Only Murders in the Building Episode 7 “CoBro”: A Delicious Theatrical delight!

The seventh episode of Only Murders in the Building is a banquet of goodies! It’s reminiscent of the first episodes in the series with reference to its humor and one-liners, and enacts some jaw-dropping moments. The trio is still disbanded whilst the toll of being without each other comes to a head in this episode. Only Murders in the Building episode 7, “Cobro” positively takes the mantle for one of the strongest episodes this season.

*Warning: Spoilers ahead for Only Murders in the Building season 3, episode 7*

Only Murders in the Building season 3, episode 7 faces the consequences of previous fall-outs. It communicates the tremendous struggles of the main trio being without one another—and it’s not going well for any of the eccentrics.

As to be expected, Charles (Steve Martin) is a stubborn personality who assumes that his friends will make the first apology. Yet the other two-thirds of the trio are preoccupied with their own issues, and Charles realizes that he’s the one who is really on his own.

Mabel (Selena Gomez) is boxing up her apartment at The Arconia in preparation for her departure, and guess who offers up his services? It’s Theo Dimas (James Caverly)! Neither member of the Dimas family has been seen in quite some time. It was beginning to appear likely the family wouldn’t be involved at all this season, which would’ve been a shame considering their large involvement in the last two seasons.

It’s refreshing to witness Mabel using a substantial amount of ASL and actively learning alongside Theo. It is a wonderful addition, and a reminder that the family has not been wholly forgotten.

In the ensuing days of Charles’s resignation from ‘Death Razzle-Dazzle’, Oliver (Martin Short) is recasting his role as The Constable. But it isn’t as easy as he anticipated, and one lackluster audition after another has left Oliver feeling uninspired.

That is, until one of his backers brings in new talent in the form of Matthew Broderick! It’s one of the best surprises to arise from season three. Broderick plays himself as the “Broadway legend!” He deserves his title, given his 25 performances on Broadway beside some of the biggest names in the game. He’s every bit as fetching and funny as anticipated, and so endearingly Matthew Broderick. Broderick has both the ideal part and script to work with in his brief appearance which enables him to perform so strongly as a huge personality in a relatively short frame.

Broderick’s comedic timing always lands thanks to his ability to execute the dialogue so offhandedly. This excellent choice only highlights one concern: where is Nathan Lane?! Lane’s character—Teddy Dimas—is absent from the latest installment, though it would have been a wonderful opportunity for him and Broderick to work alongside each other once more.

Charles overhears Broderick performing the ‘Patter Song’, but blows his cover when the stage veteran notices him lurking in the doorway. The meeting between Charles and Oliver is clumsy, to say the least, and evident that the pair dreadfully want to reunite but are too stubborn to do so. After Oliver’s battle to direct an overly pedantic and fastidious Broderick, he calls for reinforcements.

This season bestows another legend with the appearance of comedy writer and genius, Mel Brooks! It’s a gasp-out-loud moment, and entirely unexpected when Oliver seeks his advice. There are a few small quips apropos The Producers which work on so many different levels. Most interestingly, Martin Short was initially asked to play Leo Bloom in the original Broadway run of Brooks’ musical before he declined, as he did not want to be away from his family any longer. The role was then passed onto Broderick, who went on to perform beside Nathan Lane in an overwhelmingly successful six-year run.

Oliver fires Broderick in the hopes of reclaiming Charles as his Constable. Oliver admits that he’s “a little messed up emotionally” but Charles is still his unequivocal best friend. The pair reunite in a heart-warming hug, and make plans to apologize to Mabel.

Unfortunately, Mabel is pensively taking her own approach to solving Ben Glenroy’s (Paul Rudd) murder case. She believes Ben’s brother, Dickie (Jeremy Shamos), may have a motive, thanks to a tip from Theo.

This motive follows the adopted brother’s bitterness towards Ben for receiving all the attention as a child, and again later in his adulthood for claiming all the credit for his flourishing career. She makes plans to record the podcast with Theo and Tobert (Jesse Williams), but feels overwhelmed by her new partner’s state-of-the-art equipment and withdraws herself to record on her phone.

Although it seems Mabel may miss her guys as she gazes at her lock screen, which displays a photo of the three of them, the pair reach her apartment to make amends and find a new occupant. A moment later, they learn that the podcast is underway once more—and this time she’s flying solo.

The seventh installment of Only Murders in the Building is a success, but raises the question of where this tale is going next. With only three episodes of the true-crime comedy left, it seems that it may be a frenzy to conclude everything by the end of the final episode. The Ben Glenroy case is open once more, and although unlikely that she will leave her pals behind, Mabel is nowhere to be seen. Not to mention, there are no more solid clues as to who killed Ben Glenroy.

The third season is taking a marginally different approach, but this tactic does not affect the overall quality of the show. It is not branded as tiring or agitating, but instead sets up what will be an incomplete finale that leads into a fourth season. There are reasonably plenty more Only Murders in the Building to look forward to.

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