In August the crew returns to Arconia, the imagined New York skyline that has become a symbol of mystery on screen. The third season of Only Murders in the Building lands on Disney+ this week, aimed at wrapping up a story that began three years prior. Steve Martin and Martin Short—joined by Selena Gomez—carry the franchise as they tiptoe toward retirement as the series closes. This fresh production gives Martin a late career spark, a kind of revival after years of quiet work, echoing the career arc of his long-time collaborator. Yet the show isn’t living off nostalgia alone. A new generation of viewers is watching, with some tuning in because the Selena Gomez star power draws a different crowd.
The trio channels a mix of Jessica Fletcher’s legendary sleuthing and Agatha Christie’s classic murder puzzle energy. They team up to investigate a new crime and deliver progress reports as a podcast, moving from case to case in a familiar, bookish cadence each season. The blend of mystery and comedy remains the show’s signature, a perfect fit for hot summer days when audiences crave a little light suspense with their laughs.
The series began in the summer of 2021 with a light touch, a friendly joke among co-stars that gradually grew into a bigger phenomenon. With a star-studded supporting cast, the season reveals have kept audiences hooked, and the season adds a big name this year: Meryl Streep. It is not her first foray into comedy or television, but she brings a bold presence that heightens the stakes. After a string of serious roles, Streep’s lighter, playful side adds a fresh dimension to the ensemble. Since her early breakthrough in a 1978 television miniseries, her prestige has driven up budgets and drawn attention to every project she touches. Yet television today offers a wider toolbox than ever before, letting a performer of her caliber shine in unexpected ways.
That signature detective vibe allows viewers to pick suspects in their pools and imagine her as a leading figure. The pivot from supporting player to central rival remains plausible, and the suspense of whether she might be a killer or the cleverest red herring keeps audiences guessing. Streep’s recent work in prominent dramas has not dampened expectations that she could deliver a standout game in a comedy-capable format. The second season of Little Fires Everywhere hinted at this range, and fans watched to see if Streep could sustain it across episodes. Right now, with only a couple of installments released, it’s still early to declare whether she’ll be the next big twist or a quiet catalyst within the narrative.
Paul Rudd also appears as a notable guest this season, a cameo whose impact lingers from the previous finale and the new start of the current run. His character’s misstep in last season’s arc highlights the show’s playful approach to misdirection, portraying him as a pompous foil whose flaws invite a certain empathy from the audience. The energy of the cast and the way they lean into irony keep the show feeling fresh even as it leans on familiar rhythms.
Only Murders in the Building has undeniably become a major hit, earning broad critical and audience praise. It has also inspired a wave of imitators, among them a new title that stacks mystery with comedy for the summer. Resort, created by Sam Esmail of Mr. Robot fame, with script work by Andy Siara, jumped into the conversation as fans hoped to recapture the feel of the original show with a new twist. Palm Springs and Time Trap share a similar vibe, and Resort fuses a mystery with a vacation setting that invites viewers to flirt with danger while basking in sunlit scenery.
Resort unfolds on Peacock and transports viewers to a sun-soaked Yucatan setting where a couple celebrating ten years of marriage uncovers clues hinting at a mystery fifteen years old. The cast includes Cristin Milioti, famous for her work in How I Met Your Mother and other projects, alongside William Jackson Harper. Their marriage slowly reveals cracks that are as telling as the clues they uncover, with the past surface-level happiness giving way to deeper tensions. The discovery of an old, out-of-place cell phone deep in the jungle signals a haunting link to a vanished teen and a hotel wrecked by a hurricane. The dilapidated remnants become a focal point, their eerie, high-resolution imagery heightening the tension without overstating the danger.
The show plays with the idea that 2008 feels closer than it is and uses social media and modern habits to reflect how life has changed since then. Yet the core mystery remains human and intimate, and the drama mirrors the fragile balance a couple tries to maintain while the world watches. As the couple retraces the disappearance from days long gone, flashbacks illuminate the past while the present threads pull tight around their marriage. The unraveling invites audiences to reflect on trust, memory, and the price of keeping up with appearances. It’s a delicate blend that mirrors the arc of Only Murders in the Building, where personal ghosts fuel a larger, communal puzzle.
Across eight episodes of the first outing, The Resort teases plenty of unresolved business. Viewers sense there is more to be explored in a possible second season, even as the series establishes its own rhythm and tone. The reception has given Esmail confidence to pursue ambitious storytelling, despite a volatile industry weather, including strikes that threaten production schedules. The summer’s real mystery may be knowing how long these labor disputes will last and what kind of creative space they will leave for new stories to unfold.