve a goal.

[Maggie Bowles]

Yeah.

[Ryan Tillotson]

And what I also just really loved about that scene is it's so emotional. But at the same time there's this moment where you say, I have dreams too. I want to open my trampoline park in New Jersey. And he goes, huh, huh. And then what do you say? Never fuck you mind.

[Maggie Bowles]

Never the fuck you mind.

[Ryan Tillotson]

Never the fuck you mind. It still has this humor.

[Maggie Bowles]

It's so funny.

[Ryan Tillotson]

And I suppose in that moment you thought maybe he was going to steal that idea too.

[Maggie Bowles]

I don't know.

[Jane Lynch]

Yeah, that I kind of. I think I played it as. Yeah, then he would steal it. But I think what I played it at as was like, don't you dare make fun of me for my dream. But that's a good. If you got that. I think I kind of like that. That's an even stone. Like don't you steal this idea. The trampoline park idea.

[Ryan Tillotson]

I just love that moment. It was absolutely great.

[Jane Lynch]

This is mine. I hadn't even told Charles yet. I wanted to ask his permission before I tried to sell it. Do you see the mess you've made here?

[Jin Ha]

I do. But this movie is my dream.

[Jane Lynch]

I had a dream too. I had the dream to sell my script and build a trampoline park in New Jersey.

[Maggie Bowles]

A what?

[Jane Lynch]

Never the fuck you mine.

[Jin Ha]

Osaz, if you say something about this, I'll never live it down with my dad. With anyone.

[Jane Lynch]

I don't know what I'll do if this gets out.

[Maggie Bowles]

After the break, John Hoffman and JJ Philbin tell us about Rex Bailey's backstory and try to listen all 19 functions of Eva Longoria's 19 and 1 multi tool.

[Ryan Tillotson]

Welcome back. When we talked to Ben Smith and Alex Bigelow, we learned that the timing of Marshall's reveal was a point of discussion. JJ Philbin and John Hoffman co wrote this episode. Here's jj.

[JJ Philbin]

Yeah, I remember having a lot of conversations around whether he was going to be revealed at the end of 9 at the top of 10. And then we were really loving the idea that Mabel was kind of marooned with him in her apartment and that we. And that Charles and Oliver have no, you know, that they don't know that yet. And then we can kind of start 10 with them realizing, oh my gosh, she's with the killer. And looking out that window and seeing him there, it was like, it was really fun when we talked about that.

[John Hoffman]

Yeah. We hadn't put Meryl. Meryl. We hadn't put Mabel alone in peril, I don't think in that way before. So.

[Maggie Bowles]

Is that right?

[JJ Philbin]

Yeah, as far as I know.

[Maggie Bowles]

I see. Yeah. Mabel in peril is Meryl. Yeah, that's the connection.

[Jin Ha]

That's why I do that.

[Maggie Bowles]

Exactly.

[John Hoffman]

Yeah, exactly.

[JJ Philbin]

But I was watching not to be talking about nine because I know we're. This is the 10 conversations.

[Maggie Bowles]

I know.

[JJ Philbin]

Well, it's only because I just watched it the other night. And it's that look that Jyn gives, like when he turns and looks at Mabel and you're going terrifying. Oh my God. And it's suddenly this new color from him that you haven't seen all season long. And it is, it's. It's chilling in the best possible way.

[Maggie Bowles]

It definitely is.

[Ryan Tillotson]

Yeah. I was, I. I guess I was like, I don't. I didn't know what he was gonna do. I. I felt like I. I didn't believe that he was gonna kill her. But also he killed. I guess, I don't know.

[Maggie Bowles]

He's a murderer.

[Ryan Tillotson]

I know, I know. And I didn't want him. He feels so innocent.

[John Hoffman]

And he was gonna keep an innocent guy. And then I think that was it. Just to say there was one moment when we were shooting 10 and it was like after a whole season of watching Jinho be fantastic as Marshall and falling all over the place because of his blown off heel, but the idea that he was actually raised to be a killer, like a marksman by his father and all of that. So that when we were shooting the stuff of him in that space, stressed out, looking out the window and not being able to shoot Szasz in the first moment he sees her and stressing out and then spotting her. I wish I could have described this, but like, those are those moments that are very technical when you're shooting stuff and someone Walking, turning, looking like they're spotting something and having to have so much going on in a quick bit of bolt of, you know, I'm doing this moment. It was chilling, but we. I watched him do it, and he was flawless each time. But I think it was after the second or third take of just him doing some different variation. Each one was more perfect than the next. Jamie Babbitt yelled, cut. And I just went, fuck, he's good. And everybody kind of like. It just came out of me, and. And I. I think it was five minutes later I was over there, and we were taking a moment between setting up the next shot or something like that, and I said, jen, that was so good. He said, no, I. I heard you say that earlier. It really made me feel good. But, yeah, it just came bursting out like, Jesus, I'm watching the monitor. And, like, he's really a wonderful actor.

[Ryan Tillotson]

He looked like he knew what he was doing there. I mean, he.

[John Hoffman]

No, he is a deep diver. Right from the beginning.

[JJ Philbin]

Well, we gave him such a complex backstory. I'm sure his head was spinning by the time you finished telling him about it. Because here's someone who had this really tough childhood, who wanted to be a writer, whose dad didn't believe in him, makes his way to Hollywood, but then takes this left turn into stunting and, you know, then finds a way to get his script produced. But his stunt background comes back. I mean, he probably was like, whoa,

[Maggie Bowles]

yeah, there's a lot going on.

[Jin Ha]

I. I couldn't do it.

[John Hoffman]

It's okay. It's okay. You're not a killer.

[Jane Lynch]

You're not a killer. You're a writer.

[John Hoffman]

You're not a killer. You're a freshman.

[Jin Ha]

You're a writer. You're a writer. You're a writer.

[JJ Philbin]

You're a writer.

[Jin Ha]

No, fucking not. But maybe. Maybe to be a writer, I had to become a killer.

[Jane Lynch]

Only she didn't die.

[Maggie Bowles]

I would like to ask About Eva Longoria's 19 and 1 multi tool becomes very useful. It makes a big comeback in this. In this episode. When. When. How. What was the decision between coming up with the tool and then being like, this is gonna be instrumental in our story. You know what I mean?

[John Hoffman]

Once. I think you guys were working that out. I know. But I will only say that I will call it divine intervention, because I think when the writers, when they were breaking that scene and all of that, were imagining Steve Martin's perfect read of. It's Eva Longoria's 19 and 1 multi tool, like, just the thread of it behind it and the perfect comedy in the way he says that. But yeah, yeah.

[JJ Philbin]

I mean, it's one of those things that I feel like happens so often in the room, which is something gets pitched as a joke. We weren't thinking at all about, well, what weapon can we plant in there that we won't see as a weapon but that we can use in the finale? We were just having fun with that tool and talking about all of the different, you know, functions that it had. And then as we're sitting there breaking that scene in the finale, it's like, oh, my God, we did all this work that we didn't mean to do, but is now sitting there for us, which is like, he can reach over and grab that so that he has a moment where he can be kind of menacing, but it's ridiculous because, you know, it's on the vibrator setting. And so in our version, he turned it and it started playing let's get it on, you know, Then it got switched to the vibrator sound. But that was sort of the intention of, like, it's a sex toy.

[Maggie Bowles]

In that moment.

[JJ Philbin]

It was really making us laugh. But it was just felt like it got. And I feel like that happened a few times in this episode where the things that we had done throughout the season that we just did for fun or for jokes. Of course, I can't think of one other thing right now, but I know they exist, that suddenly you're like, oh, my gosh, we could use that. And you have this kind of treasure trove that's accumulated over the last nine episodes that you get to pick from. That's so fun about this one.

[John Hoffman]

Well, that was also sweet because Eva in episode eight does say one of the features of that multi tool is that it's a nail gun.

[Ryan Tillotson]

Nail gun.

[John Hoffman]

So that is planted. And then Charles sort of using it in a way that. That's actually effective for a moment. Drop the gun.

[Jin Ha]

What is that?

[John Hoffman]

It's Eva Longoria's 19in1 multi tool. At least four of the settings could kill you. Okay, Sit down, you fake bearded bastard. Sit down.

[Ryan Tillotson]

Do you know all 19 uses?

[Maggie Bowles]

Yeah. Can we listen?

[JJ Philbin]

No, but we.

[Maggie Bowles]

We could probably rattle off, like, five

[JJ Philbin]

or six, but yeah, it. It has a red light. I know that.

[Ryan Tillotson]

The autotune.

[Maggie Bowles]

The red light recorder.

[Ryan Tillotson]

The autotune recorder.

[JJ Philbin]

It's a vibrator and it's a nail gun. Yeah.

[John Hoffman]

I feel like you're proudly.

[JJ Philbin]

Yeah, I would buy one of those. I hope that.

[John Hoffman]

Be careful to say Diana Burton again in Our prop team that putting together the 19 in 1 multi tool that Eva Longoria designed, that is fully built and invented by our brilliant.

[Ryan Tillotson]

I'd be so curious to know how that.

[John Hoffman]

Mila. Who puts Mila? Diana Burton, I want to say our set decorator this season. Mila was just magnificent as well, looking at those apartments over there. The variations that Mila found in dressing all of those sets so exquisitely, and the depth of them, certainly in concert with our incredible prop department, too. They've worked miracles this season.

[Ryan Tillotson]

Okay, so in this episode, we learn that Rex didn't have an accomplice, and the ledge was, I guess, his accomplice. He was able to get there on his own and handle this all by himself, which is very impressive.

[Maggie Bowles]

Peak physical form.

[Ryan Tillotson]

Peak physical form. And we see Charles and Oliver walk the ledge, and that is a very entertaining scene.

[Maggie Bowles]

What is the dance? Are they doing the flop? I can't. I was trying to remember the merengue.

[JJ Philbin]

What's the merengue?

[Maggie Bowles]

I said that earlier. Okay, tell us about that.

[John Hoffman]

Because the tango would have been too sexual.

[JJ Philbin]

Too many. It would have been too erotic.

[John Hoffman]

Yes, exactly. That one. Yes. That one is. Is. Well, first of all, I'm. I have to ask you guys, okay, because this is a question that I have when I look at, like, from 9 into 10, and I. I do wonder, like, people are hanging on to that. Who's the accomplice is the last twist.

[Maggie Bowles]

That's.

[Ryan Tillotson]

That's what I thought.

[John Hoffman]

That's what you were thinking, right? I'm gonna find out in episode 10 who he was working with or who took the lead in that in some way. So I wondered, too, was it. Oh. Was it in any way disappointing? Because I'm like, oh, that's a setup that people could feel a little bit of a disappointment about that. But I kind of love it because it's a reveal that ties into the stuntman, obviously. Well, I love it because we did it. That's what I chose. We all chose to do it, but understand that we liked it. But I do think the reveal of that ledge also, obviously setting up a great, both heroic and comedic set piece for our two brilliant comedians, felt right in that moment. So. But it also felt like an answer that I don't think a lot of people will see coming.

[Ryan Tillotson]

Well, let me answer your question. I was not disappointed at all. I was. Felt dumb. I felt dumb because I. Why the ledge was there the whole time? Why didn't I think of it, you know? Or why didn't I guess I just it made me feel like I wasn't thinking hard enough.

[John Hoffman]

Okay. All right. That's good. That's good. I'm glad.

[Maggie Bowles]

As you probably guessed, Jin Ha shot that scene where he's scaling the building on a green screen. He did not really scale the arconia.

[Ryan Tillotson]

Bummer.

[Maggie Bowles]

Yeah.

[Jin Ha]

Steve and Marty really did go to the side of the building, though, because they just. It's in their contract to do all their stunts themselves.

[Maggie Bowles]

They were really hanging off things. You know, it helps step and slide, the performance.

[Jin Ha]

Yeah.

[Maggie Bowles]

What was. What was their. What was their dance? Yeah.

[Jin Ha]

What was it? I can't remember.

[Ryan Tillotson]

Wasn't it something like that?

[Jin Ha]

I got to see that from, like, the ins. I was watching through the. From the inside of that building, like, sneakily, just watching them, just seeing their soul.

[Ryan Tillotson]

It's, like,

[Jin Ha]

so funny.

[Maggie Bowles]

Yeah.

[Jin Ha]

That was all green screen, but it was the outside, like, facade that they had built on the studio set, and then they had built out, obviously, like, a safety ramp. Yeah. That was a lot of fun, though,

[Ryan Tillotson]

because that's the big. Really. The big reveal of this episode, because we learned that you did it in episode nine, basically.

[Jin Ha]

Yeah.

[Ryan Tillotson]

Yeah. And so 10 is like, is there, like, an accomplice or.

[Maggie Bowles]

No accident.

[Ryan Tillotson]

He did it alone. And that's kind of the big reveal.

[Maggie Bowles]

Peak physical condition.

[Jin Ha]

Yes, I was. That's right. Yeah, that's. I was curious to know, like, your experience watching it also without knowing what your journey was. But you just. You just shared a little bit that by the end of episode nine, it's kind of clear that Marshall certainly was a part or involved with it for sure. But. Yeah, but it's interesting. So I'm hearing that there were still questions, though, that you had even going.

[Ryan Tillotson]

That was the big one for me. Like, was there an accomplice? And I was like, it's Helga.

[John Hoffman]

I don't know. Or something.

[Maggie Bowles]

He never trusted Helga, but.

[Ryan Tillotson]

But, yeah, like, he needed. Because they lay out a whole plan, like, it's gotta be two people earlier in the season. And so. But you're just so fit.

[Jin Ha]

Right.

[Maggie Bowles]

I was wondering.

[Jin Ha]

The character. The character. Yeah.

[John Hoffman]

Yeah.

[Jin Ha]

I'm proud.

[Maggie Bowles]

I was wondering if. Yeah, right.

[Jane Lynch]

Exactly.

[Maggie Bowles]

I was wondering if there was gonna be, like, one more twist with the doubles theme, since the doubles theme is so present the season. And Rex Bailey looks very, you know, has long blonde hair instead of. And so I was thinking, what if Rex Bailey and Marshall P. Pope are actually different? Like, twin brothers?

[Jane Lynch]

Which would have been.

[Ryan Tillotson]

Which would have been really cool.

[Maggie Bowles]

Which would have been maybe a little bit too daytime TV for only murders. But I was like, I don't know yet. I'm not convinced.

[Jin Ha]

No, but that's true. That's so exciting though, that. But even then there's still like open questions of like, I'm still not sure because obviously, like for me, as I'm watching, knowing what happens, I'm always curious, like, is it so obvious? You know what I mean? I'm like, do people already know from the jump? Like, is there no surprise? But even in spite of the surprise, I mean, something brilliant about this show four seasons in now is they know what they have to try to work against every season. And they're learning more and more with every season. And with this I feel like with this season, I feel like they did such a great job of a layering in so many different suspects, but also stories and relationships. But then obviously like with the Dudenhoff element as well, it's a whole other long form red herring.

[Ryan Tillotson]

Totally. Yeah.

[Jin Ha]

And. But even with Rex, the character of Rex like that there are still questions going into the final. It's really exciting.

[Jane Lynch]

Near.

[Maggie Bowles]

After the break, John Hoffman has one regret. But we think it actually probably worked out for the best. Yeah.

[Ryan Tillotson]

Welcome back. We learn in the finale the truth about what happened to Szazz on the night she was murdered. Here's John Hoffman and J.J. philbin.

[John Hoffman]

Okay. Can I tell one regret?

[Ryan Tillotson]

Sure, I would love to hear it.

[JJ Philbin]

It's juicy.

[John Hoffman]

This is hard to admit. I honestly, it's the one time I was like, oh, it pained me like a week after we wrapped and we were. Everyone was gone. And usually I can have the inspiration at the last moment. Holy shit, we forgot this. We have to do this. And I don't know why in the writing with JJ which. Can I just say publicly that how much I love this experience writing with JJ because she saved my ass A and she was a dream co writer. But we. There was a moment that I remembered thinking of for months before we wrote 10, which was. And this is silly, but it's. We built it for this and we didn't shoot it. And I think it was. We didn't shoot it because it wasn't in the script. So there were many steps I forgot to put included or I thought it was included and then I didn't realize and then it was too late. But there was a moment that I was excited to shoot which was post Saz dying, you would see Rex with Charles suit bag and over the shoulder and now he's sliding it into the chute and then Throwing himself in feet first to follow down the chute because he's a stuntman. And I was excited to see that moment. And I had it in my head for months, and somehow I missed or forgot that it wasn't in the script. And I completely. Until it was after the shooting, I was like, no, we don't have that shot that I was so excited about.

[JJ Philbin]

Oh, my gosh, I feel terrible. That's totally.

[Jin Ha]

Is that terrible?

[John Hoffman]

It's just a little moment when I see. See what's happening in the actual episode. And it's so. I find it so powerful, that last conversation in some way. I wonder if we wouldn't have cut it anyway, because the idea that she says my number one at that moment, because that's where it would have gone. And then Charles says, and then you dumped her down the trash chute like she was just garbage. And it. And it accelerates between them again. So I don't know if it would have worked, but it was a moment that I. It pained me.

[Ryan Tillotson]

I get it.

[JJ Philbin]

It would have been so. There's something that sounds so sad about imagining Saz's body in that suit bag that. You know those. Because I worked on episode five, too, which is just. It's a funny thing because those two episodes are so connected. You know, they're imagining the murder in five, and they're imagining it as two people, but you are seeing some moments that kind of. That you see the real, real version of it in 10. And when we were working on five, one of the big debates that we had was when they were simulating the murder from Dudenoff's apartment. We all agreed that we wanted to have a target silhouette across the way in Charles's because the notion of it being sass would have been so upsetting to watch. And so it's a funny thing because in each one of those shots, you kind of have to ask yourself, like,

[John Hoffman]

is it too hard?

[JJ Philbin]

Is it too hard? Is it too much to see? Even though obviously, you know, we saw it happen for real in 10. But there is something about the fact that we're showing how it really happened, that it felt more at least like an answer to a question. Like, it was worth it to. To see her fall.

[Ryan Tillotson]

Totally. Yeah. And I mean, I think that's a question that came up when we talked to the writers in eight. Right. About no one wants to see the Westies put the guy in the incinerator.

[John Hoffman]

Yeah, Incinerator is gruesome enough. And I think the. The idea at the end of the first episode, that horror of what we land in with Charles and Mabel and Oliver there by the incinerator with those replacement joints is about as dark as we may have ever gone in the show. So we knew we had a point that we probably didn't want to go back towards too, too much. But there are things that happen in this episode that feel a little more. Well, not really, I mean, aggressive, I want to say, but it's murder.

[Jane Lynch]

Yeah.

[John Hoffman]

And it is. You know, and I think back on season one, we had, you know, terrible moments with Tim Kono and Jan and Tim Kono and all of that. So we're not shying away from certain realities in our fantastical little show. But, yeah.

[Maggie Bowles]

This is the first time, though, that the murderer has been murdered back.

[John Hoffman]

He deserve it.

[Jin Ha]

He deserves it. Justice.

[John Hoffman]

Versace, Mr. Sass, baby. That guy was a dick.

[JJ Philbin]

He had it coming.

[John Hoffman]

No, I loved. I know. That's the thing. I love Jinha. I hated watching that scene. It's those. And he was great. And it was all, like, shocking in many ways, because I'm not a violent person. I do not like guns. But I will say, just because of the story and what we were doing, and with Saz, it felt right. And then when the brilliant room that works on this show came up with this, and I remember the day, it was just like, my heart just leapt at the idea that Jan was in that across the way for three weeks.

[Maggie Bowles]

I had a feeling. Yeah, I did. I was like, I have a feeling she's in the walls right now.

[Ryan Tillotson]

Because, like, where is she gonna go?

[Maggie Bowles]

You know, why go anywhere else when you could be in the walls?

[John Hoffman]

Like, did you do that across the season?

[Maggie Bowles]

I think immediately after she disappeared, I was like, she's so many places.

[Ryan Tillotson]

We saw how, where those walls take

[John Hoffman]

you, you know, did you think, okay, let me ask this. Were you surprised by when the shot went off and. Or did you know the minute the shot went off? Like, oh, I bet.

[Ryan Tillotson]

I, I, I had an, I had an inkling.

[Maggie Bowles]

You had an inkling. I had completely forgotten about her by episode 10. I was like, oh, duh.

[John Hoffman]

Because that one feels to me like when the writers came up, I was just like, this is one of my favorite things we've ever done. Like, the fact that. And then she's proud of it. That conversation she has with Charles after it and just feeling.

[Ryan Tillotson]

I love, like, the thumbs up.

[John Hoffman]

Just like, I did it for us.

[Maggie Bowles]

Yeah.

[John Hoffman]

How did you get into my apartment?

[JJ Philbin]

I never left.

[John Hoffman]

You've been hiding in my apartment closet for Three weeks.

[JJ Philbin]

And the secret passageways. I was just waiting for you to figure out the case so I could exact my revenge. We did it together, Charles. For sass. I'm good at seeing through tiny slits and window blinds, but I would much rather have taken Marshall out up close, you know, stabbed him through the eye with a buck knife and really mixed it around.

[Jin Ha]

I truly don't.

[John Hoffman]

You know, that's. It's a really mad character, but it felt very right to me. That's. To me.

[JJ Philbin]

I loved it. It made us so happy because it was one of those things that you dream about. You're like, I don't know. Who knows if she'll be available? Like, maybe it's too crazy. There's no way. And then it just. For us, at least it just made it make sense so much. It felt like a crazy idea. When we pitched back in episode two, that Jan comes busting through the closet, then, I don't know, having that come back to be such a big part of, like, the whole crime, like, real. It just was like, it grounded it for. Even though it's a crazy thing, it still, like, made it make sense to us.

[John Hoffman]

And I also just want to say, when we were shooting that one on that day we were shooting, and, you know, you're in a spin of, like, okay, we got. Okay, and Amy Ryan's here. Fantastic. She's here. And she was just there that day to do that and that scene afterwards. But the first step thing was the shot. And so she. She came, and I was like, what. What are you wearing? I. I hadn't seen the costume, and that's unusual. They usually send me pictures or I just maybe didn't see the pictures. And. And Dana, who's so brilliant, I was like, she's put you in, like, what. You know, a nun looks like, in, like. Like, on a. On a date out. So I don't. And it was like, this whole. Whole thing that she was wearing, and I was like, what? And I started to then imagine, like, oh, this is Dana Cover Rubius. Brilliant. Like, going to. She's been in the wall. She picked a tenant who had a provincial sort of, like, thing going on with her dress, and so she stole something out of there. So I was like, okay, I love that dress. I wasn't at all what I was expecting, but I love it. And then the gesture that Amy does in the window was not my favorite. That was scripted?

[JJ Philbin]

No, I don't think so.

[John Hoffman]

And I was just watching her do it, and it was all her saluting like that. And I was like, what is she. Oh, my God. That's the funniest. That's ridiculous. And then I really thought, like, well, wait a minute. They may. I may have. I'm gonna have to show this to some people. Maybe they're gonna think that's too. That's too ridiculous that she would, like, be with such a happy face.

[Ryan Tillotson]

And, like, I loved it.

[John Hoffman]

And I always said, should I. Do we want an option? I was thinking, maybe we want an option. And then I watched her. I was thinking this and watched her do it two more times, and I was just, like, so charmed. I'm like, we don't need any options. I want no options, actually. So we have to do that.

[Ryan Tillotson]

Yeah. It was the best reveal. It was so good.

[Maggie Bowles]

Jan showing up the only way she really knows how, you know?

[John Hoffman]

Yeah.

[Ryan Tillotson]

Jan is a murderer. Yes. But she did also save the day for our trio. We had to ask Jane lynch her thoughts on how things played out.

[Maggie Bowles]

How do you feel about being avenged by Jan?

[Jane Lynch]

Oh, I love it. I mean, it shows that she also operates from her own code of honor. And even though she's, you know, in, you know, a criminal and a murderer, she's. She's. She's got a code of honor, and I really appreciate that. So I think that, you know where whatever heaven Saz is in or the trampoline, the great trampoline park in the sky. That made her really happy.

[Maggie Bowles]

Yeah. Yeah. It felt very poetic.

[Jane Lynch]

Yeah, it didn't. It was perfect. It was just beautiful. Yeah. Just a beautiful way to end it.

[John Hoffman]

I truly don't know how you make words like that arousing. Oh, Charles.

[JJ Philbin]

Oh, by the way, I ate a bunch of your pirate booty when I was in hiding. I'll Venmo you 8 bucks.

[John Hoffman]

Call it even for serial killing. Our serial killer.

[Jane Lynch]

I got her.

[John Hoffman]

Let's go. Goodbye, Jan.

[JJ Philbin]

It's not goodbye, Charles. It never is with us. We're endgame.

[Maggie Bowles]

That's it for today. You do not want to miss part two this week, though, because we're talking more to Jinjan, John, and JJ about the wedding, the new murder, what to expect for season five. Lester.

[Ryan Tillotson]

Also, the contest for the escape room is now closed. We'll be reaching out to the winners soon and announcing them on Friday.

[Maggie Bowles]

Thanks for listening. Please send your thoughts and theories to us@onlymurderstrom drawhutmedia.com how did you feel about the finale? What do you think about Lester being murdered? What do you think is going to happen next? What are your questions.

[Ryan Tillotson]

Take a minute to subscribe. Rate the show, Follow us and leave us a review if you enjoy the show.

[Maggie Bowles]

Only Murders in the Building podcast is a production of Straw Hat Media, hosted and produced by Ryan Tillotson and Maggie Bowles. Our Associate producer is Stephen Markley with original music by Kyle Merritt and only Murders in the Building theme music by Siddhartha Khosla. Our assistant editor is Daniel Ferreira and our production assistant is Caroline Mendoza.

[Ryan Tillotson]

Thanks to Jin, Jane, John, and JJ for talking with us this week. That's Jin Ha, Jane Lynch, John Hoffman, and JJ Philbin.

[Maggie Bowles]

And big, big, big thanks as always to John Hoffman and the entire Hulu team.

[Ryan Tillotson]

See you in a few days.

[Maggie Bowles]

See?

[Jane Lynch]

Okay.

[Ryan Tillotson]

Is that a bird? Do you have a bird?