Satire, Suspense, And The True-Crime Obsession In Only Murders in the Building

True-crime podcasts makes us feel like detectives in training, ready to piece together the next big mystery. Only Murders in the Building draws on that feeling, and turns it into both a comedy and a critique. The show takes our obsession with crime stories, and gives it a playful twist, turning it into sharp satire that shows how far we’ll go to “play detective” from the comfort of our homes, all while keeping us hooked for the next twist.

When True-Crime Obsession Meets Satire

The show centers on Charles, Oliver, and Mabel, three neighbors who don’t really have much in common, except that they’re all obsessed with a true-crime podcast. When a murder happens in their building, and they can’t simply sit back. They start digging into things, taking notes, recording everything, and even turn it into a podcast of their own. It works on two levels: the mystery keeps you glued, but it’s also kind of funny watching them get so caught up in it, like they almost forget there are real people involved.

What really makes the satire land is how the show captures all the quirks of true-crime culture, the endless note-taking, the wild theories, the over-the-top dramatics, and, of course, that performative podcast voice. The trio’s own podcast in the show isn’t just there to move the story along, it’s like holding up a mirror to us, the audience, who can’t stop binging real-life murder stories on Spotify, Instagram, or YouTube.

Laughs, Twists, and Suspense

Even then, Only Murders in the Building never loses sight of what makes it exciting, the mystery. Every twist actually feels earned, and every reveal comes at the right moment. The comedy doesn’t ruin the suspense, in fact, the satire makes it more interesting. You laugh at the way the characters go overboard with their detective work, but at the same time, you find yourself checking Twitter threads and Reddit pages just like they do.

And then there is Mabel. Unlike Charles and Oliver, who get into the podcast craze later in life, Mabel comes from a younger generation influenced by digital culture, online all the time, performing all the time. Through her, the show hints at the alienation of millennial and Gen Z women, who find connection not only in friendships but also in internet forums that dissolve the boundary between fan and obsession. Her presence sharpens the satire, revealing how various generations engage with true crime: the nostalgia-fueled older men versus a young woman navigating identity in an age of over-connection.

Why We Can’t Look Away

The show’s cultural edge also sheds a light on our age of armchair detectives. From Reddit threads that dive into wild conspiracy theories to Instagram reels and YouTube channels that sensationalize real cases, fandom can easily cross into dangerous territory. Only Murders in the Building doesn’t come across as preachy , but it does make you stop and think: when does curiosity turn into exploitation?

The reason why the series works as both entertainment and critique is because it suggests that our interest in crime stories is not only about solving mysteries. It's about community, for a fleeting escape from reality, and about attempting to be in control when the world seems chaotic. It makes you pause and wonder: why do we consume tragedy as content? Why are we so drawn to someone else’s pain?

That’s why Only Murders in the Building is more than a classic mystery. It’s a cultural satire, told through comedy. But, it’s also a story about loneliness, about finding where we belong. In a way, it holds up a mirror to our own obsession. The biggest mystery may not be who the murderer is, but why we keep chasing that rush, again and again.

Views expressed are the author's own.