So close! Today, we’re continuing the conversation all about Season 4 Episode 9, Escape from Planet Klongo.
We’ll hear from showrunner and co-creator John Hoffman, the writers of the episode Ben Smith and Alex Bigelow, and we'll also talk to Chris Barnes! He is the amazing stunt coordinator on Only Murders in the Building.
We'll talk about seeing Sazz in her element (both as a stunt person and as a mentor), setting a person on fire (safely), and Project Ronkonkoma (turns out… it's a real place!).
Heads up, there are spoilers for episode nine. So listeners, if you haven't watched yet, stream it now and come right back!
Send us your thoughts and theories (in a voice memo!?): onlymurders@strawhutmedia.com
Or chat with fellow fans on Reddit: https://www.reddit.com/r/OnlyMurdersHulu
The Giveaway
Want to win tickets to the Only Murders themed escape room!? This is your last chance to enter!
There are locations in both Los Angeles and New York. If you’re located around one of those two cities and you’d like to test your mystery solving chops with 3 of your best buds, here’s how you enter.
Leave this podcast a rating and review on Apple or Spotify — wherever you listen from — take a screenshot, and email it to us at onlymurders@strawhutmedia.com. Include which city you want to visit the Escape Room in — either NYC or LA.
We’ll pick 2 winners in LA and 2 in NYC. Each winner will get four tickets. We’ll choose the lucky detectives right before the season finale! Good luck!
We’ll hear from showrunner and co-creator John Hoffman, the writers of the episode Ben Smith and Alex Bigelow, and we'll also talk to Chris Barnes! He is the amazing stunt coordinator on Only Murders in the Building.
We'll talk about seeing Sazz in her element (both as a stunt person and as a mentor), setting a person on fire (safely), and Project Ronkonkoma (turns out… it's a real place!).
Heads up, there are spoilers for episode nine. So listeners, if you haven't watched yet, stream it now and come right back!
Send us your thoughts and theories (in a voice memo!?): onlymurders@strawhutmedia.com
Or chat with fellow fans on Reddit: https://www.reddit.com/r/OnlyMurdersHulu
The Giveaway
Want to win tickets to the Only Murders themed escape room!? This is your last chance to enter!
There are locations in both Los Angeles and New York. If you’re located around one of those two cities and you’d like to test your mystery solving chops with 3 of your best buds, here’s how you enter.
Leave this podcast a rating and review on Apple or Spotify — wherever you listen from — take a screenshot, and email it to us at onlymurders@strawhutmedia.com. Include which city you want to visit the Escape Room in — either NYC or LA.
We’ll pick 2 winners in LA and 2 in NYC. Each winner will get four tickets. We’ll choose the lucky detectives right before the season finale! Good luck!
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Straw Hut Media.
Speaker 2 (00:02):
I honestly couldn't tell you how many times I've been
on fire.
Speaker 3 (00:10):
Hello, and welcome back to the Only Murders in the
Building Podcast.
Speaker 4 (00:13):
I'm Ryan Tillotson and I'm Maggie Bowles, and 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.
Speaker 3 (00:21):
Today on the show, we're continuing the conversation all about
season four, episode nine, Escape from Planet Coolongo.
Speaker 4 (00:28):
We'll hear from showrunner and co creator John Hoffman, the
writers of the episode, Ben Smith and Alex Bielo, and
we'll also talk to Chris Barnes, the amazing stunt coordinator
on Only Merdgers in the Building.
Speaker 3 (00:39):
We will talk about seeing Saz in her element, both
as a stunt person and as a mentor, setting a
person on fire safely, and Project Runkonkoma.
Speaker 5 (00:51):
It's a real place.
Speaker 3 (00:51):
It's a real place.
Speaker 4 (01:00):
Earlier this week in Part one, we talked a lot
about Escape from Planet Klongo, but we didn't talk very
much about Project run kon Kamakama and the crazy scene
where Rex Bailey says his protege does his first fire
stunt and things go terribly terribly wrong. Alex Bigelow and
Ben Smith co wrote the episode.
Speaker 6 (01:19):
Well, Sending someone on Fire.
Speaker 7 (01:21):
That was very wild, and I was on set that
day and it felt very cool in a season where
we had been researching and talking about stuntmen so much
to actually see it unfold. And obviously when we were
writing these little scenes, we were kind of looking up,
you know, how they would prep and we learned about
the gel and all these things that they put on them,
(01:41):
cells pot, the lights themselves on fire, and to like
see that stunt happen, it was like the only time
I've ever seen like set, like everyone was like dead
silent and like so locked in to watch this happen
and to see them actually like do all the steps
was pretty cool because we're like, oh, these are the
things that we've been researching for sas and now we
get to actually see a big stunt on our show.
Speaker 8 (02:03):
And those production meetings were really fun, the like because
the stunt department, who's so talented, but like this was
like an episode that obviously featured so many stunts, and
they were like super down with all of it. We're like, yes,
that's achievable, we can do it, and helpful in the writing,
like because they were going off a script and they
were like, you know this, I see what you're trying
(02:23):
to do with this, you know silver tinsel, like this
is that's not like the stuff we use nowadays, but
maybe in the past it could be like a hand
me down, like this is something they used in the past.
We're like, great, let's build that into story that it
was a gift to Saz that she's now passing on,
and little stuff about like what type of headwhere they
would use. So they were helpful and kind of like
(02:45):
taking the script Whichard researched and then making it even
more authentic.
Speaker 1 (02:50):
Very cool.
Speaker 3 (02:51):
Interesting how many times did they actually light them on fire?
Speaker 7 (02:55):
Just once?
Speaker 1 (02:57):
Just the one time?
Speaker 2 (02:58):
Yep?
Speaker 7 (02:58):
Wow, So that's why everyone ELSEO was like, we have
the time for one. So everyone was really excited and
then like yeah, everyone was just so thrilled and like cheering.
Speaker 4 (03:10):
Yeah, I am curious about Wrong concoma a little bit more.
Speaker 5 (03:16):
First of all, the name, and then also like what
is that movie about?
Speaker 4 (03:20):
Like what are they what is happening like in that
scene when they like kick him out and light him.
Speaker 5 (03:25):
On fire, like what is this?
Speaker 7 (03:27):
For a while, we just had a placeholder name for that,
and that is a John Hoffman name where he came
in one day and was like, Wrongkonkoma, It's wrong Honkama,
and we were like, of course it is. Frankly if
I'm wrong, Ben, But I feel like we kind of
imagined it to be a Mobby movie.
Speaker 5 (03:50):
Okay, that's the vibe I got from the one scene.
Speaker 8 (03:52):
Yeah, it was something. I mean, the very unsexy answers
that a lot of these things are driven by production
and then and sometimes you're like given a few parameters
and then you make something it turns out great because
you have the parameters and then you kind of like
have something to play within. But I remember the first
name that we used just as a placeholder was this
(04:13):
was called Project Damascus, and like initially in those first
production meetings, they're like, okay, there's like a chariot and
there's like sand, and then pretty quickly it became like
is that important because that's incredibly expensive, and we're like, no,
that was just a name that was set. It could
be anything, and then it becomes something We're like, okay,
it should be new York based.
Speaker 6 (04:34):
It should like be filling on location.
Speaker 8 (04:36):
If we're going to light someone on fire, it needs
to be outside, Like it should be a productive area
that we don't have to spend one hundred thousand dollars decorating,
you know, like it should just be a waterfront that
is kind of like shot as is. And then you
start to be like, Okay, we have a character's headneys
be covered. It's have like one filming location, so we're
doing it all in one day. Let's have them in
(04:56):
the back of a van. Let's use the van for
the scene. Let's be right there. You can set them
on farm turn off. And then you're like, okay, it's
a mob story by the waterfront whatever. So like those
are like the full journey of it.
Speaker 5 (05:09):
For some reason called Ronkonkoma.
Speaker 6 (05:12):
Because it's New York based and.
Speaker 4 (05:15):
John like the name is ron Konkoma something real? Yeah,
I guess I could have googled this, I could have
done my research. I really failed in preparations.
Speaker 6 (05:22):
It's out in long Islunch, it's a it's.
Speaker 5 (05:24):
A neighborhood, neighborhood area.
Speaker 3 (05:27):
I got a visit.
Speaker 5 (05:28):
It gets stuck in my head.
Speaker 4 (05:28):
It's one of those words that gets stuck in my head,
ron Konkoma, And every time I get stuck in my head,
I start singing Chapel ron hit it like Ronkonkoma, which
is not what it is, but it's it's like in
my brain forever.
Speaker 3 (05:45):
So thank you for that.
Speaker 7 (05:46):
Okay, I like that.
Speaker 2 (05:49):
Ready.
Speaker 9 (05:50):
Step one, grab me fireproof jock from the deep freeze.
Speaker 2 (05:53):
Strap it on.
Speaker 3 (05:55):
Step two.
Speaker 9 (05:56):
Slather up your tender.
Speaker 10 (05:57):
Bits with this stuff.
Speaker 9 (05:59):
Wrists, neck, ankles, anything not covered by this flame retarding
fest aka Step three. Yeah, it's a bit tattered, it's
a bit old school, but it's a gift from my
old man and it's kept me safe all these years.
Here for you, right on, loving yourself up, and we're
(06:19):
going to tort you.
Speaker 10 (06:20):
Oh I'm so sycked for.
Speaker 7 (06:21):
You for me. One thing that felt special too is
to get to see these Saz flashbacks, like we're at
that moment where we're so close to finding out who
she is talking about, and to see this relationship that
eventually is going to give us a bigger understanding to
(06:43):
the murder. It was just really awesome to have those
flashbacks and be able to see the story like uncover
about like this relationship she had with this person that
will obviously then we get to have that big reveal
at the end of nine.
Speaker 3 (06:58):
It was very satisfying to see her stunting or like
in that world, you.
Speaker 10 (07:03):
Know, absolutely, and I love that, Like it feels like
this idea of Saz was always such a swing for us,
right from the beginning of season one and playing Charles's
stunt double.
Speaker 3 (07:16):
This is John Hoffman, co creator, showrunner.
Speaker 10 (07:19):
And then you get to really go in and show
like the reality of that and she's I mean, that's
that's Jane Lynch to a t right there. And just
the way in which that energy she has of sort
of a gusto and a and a real conscientious concern
for the work that's being done. That's what I see
(07:40):
when she's on set as well. And she's just a delight.
And so the opportunity to show sas and in her
real work and mentoring and helping along someone you know,
felt pretty great as an opportunity.
Speaker 3 (07:57):
It did, It was great.
Speaker 4 (07:59):
I loved it, even though she might be mentoring a
psychopathic murderer.
Speaker 10 (08:04):
Yeah, unfortunately fortunately, but we'll see.
Speaker 5 (08:08):
We'll see, we'll see. I feel like there may be
some twists and turns to.
Speaker 3 (08:12):
Go there has to be.
Speaker 5 (08:13):
Oh, but I had missed Saz. I was so happy
to see her.
Speaker 2 (08:19):
Ah, that's nice.
Speaker 10 (08:20):
Yeah, well, I think some of her best work has
yet to come to for us.
Speaker 3 (08:26):
It's great.
Speaker 2 (08:27):
Yeah.
Speaker 3 (08:28):
Wow, Okay, very excited, very excited.
Speaker 4 (08:30):
With all of the amazing stunt stuff this season, we
felt like it was very important that we talked to
the stunt coordinator on the show, Chris Barnes, who apparently
has been getting a lot of interview requests ever since
episode seven and the fight between Loretta and Dormen.
Speaker 3 (08:43):
Wait, so you've had a bunch of requests for interviews
because of the Meryl street fight.
Speaker 2 (08:48):
Well, same type of thing, whether it's a podcast or
whether it's a news reporter from a local paper. Yeah.
And I send them all just as I did yours.
I send them all to production and I let them
tell me what I can and can't do. I'm not
looking for the limelight. That's not why you became a
stunt man.
Speaker 3 (09:07):
I'm trying to think of the stunts that I definitely
know are stunts in this in this season. In episode four,
we have the Paul Rudd character, like jumping into a
trash can hitting himself in the head with the lid.
I think, I know. In episode nine, we've got the uh, well,
someone gets lit on fire. That's got to be a stunt.
Speaker 5 (09:28):
That's a big one. That's a big one.
Speaker 3 (09:31):
We have the Meryl Street fight. What were the kind
of the big ones for you this season?
Speaker 2 (09:36):
The biggest one was probably the fire because it's most
involved and comes at the most risk. I really enjoyed
the whole barroom fight. The barroom brawl, it was a
result that can post. The jumping into the dumpster, the
Meryl Street and Melissa fight were you know, it was
(09:57):
kind of epic in its own sense, dealing with you know,
a bit of Hollywood royalty there and people who would
just non tend to be action heroes. And then we
did have Marshall p Pope get hit by a car.
I hope it looked good. Well, maybe it wasn't good
because you apparently you forgot it on your verbal list
(10:18):
that you just.
Speaker 3 (10:19):
Can't me.
Speaker 5 (10:21):
It looked so natural. I forgot it was a stunt.
Speaker 4 (10:23):
Yes, I was like, oh, yeah, he just got hit
by a car and rolled into the back seat. That's
not a stunt. He just does that that's normal.
Speaker 2 (10:28):
That's because he was a stuntman.
Speaker 5 (10:31):
Project Romama. Of course I can wrestle up a team.
Speaker 2 (10:35):
Well yeah, but sometimes you meet a person you don't
want to let go of, and sometimes they can change
your life in ways you never saw coming.
Speaker 10 (10:44):
Ah.
Speaker 5 (10:49):
Yes, oh that was some flip.
Speaker 9 (10:54):
I teach that in my advanced Somersault intensive, which is
in the winter.
Speaker 5 (11:00):
Were stunted before.
Speaker 4 (11:02):
We've talked to most of the writers this season, and
some of the directors, and a lot of them seem
to have done a lot of research into the stunt
into stunting in the stunt community.
Speaker 2 (11:13):
They pretty much now that they they they did the
homework because that whole stuntman bar. There is a bar
out in California. I don't know the name of it.
It's not necessarily a stuntman bar, but it's definitely a
sag bar. I heard you can go in with your
any residual check and you can get a I think, oh, actually,
I think it's called residuals now that I think of.
Speaker 5 (11:31):
It, I know that bar.
Speaker 2 (11:33):
Yeah, and you supposedly can go in with any residual
check and you can get a beer for the price
of that residual check.
Speaker 5 (11:40):
I love so.
Speaker 2 (11:41):
I mean so, I mean maybe they played the whole
concussions thing off of that, but you know, I think
they did. I think they did a great job, to
be honest with you.
Speaker 4 (11:49):
Yeah they did. Was the idea of a stuntman's funeral
where they do the breakaways on the head?
Speaker 5 (11:56):
Was that? Was that something you could imagine happening?
Speaker 2 (11:59):
Imagine it happening? Yes, I have I ever heard a
myth or a rumor or a fact of it. No,
I never did.
Speaker 5 (12:09):
Okay, I think it'd be pretty fun.
Speaker 2 (12:11):
Yeah. I do keep an arsenal of breakaway bottles in
my garage and we use them at parties and we
used them for oh yeah, yeah. I used to go
to the school when my kids were younger. I used
to go to their school and talk about stunts and stuff.
And you know, you can't really talk about guns, you
can't really talk about fire, you can't really talk about fighting.
So that was like one of the silly things you
could do is bring a rubber bottle and let him
(12:32):
hit each other in the head, and then the kid
who asked the best questions. Sometimes I would like let
him break a bottle over another kid's head, you know,
but I tell him that it was rob surprise everybody,
and you know they're pretty mild.
Speaker 4 (12:44):
You know, that must have been the coolest thing for
your kid to be like my dad's stunt man. Like
I like that to me if I was a child
in that class, I'd be like, you have the coolest
dad that it's ever lit, you know what I mean.
Speaker 2 (13:02):
I don't know if your own kids ever think that
of you.
Speaker 5 (13:06):
Yeah, that's fair, that's fair, but it's a nice thought.
Speaker 2 (13:08):
I mean I still have all like the thank you
cards and posters that they sent to me and pictures
of me with the class because I had three boys,
you know. And then you know, having a stunt career,
especially in New York where you're working Daly, you do
get a lot of time. Often I tell people, you know,
got to go be the lunch monitor, you got to
be the playground monitor, you got to go in on
(13:30):
book day and talk. And you know, it's a fun
thing to do. I mean, if you want to be
involved with your kids, you know, growing up, did any.
Speaker 5 (13:37):
Of your kids decide to go into stunt work?
Speaker 2 (13:41):
All three of them are professionals?
Speaker 3 (13:43):
What whoa?
Speaker 5 (13:45):
Yeah, it's a family business.
Speaker 3 (13:47):
Just like just like Saspataki.
Speaker 2 (13:50):
Oh right, yeah, oh yeah, we didn't mention that Alreen
Gag that was that girl was pretty talented, that young
lady that we use, she was young. She was young.
She happened to be younger than you probably think. She
just happened to be tall, because so it was says,
but yeah, all three of my boys are professionals stunt
then that's what they do.
Speaker 4 (14:07):
Wow, that is so cool.
Speaker 3 (14:13):
After the break, Only Murders stunt coordinator Chris Barnes tells
us how possible an onset disaster like Rex Bailey really is.
Speaker 5 (14:28):
Welcome back.
Speaker 4 (14:29):
Chris Barnes is the stunt coordinator for Only Murders in
the Building and so in addition to all of the
other stontes we've seen this season, he was responsible for
coordinating the fire.
Speaker 3 (14:39):
Can you like walk us through what the process is for, say,
the scene where you're setting somebody on fire?
Speaker 2 (14:48):
Yeah, when you're setting somebody on fire, well, obviously you
talk about it, you find out what the director needs,
what talk to the ad, You find the timeframe that
you you have to do this fire, and that's pretty important.
Everything with fire is based on time, not only the
time it takes to physically prepare the clothes with the gels.
(15:11):
You don't want to put the gels on too early
they start.
Speaker 3 (15:13):
To dry and tell me about the gels like what
are they and the jails protective or they are they
tell me about the jail.
Speaker 2 (15:21):
Yeah, well those gels were talking about it protective gels.
There are gels that are accelerants also, but you don't
want to get those two confused, so you keep things
very separate. Those gels are barrier, they're usually cooler in temperature.
But there's something that was scientifically designed. Originally there was
(15:42):
a man named Gary Zeller, and we call it the
Zel Gel. He's long gone, but he's actually one I
think Academy Award in mountain stunts because they don't have them,
but because he wanted in advancements for pyrotechnics or special
off by creating that zel and pretty much most people
(16:04):
who are using it some form of a gel barrier,
which most everybody is is some form of probably derives
from half of the contents of the original Zell gel,
which I don't even know if it's still available.
Speaker 3 (16:18):
But do you put that gel all over your body
or do you just put it on. Like you say,
you let your hand on fire, you just put it
on your hand.
Speaker 2 (16:26):
Well, you would put it on the part of your
body that's burning, and you would put it near anything
like if your hand had to come and you know,
I don't know, put out a fire that's on your shoulder,
you'd obviously put the gel on. You put a barrier
of gnomes, which is a fire retardant underwear that race
(16:46):
car drivers use. You would soak that in the gel
and then you would put that on. And then if
you have to have wardrobe and wardrobe is going to
need to be dry, you would put on some sort
of like kind of an asbestos suit or something that
and let the moisture the water bleed through so it
doesn't make your clothes look all wet and spotty. So,
you know, if you're coming down the street and somebody's
(17:08):
gonna ignite you for some reason, you don't want the
person coming down looking like there are you know, like
they just walked through a rainstorm or something. So there's
barriers and protection levels that he is interesting.
Speaker 4 (17:20):
It sounds like they're a bit slimy, So it's like
a salamander.
Speaker 2 (17:24):
Oh yeah, No, it's not really fun, or maybe it
is fun to be all filled with gel. I mean,
I've done full body burns when my whole body has
been you know, all my clothes are completely my socks,
my gloves, everything are completely soaked in jel. And then
like I said, then you even put a pair of
(17:44):
dry gnomes long underwear on, and then you might put
the barrier on. The barrier is not fire retardant at
all because it would melt eventually, but you're just trying
to keep the wardrobe. Once the fire is happening, it
doesn't matter that burns away.
Speaker 3 (18:01):
Wow. So the who is the stunt man that that
portrayed the jin huh character Marshall or Rex Marshall p Pope? Yeah,
who is that? Who is that man?
Speaker 2 (18:12):
Sue Liu is his name. Pretty experienced dunt guy. Done
a lot of live shows, done some acrobatics, does a
lot of martial arts and stuff. Very talented stunt person.
And so I had asked him about his burn experience
because that's pretty important. I didn't know if we needed
a rehearsal day. And you know, Murders or any big
(18:33):
show or any show is not a place for people
to learn and do their first fire. I don't know
how they're going to react. I don't know if they
can potentially panic. I don't know if they'd be cautious,
because you know, there's still performing during a fire. They
still have to hit certain marks. They still have to
get up, they have to hit the ground, they have
to be able to tell the safety team that if
(18:53):
they're feeling hot. So there's a lot to it. So
you don't tend to just put a new guy in
a fire. Everybody needs their first fire, but hopefully it's
done at a school or a class. So when I
asked Sue what his fire experience was, he kind of
undersold himself, but he was just being humble. And then
he showed me some reels and I said they were
(19:16):
quite impressive, and I said, okay, we got the right
guy where I felt he didn't need a rehearsal because
you know, to rehearse a full burn like that. Anytime
you do a full burn is a tremendous risk no
matter what. So it wasn't the type that needed rehearsal.
After I saw what he could do, and he's, you know,
somebody who definitely listens, hits his marks.
Speaker 4 (19:36):
You know in the In the episode, he catches fire
again and he accidentally burns Ron Howard's eyebrows off. Have
you ever heard of anything like can you catch fire
again after a fire stunt?
Speaker 5 (19:47):
Is that a Is that a real thing?
Speaker 1 (19:50):
Oh?
Speaker 2 (19:50):
Yeah, I mean fire is number one fuel is you know,
beyond the accelerant itself is feeding it air. So because
you down on the ground until the guy's completely put
you out with Co two's or maybe even you know,
with him, it might have a Hudson spray or with
some water in it and stuff like that, and you
(20:12):
make sure you're completely out. Then you stand up and
put your arms in the air and the guys circle
you and they ask you do you feel hot? Or
are there any hotspots? So there's a whole process that happens.
Marshall in this case was so excited as a young
actor or a young stuntman. He sees this famous director
and he jumps up prematurely and runs. Well, obviously, when
(20:35):
you run, you're really it's like a blowing air on
a fire, It can actually accelerate it. So yeah, he
kind of, you know, was the victim of his own wrongdoing.
Now granted, just his arm you saw it. I think,
from my understanding, just his arm went on fire, but
that's all they really needed.
Speaker 5 (20:52):
Yeah, so it's possible, very possible.
Speaker 4 (20:55):
Oh yeah, how many times have you been set on
fire as a stuntman?
Speaker 9 (21:00):
Who?
Speaker 2 (21:01):
I did a television show called Rescue Me, which was
a fireman show. I honestly couldn't tell you how many
times I've been on fire. You know, mostly it's partials,
but I've done quite a few full burns. I double
Bam mar Jarra in a movie where I ran out
of a building on fire, tripped, fell, tried to get
(21:23):
into a car, jumped in the car, and then drove
the car down the street. That's probably the biggest show.
Speaker 5 (21:30):
That is huge.
Speaker 3 (21:31):
I thought Bam was known for, like doing stunts.
Speaker 5 (21:35):
Maybe not full body burns.
Speaker 2 (21:37):
Well, quote unquote, Bam came to me afterwards and he says,
I do a lot of shit and I heard a
lot of people. He goes, but that's something I'm so
glad you did, so quote quote unquote that was a
long time ago.
Speaker 5 (21:50):
Is there anything you feel like people get wrong about stunts?
Speaker 3 (21:56):
You mean, like trying to get into the stunt?
Speaker 5 (21:57):
No, No, like just.
Speaker 4 (21:58):
Like I feel like it's like it's it's like behind
the scenes of all these movies, right, like if the
stunt is doing the right thing, you forget that it's
a stuntman and you just think about the actor, you
know what I mean. So it's like it's meant to
be the sort of movie magic. And so I wonder,
is there anything you like? People don't realize this about stunts,
But we are not Dare Devils. We're safety oriented, you know.
(22:22):
I don't know that was something that I want to say.
One of the writers told us.
Speaker 2 (22:26):
I mean, you just hit it on the head and
you didn't get there till the very end. But if
the biggest fallacy I would think would be that, yes,
people think we're crazy. People think we're Dare devils. People
think we're in it for the limelight. I think none
of those are really true. I don't want the kid
(22:46):
that comes up to me and I get it all
the time. I want to be a stunt guy. I'm crazy,
I'll jump off that roof. You tell me what to do,
I'll do it right now. I'd rather a person who's
cautious and thinks about it and calculates it and figures
out out, Hey, how can I do that, How can
I do that and do that seven times? Because most
stunts are going to be done a couple times, depending
(23:07):
on how big they are. And you know, I get
stunt people that you know now a lot of times
they want a stunt person who cannot only deliver the lines.
My first thing for any person who wants to be
a stunt person is go to acting school. Because now
we're getting there. You know, production has gotten smarter, They've
gotten you know, what, are more efficient and instead of
(23:29):
doubling a cop who's chasing somebody up the fire escape
or running down a hole and tripping and falling or
down the steps, they're casting a stunt person. So, you know,
to be able to act and be a stunt person.
So you know, originally, I think most of the stunt
people you know did not want to go to auditions.
They did not want to deliver lines. They just wanted
(23:49):
to come in and slide a car or be involved
in a bar fight or do something like that. And
now I think acting is probably your biggest or one
of your bigger stunt tools right now that you can
have in your stuntback. You know, I mean, you're still
going to have to be willing to take risk and
calculate things and figure things out. But a good acting background,
(24:10):
you know. I tell them we're all in Screen Actors
Guild for a reason. We're actors first and foremost, and
we're stuntman second. Really, as much as they don't want
to believe it, that's you know.
Speaker 3 (24:19):
That's what I feel them interesting, Okay, very interesting? What
is like your favorite stunt to do or a stunt
that you've always wanted to do and haven't done.
Speaker 2 (24:27):
I really like a good barroom brawl where, you know,
and we got to do one here. It wasn't huge,
but I was very, very satisfied. And that does not
come out of a stunt coordinator his mouth much when
they see the final product, because you know, we have
to remember this isn't the full guy, and you know,
(24:49):
we always expect more. We always wish we sat in
the editing room, you know, and we don't. So I think,
just going back to my roots, I'm not into the
whole uh you know, Bruce Lee and the martial arts
because that's not my background. Although ironically my dad owned
six judo schools and I played competitive judo till I
(25:09):
was well into my thirties, but not anything I wanted
to do. I love a barroom brawl, people being pulled
over the bar, chairs, flying, people smashing into pianos. I mean,
I you know, and I know that's probably not the grandioso.
I mean, you might want to hear I want to
crash a biplane into a barn, but I don't know
(25:31):
if that's a reality anymore, or you know, if anybody's
going to let me do that. I think i'd have
to learn to fly first. But yeah, yeah, So, like
I said, I never gave it a lot of thought
what I would like to do. I mean, I love
doing water stuff, you know, and I've got to do
a lot of flip boats. I love doing reenactments for
shows like forensic fire fires and law firms and stuff
(25:54):
that's really not part of the television business. But I've
done some serious reenactments where I've been brought into the
police in pound Yard and looked at the boats and
figured out and then I have it that it's my
job to go out on the water and recreate that crash.
Speaker 7 (26:07):
WHOA.
Speaker 2 (26:08):
That's a challenge to me, you know, and I have
to do it accurate.
Speaker 5 (26:12):
That's like science.
Speaker 3 (26:13):
Yeah.
Speaker 2 (26:13):
Oh, yeah, not, it's exact forensics.
Speaker 5 (26:15):
Right, Yeah, that's wild.
Speaker 2 (26:18):
I've done it for law firms, I've done it for
the TV show Forensic Files, and so probably that's really
my favorite is working on the water and doing reenactments
that are more true to life.
Speaker 5 (26:30):
Very cool.
Speaker 3 (26:37):
After the break, the sad demise of Glenn Stubbins and
some theories.
Speaker 5 (26:51):
Welcome back.
Speaker 4 (26:52):
In this episode, Glenn Stubbins Ben Glenroy stunt double played
by Paul Redd, is murdered as soon as he wakes
up from his coma soon by the same person who
killed Saz and haw's her phone. Here's Ben Smith and
Alex Bigelo, the writers of the episode.
Speaker 8 (27:06):
You know, when we conceived of the character, admittedly, he
was just a pure comedy character like Paul Rudd's willing
to come back. Great, let's lean into this idea that
he looks like benk Glenroy, and let's play that he
knew Saz and he can give us more information about
Sas' life, just because we're having a character on the
inside of the Stunting world. And then when we reached
(27:27):
this point in the season, we realized, oh, there could
be this kind of sadder ending for him. And you know,
we'd kind of thought, you know, we're writing these scenes
like they just in love with the nurse, and we
were like kind of laughing, laughing, And then one day
we watched they had to film his death before the
rest of the show. The rest of the episode was
(27:48):
filmed because of Paul's schedule, so we were still like
in the process of writing it, and we just wrote
Paul's scenes and sent him off and they filmed him
like a month before the rest of the episode, and
I remember the Daily came back and Bags and I
were here in La watching those scenes and we're like,
oh my god, this is like heartbreaking and like horrible
to watch him be smothered. And we're like, okay, well,
(28:10):
like this needs to serve some real narrative purpose, and
so for to build that relationship between him and Rex Bailey,
and like that whole story felt like his character served
more than just a comedy purpose in the season, which
was nice.
Speaker 6 (28:24):
It's you what.
Speaker 3 (28:29):
No no, no, no.
Speaker 5 (28:31):
No y.
Speaker 4 (28:39):
This season you're tying it all back to season one
and some plot holes quote unquote, can you tell us
about like what that We talked about it a little
bit with Kristin Newman and Jake Schnezzl, But I would
love to hear both of your perspectives on that choice
this season.
Speaker 8 (29:00):
Oh gosh, I feel like that's above my pay grade.
Speaker 6 (29:04):
What did they say.
Speaker 4 (29:07):
They were explaining how the room had been planning this
for four seasons.
Speaker 8 (29:17):
I will say that when I was working on season one,
I guess I felt as though there were some answers
for those questions, but they were that was my own canon,
I guess, you know, like I guess at the time,
I guess I would say I did not think of
them as blot holes. I thought of them as I
guess I'd attributed all to that Jan had poisoned Winnie,
(29:39):
that Jan had left a note on her door to
hide any sense of guilt, and then other stuff that
wasn't explained can be chalked up to poor writing. But
but I think this worked out. I would love to
have turned out in the season that we kind of
like use that as an opportunity to be like, oh,
if there was another murder or death the building, what
(30:01):
would people in that building be doing to stop this
new trio of people who've made it their mission to
solve mystery? They would panic and they tried to dissuade it.
So I thought that was a very fun way to
circle back and to address those like kind of lingering questions.
I guess all long story short, at the time, I
wasn't thinking with these little plot holes, but I think
(30:23):
it was very fun to kind of circle back, especially
in a season that was making a movie about season one.
Speaker 6 (30:30):
That made a lot of sense to revisit it.
Speaker 8 (30:33):
Mm hmm definitely, But maybe people above my pay grade
had a master.
Speaker 6 (30:37):
Plan the whole time.
Speaker 5 (30:39):
Both things can be true.
Speaker 3 (30:41):
Absolutely.
Speaker 8 (30:42):
Also, I just want to shout out Biggs. This is
Biggs's first episode that she's written, and she crushed it.
Speaker 5 (30:49):
Yes you did.
Speaker 3 (30:50):
It was so great.
Speaker 4 (30:50):
And this is a big episode too. This is a lot.
It's a lot, and it's very funny.
Speaker 7 (30:55):
Thank you guys. I feel very lucky and had the
best time co writing with Ben. We had so much fun.
It was just basically a lot of giggles, which is
and it felt easy. You know. That's I feel like
the sign of a great episode.
Speaker 8 (31:12):
I do think it was kind of the easiest story
to break all season, and I think truly, and I
think part of that is actually because we've just finished
that whole you know, season one plot, whole story, Like
a lot of it was like kind of hidden and
you know, little teas, and now that that story kind
of like culminated and eight, it was like, great, we
(31:33):
can tell very kind of straightforward story here and just
like create our own little complications and twists, but not
anything as big as what we've been doing beforehand.
Speaker 6 (31:44):
It was very fun.
Speaker 7 (31:45):
Yeah, I felt like we had the SaaS flashbacks to
weave in, but otherwise it was just a classic like
the trio has a mission to figure something out and
it's their journey of finding it.
Speaker 5 (31:57):
Definitely.
Speaker 3 (31:58):
Yeah, Okay, it's that time again. Time to read some theories,
some emails.
Speaker 4 (32:11):
But first, we are nearing the end of the season
and so the opportunity to submit to win tickets to
the La Escape Room or New York Escape Room. Yes,
that's closing. We're closing that up because the finale is soon.
Speaker 3 (32:25):
We will be announcing the winners on the final episode
of this podcast for season four, which will air on Friday,
November first.
Speaker 4 (32:33):
That means that your last opportunity to submit to the
contest will be when Part one airs on Wednesday. That's correct,
October thirtieth, all right. Also the East egg this week
very obvious one big green screens above the Arconia foreshadowing
the set of Escape from Planet Clongo.
Speaker 3 (32:51):
Thank you to everyone that emailed. Janet J. Darnell, Jackie L.
Gabby A, Alexandra L. Morgan, h alex Da, Nina S.
Speaker 5 (33:01):
Very good, very good.
Speaker 4 (33:02):
Jamie G send an email asking us to listen to
Murder by Numbers by the Police.
Speaker 3 (33:06):
We put it on.
Speaker 5 (33:07):
We did, We listened.
Speaker 4 (33:08):
They were wondering if the lyrics maybe inspired the show.
Speaker 5 (33:13):
I didn't really see it, but who knows.
Speaker 4 (33:15):
That doesn't mean it's not inspired. We will at the
next opportunity we will. We'll find out if there's something
in there. But I did remember in season one with
the I'm watching you things, that's a famous Sting lyric
from every breath you take interesting And I don't remember
if we made that connection in season one.
Speaker 3 (33:32):
Because Sting was obviously present in season one exactly.
Speaker 5 (33:35):
Maybe he was there, I don't know.
Speaker 4 (33:37):
So maybe Sting is the mastermind here, That's my point.
Speaker 3 (33:41):
Lindy S after watching Lifeboat, was wondering if Helga and
Saz maybe they're related.
Speaker 5 (33:46):
I mean they do.
Speaker 4 (33:47):
They are tall, blonde women, So it's true.
Speaker 3 (33:50):
Yeah, do you think she'll feel different after watching episode nine?
Speaker 5 (33:53):
I would love to know.
Speaker 3 (33:54):
Let's know, Lindy.
Speaker 5 (33:55):
Okay, now here's Hannah with the Reddit scoop.
Speaker 1 (33:57):
Hey Maggie, Hey Ryan, and hey everyone. Escape from Planet
Longer was another fantastic episode. And I don't want to
take the credit, but our submembers had totally called somebody's reveals.
I'm always so amazed at how much they pick up on.
But without further ado, here are the final season four
theories from the Only Murders in the Building sub credit.
(34:20):
After an entire season of suspecting Marshall and this week's reveal,
people are not wondering if it could all be one
final red herring. Here is current value nine two seven
ice theory. Marshall's not the Mastermind. He's being controlled by
someone who doesn't want the movie to be made, and
that's the same person who wants to stop the podcast.
(34:41):
The Mastermind knows he stole the script and is using
it to blackmail him into doing their bidding. The first
order was to kill the trio, beginning with Charles and
Sas was never the intended target, So when he discovers
her body, he panics and leaves lots of evidence behind.
I don't think Marshall knows who is Blas. Amailing him
is a two person job, but only one of them
(35:03):
is doing the heavy lifting. I think Marshall will go
down for killing Glenn and Sas, but the real mastermind
could be revealed next season. Then we have m Bridget
with a theory about who could possibly be in cahoots
with Marshall. They say, I think that Bev hired Marshall
to kill Sas and Glenn Stubbins. Bev promised Marshall to
(35:23):
write her credit if he killed Sas, and maybe Sas
was going to back out on the movie idea and
Bev didn't want that to happen, so she put out
a hit on Sas. Then we've got another popular theory
brought to us by Natcats B seven to three, and
it relates to this season's theme of doubles. This season
has focused a lot on doubles. What if Rex Bailey
(35:46):
isn't Marshall but Marshall's twin brother. They may have committed
the murder together, or maybe Marshall isn't even involved in
the killings. All we know for sure is that he
stole sas a script. We also saw him kill Glenn,
but this could have been his twin. Now, while most
people are focusing on Marshall after what we saw in
apcent nine, some members still aren't convinced that the Westies
(36:10):
are completely innocent, and Rudy's name keeps coming back in
the conversation Here is upset heats six eight seven six theory.
I'm putting my money on Rudy. He wasn't playing oh
hell with the rest of the Westies when Saz got shot.
He's fit enough to have done it all in such
a short period of time. He knew that bit of
non tinsel wouldn't burn, and he served Mabel and Eva
(36:34):
agnog with ground deer hoof? Was it a joke? If not,
then where would he get that. Maybe he's a hunter,
so he's good at shooting. Like Charles said before, the
case thing from the rifle was popular in the sixties
amongst hunters. Rudy knew the building, he knew Dudonoff's apartment
was empty, and he knew about the internarrator were led
(36:58):
to believe it was Marshall, But how how would he
know about Dudonov's apartment and the incidate, writer, etc. I
think he stole the script but nothing more. An unexpected
name is also starting to emerge following that dry cleaning
news segment shown on the television in the hospital. Here
are potential Classic eighty nine thoughts on that. My theory
(37:18):
on Marshall's accomplice is Lester and the cleanup crew dry
cleaning van at the end credits. Lester is often seen
bringing dry cleaning in and out of the building, and
ever since the episode, my theory has been that Lester
called Charles about the window, so it gave him an
excuse to be in the apartment if someone saw him
(37:39):
or asked why his fingerprints would have been there, or
maybe he needed to do something in his apartment, perhaps
a just the cameras after the murder. Also, would a
dorman have keys to all the apartments, and we also
know Lester's a washed up actor who could maybe be
holding a grudge. Plus, in a pre season Lester gave
(38:01):
Charles his hat back because he left it somewhere. I
think maybe Lester used it to disguise himself as DAWs
while sneaking around. Something about that scene was suspicious to
me and Finally, we have bright top five six nine
to one with a wish for upcoming seasons of the show.
I love how they killed Paul Rudd twice on this show.
(38:22):
I'm kind of hoping they make it a running gag
and bring him back as a different character every season,
just to kill him again. That's it for me. Thank
you for listening. I can't wait to see if some
of these theories turn out to be true and join
us for more Only Only Murders in the Buildings.
Speaker 3 (38:37):
I've read it. That's it for today. Thank you so
much for listening.
Speaker 4 (38:48):
Even though there's only one episode left. If you have thoughts,
if you have theories and you want to send them
to us, please do Only Murders at strawham media dot com.
Speaker 3 (38:58):
Take a minute to subscribe, rate the show, follow us,
and leave us a review if you enjoy the show.
Speaker 4 (39:24):
Only Murders in the Building podcast as a production of
straw Hat Media, hosted and produced by Ryan Tilton and
Maggie Bowles. Our associate producer Stephen Markley, with original music
by Kyle Merritt and Only Murders in the Building theme
music by said Artha Cosla. Our assistant editor is Daniel
Ferreira and our production assistant is Caroline Mendoza.
Speaker 3 (39:39):
Thank you so much to Chris Barnes, Alex Bigelow and
Ben Smith for talking with us this week.
Speaker 4 (39:44):
And big big thanks as always to John Hoffman and
the entire Hulutine.
Speaker 3 (39:48):
See you soon for the finale.
Speaker 4 (39:51):
Heay,
Straw Hut Media.
Speaker 2 (00:02):
I honestly couldn't tell you how many times I've been
on fire.
Speaker 3 (00:10):
Hello, and welcome back to the Only Murders in the
Building Podcast.
Speaker 4 (00:13):
I'm Ryan Tillotson and I'm Maggie Bowles, and 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.
Speaker 3 (00:21):
Today on the show, we're continuing the conversation all about
season four, episode nine, Escape from Planet Coolongo.
Speaker 4 (00:28):
We'll hear from showrunner and co creator John Hoffman, the
writers of the episode, Ben Smith and Alex Bielo, and
we'll also talk to Chris Barnes, the amazing stunt coordinator
on Only Merdgers in the Building.
Speaker 3 (00:39):
We will talk about seeing Saz in her element, both
as a stunt person and as a mentor, setting a
person on fire safely, and Project Runkonkoma.
Speaker 5 (00:51):
It's a real place.
Speaker 3 (00:51):
It's a real place.
Speaker 4 (01:00):
Earlier this week in Part one, we talked a lot
about Escape from Planet Klongo, but we didn't talk very
much about Project run kon Kamakama and the crazy scene
where Rex Bailey says his protege does his first fire
stunt and things go terribly terribly wrong. Alex Bigelow and
Ben Smith co wrote the episode.
Speaker 6 (01:19):
Well, Sending someone on Fire.
Speaker 7 (01:21):
That was very wild, and I was on set that
day and it felt very cool in a season where
we had been researching and talking about stuntmen so much
to actually see it unfold. And obviously when we were
writing these little scenes, we were kind of looking up,
you know, how they would prep and we learned about
the gel and all these things that they put on them,
(01:41):
cells pot, the lights themselves on fire, and to like
see that stunt happen, it was like the only time
I've ever seen like set, like everyone was like dead
silent and like so locked in to watch this happen
and to see them actually like do all the steps
was pretty cool because we're like, oh, these are the
things that we've been researching for sas and now we
get to actually see a big stunt on our show.
Speaker 8 (02:03):
And those production meetings were really fun, the like because
the stunt department, who's so talented, but like this was
like an episode that obviously featured so many stunts, and
they were like super down with all of it. We're like, yes,
that's achievable, we can do it, and helpful in the writing,
like because they were going off a script and they
were like, you know this, I see what you're trying
(02:23):
to do with this, you know silver tinsel, like this
is that's not like the stuff we use nowadays, but
maybe in the past it could be like a hand
me down, like this is something they used in the past.
We're like, great, let's build that into story that it
was a gift to Saz that she's now passing on,
and little stuff about like what type of headwhere they
would use. So they were helpful and kind of like
(02:45):
taking the script Whichard researched and then making it even
more authentic.
Speaker 1 (02:50):
Very cool.
Speaker 3 (02:51):
Interesting how many times did they actually light them on fire?
Speaker 7 (02:55):
Just once?
Speaker 1 (02:57):
Just the one time?
Speaker 2 (02:58):
Yep?
Speaker 7 (02:58):
Wow, So that's why everyone ELSEO was like, we have
the time for one. So everyone was really excited and
then like yeah, everyone was just so thrilled and like cheering.
Speaker 4 (03:10):
Yeah, I am curious about Wrong concoma a little bit more.
Speaker 5 (03:16):
First of all, the name, and then also like what
is that movie about?
Speaker 4 (03:20):
Like what are they what is happening like in that
scene when they like kick him out and light him.
Speaker 5 (03:25):
On fire, like what is this?
Speaker 7 (03:27):
For a while, we just had a placeholder name for that,
and that is a John Hoffman name where he came
in one day and was like, Wrongkonkoma, It's wrong Honkama,
and we were like, of course it is. Frankly if
I'm wrong, Ben, But I feel like we kind of
imagined it to be a Mobby movie.
Speaker 5 (03:50):
Okay, that's the vibe I got from the one scene.
Speaker 8 (03:52):
Yeah, it was something. I mean, the very unsexy answers
that a lot of these things are driven by production
and then and sometimes you're like given a few parameters
and then you make something it turns out great because
you have the parameters and then you kind of like
have something to play within. But I remember the first
name that we used just as a placeholder was this
(04:13):
was called Project Damascus, and like initially in those first
production meetings, they're like, okay, there's like a chariot and
there's like sand, and then pretty quickly it became like
is that important because that's incredibly expensive, and we're like, no,
that was just a name that was set. It could
be anything, and then it becomes something We're like, okay,
it should be new York based.
Speaker 6 (04:34):
It should like be filling on location.
Speaker 8 (04:36):
If we're going to light someone on fire, it needs
to be outside, Like it should be a productive area
that we don't have to spend one hundred thousand dollars decorating,
you know, like it should just be a waterfront that
is kind of like shot as is. And then you
start to be like, Okay, we have a character's headneys
be covered. It's have like one filming location, so we're
doing it all in one day. Let's have them in
(04:56):
the back of a van. Let's use the van for
the scene. Let's be right there. You can set them
on farm turn off. And then you're like, okay, it's
a mob story by the waterfront whatever. So like those
are like the full journey of it.
Speaker 5 (05:09):
For some reason called Ronkonkoma.
Speaker 6 (05:12):
Because it's New York based and.
Speaker 4 (05:15):
John like the name is ron Konkoma something real? Yeah,
I guess I could have googled this, I could have
done my research. I really failed in preparations.
Speaker 6 (05:22):
It's out in long Islunch, it's a it's.
Speaker 5 (05:24):
A neighborhood, neighborhood area.
Speaker 3 (05:27):
I got a visit.
Speaker 5 (05:28):
It gets stuck in my head.
Speaker 4 (05:28):
It's one of those words that gets stuck in my head,
ron Konkoma, And every time I get stuck in my head,
I start singing Chapel ron hit it like Ronkonkoma, which
is not what it is, but it's it's like in
my brain forever.
Speaker 3 (05:45):
So thank you for that.
Speaker 7 (05:46):
Okay, I like that.
Speaker 2 (05:49):
Ready.
Speaker 9 (05:50):
Step one, grab me fireproof jock from the deep freeze.
Speaker 2 (05:53):
Strap it on.
Speaker 3 (05:55):
Step two.
Speaker 9 (05:56):
Slather up your tender.
Speaker 10 (05:57):
Bits with this stuff.
Speaker 9 (05:59):
Wrists, neck, ankles, anything not covered by this flame retarding
fest aka Step three. Yeah, it's a bit tattered, it's
a bit old school, but it's a gift from my
old man and it's kept me safe all these years.
Here for you, right on, loving yourself up, and we're
(06:19):
going to tort you.
Speaker 10 (06:20):
Oh I'm so sycked for.
Speaker 7 (06:21):
You for me. One thing that felt special too is
to get to see these Saz flashbacks, like we're at
that moment where we're so close to finding out who
she is talking about, and to see this relationship that
eventually is going to give us a bigger understanding to
(06:43):
the murder. It was just really awesome to have those
flashbacks and be able to see the story like uncover
about like this relationship she had with this person that
will obviously then we get to have that big reveal
at the end of nine.
Speaker 3 (06:58):
It was very satisfying to see her stunting or like
in that world, you.
Speaker 10 (07:03):
Know, absolutely, and I love that, Like it feels like
this idea of Saz was always such a swing for us,
right from the beginning of season one and playing Charles's
stunt double.
Speaker 3 (07:16):
This is John Hoffman, co creator, showrunner.
Speaker 10 (07:19):
And then you get to really go in and show
like the reality of that and she's I mean, that's
that's Jane Lynch to a t right there. And just
the way in which that energy she has of sort
of a gusto and a and a real conscientious concern
for the work that's being done. That's what I see
(07:40):
when she's on set as well. And she's just a delight.
And so the opportunity to show sas and in her
real work and mentoring and helping along someone you know,
felt pretty great as an opportunity.
Speaker 3 (07:57):
It did, It was great.
Speaker 4 (07:59):
I loved it, even though she might be mentoring a
psychopathic murderer.
Speaker 10 (08:04):
Yeah, unfortunately fortunately, but we'll see.
Speaker 5 (08:08):
We'll see, we'll see. I feel like there may be
some twists and turns to.
Speaker 3 (08:12):
Go there has to be.
Speaker 5 (08:13):
Oh, but I had missed Saz. I was so happy
to see her.
Speaker 2 (08:19):
Ah, that's nice.
Speaker 10 (08:20):
Yeah, well, I think some of her best work has
yet to come to for us.
Speaker 3 (08:26):
It's great.
Speaker 2 (08:27):
Yeah.
Speaker 3 (08:28):
Wow, Okay, very excited, very excited.
Speaker 4 (08:30):
With all of the amazing stunt stuff this season, we
felt like it was very important that we talked to
the stunt coordinator on the show, Chris Barnes, who apparently
has been getting a lot of interview requests ever since
episode seven and the fight between Loretta and Dormen.
Speaker 3 (08:43):
Wait, so you've had a bunch of requests for interviews
because of the Meryl street fight.
Speaker 2 (08:48):
Well, same type of thing, whether it's a podcast or
whether it's a news reporter from a local paper. Yeah.
And I send them all just as I did yours.
I send them all to production and I let them
tell me what I can and can't do. I'm not
looking for the limelight. That's not why you became a
stunt man.
Speaker 3 (09:07):
I'm trying to think of the stunts that I definitely
know are stunts in this in this season. In episode four,
we have the Paul Rudd character, like jumping into a
trash can hitting himself in the head with the lid.
I think, I know. In episode nine, we've got the uh, well,
someone gets lit on fire. That's got to be a stunt.
Speaker 5 (09:28):
That's a big one. That's a big one.
Speaker 3 (09:31):
We have the Meryl Street fight. What were the kind
of the big ones for you this season?
Speaker 2 (09:36):
The biggest one was probably the fire because it's most
involved and comes at the most risk. I really enjoyed
the whole barroom fight. The barroom brawl, it was a
result that can post. The jumping into the dumpster, the
Meryl Street and Melissa fight were you know, it was
(09:57):
kind of epic in its own sense, dealing with you know,
a bit of Hollywood royalty there and people who would
just non tend to be action heroes. And then we
did have Marshall p Pope get hit by a car.
I hope it looked good. Well, maybe it wasn't good
because you apparently you forgot it on your verbal list
(10:18):
that you just.
Speaker 3 (10:19):
Can't me.
Speaker 5 (10:21):
It looked so natural. I forgot it was a stunt.
Speaker 4 (10:23):
Yes, I was like, oh, yeah, he just got hit
by a car and rolled into the back seat. That's
not a stunt. He just does that that's normal.
Speaker 2 (10:28):
That's because he was a stuntman.
Speaker 5 (10:31):
Project Romama. Of course I can wrestle up a team.
Speaker 2 (10:35):
Well yeah, but sometimes you meet a person you don't
want to let go of, and sometimes they can change
your life in ways you never saw coming.
Speaker 10 (10:44):
Ah.
Speaker 5 (10:49):
Yes, oh that was some flip.
Speaker 9 (10:54):
I teach that in my advanced Somersault intensive, which is
in the winter.
Speaker 5 (11:00):
Were stunted before.
Speaker 4 (11:02):
We've talked to most of the writers this season, and
some of the directors, and a lot of them seem
to have done a lot of research into the stunt
into stunting in the stunt community.
Speaker 2 (11:13):
They pretty much now that they they they did the
homework because that whole stuntman bar. There is a bar
out in California. I don't know the name of it.
It's not necessarily a stuntman bar, but it's definitely a
sag bar. I heard you can go in with your
any residual check and you can get a I think, oh, actually,
I think it's called residuals now that I think of.
Speaker 5 (11:31):
It, I know that bar.
Speaker 2 (11:33):
Yeah, and you supposedly can go in with any residual
check and you can get a beer for the price
of that residual check.
Speaker 5 (11:40):
I love so.
Speaker 2 (11:41):
I mean so, I mean maybe they played the whole
concussions thing off of that, but you know, I think
they did. I think they did a great job, to
be honest with you.
Speaker 4 (11:49):
Yeah they did. Was the idea of a stuntman's funeral
where they do the breakaways on the head?
Speaker 5 (11:56):
Was that? Was that something you could imagine happening?
Speaker 2 (11:59):
Imagine it happening? Yes, I have I ever heard a
myth or a rumor or a fact of it. No,
I never did.
Speaker 5 (12:09):
Okay, I think it'd be pretty fun.
Speaker 2 (12:11):
Yeah. I do keep an arsenal of breakaway bottles in
my garage and we use them at parties and we
used them for oh yeah, yeah. I used to go
to the school when my kids were younger. I used
to go to their school and talk about stunts and stuff.
And you know, you can't really talk about guns, you
can't really talk about fire, you can't really talk about fighting.
So that was like one of the silly things you
could do is bring a rubber bottle and let him
(12:32):
hit each other in the head, and then the kid
who asked the best questions. Sometimes I would like let
him break a bottle over another kid's head, you know,
but I tell him that it was rob surprise everybody,
and you know they're pretty mild.
Speaker 4 (12:44):
You know, that must have been the coolest thing for
your kid to be like my dad's stunt man. Like
I like that to me if I was a child
in that class, I'd be like, you have the coolest
dad that it's ever lit, you know what I mean.
Speaker 2 (13:02):
I don't know if your own kids ever think that
of you.
Speaker 5 (13:06):
Yeah, that's fair, that's fair, but it's a nice thought.
Speaker 2 (13:08):
I mean I still have all like the thank you
cards and posters that they sent to me and pictures
of me with the class because I had three boys,
you know. And then you know, having a stunt career,
especially in New York where you're working Daly, you do
get a lot of time. Often I tell people, you know,
got to go be the lunch monitor, you got to
be the playground monitor, you got to go in on
(13:30):
book day and talk. And you know, it's a fun
thing to do. I mean, if you want to be
involved with your kids, you know, growing up, did any.
Speaker 5 (13:37):
Of your kids decide to go into stunt work?
Speaker 2 (13:41):
All three of them are professionals?
Speaker 3 (13:43):
What whoa?
Speaker 5 (13:45):
Yeah, it's a family business.
Speaker 3 (13:47):
Just like just like Saspataki.
Speaker 2 (13:50):
Oh right, yeah, oh yeah, we didn't mention that Alreen
Gag that was that girl was pretty talented, that young
lady that we use, she was young. She was young.
She happened to be younger than you probably think. She
just happened to be tall, because so it was says,
but yeah, all three of my boys are professionals stunt
then that's what they do.
Speaker 4 (14:07):
Wow, that is so cool.
Speaker 3 (14:13):
After the break, Only Murders stunt coordinator Chris Barnes tells
us how possible an onset disaster like Rex Bailey really is.
Speaker 5 (14:28):
Welcome back.
Speaker 4 (14:29):
Chris Barnes is the stunt coordinator for Only Murders in
the Building and so in addition to all of the
other stontes we've seen this season, he was responsible for
coordinating the fire.
Speaker 3 (14:39):
Can you like walk us through what the process is for, say,
the scene where you're setting somebody on fire?
Speaker 2 (14:48):
Yeah, when you're setting somebody on fire, well, obviously you
talk about it, you find out what the director needs,
what talk to the ad, You find the timeframe that
you you have to do this fire, and that's pretty important.
Everything with fire is based on time, not only the
time it takes to physically prepare the clothes with the gels.
(15:11):
You don't want to put the gels on too early
they start.
Speaker 3 (15:13):
To dry and tell me about the gels like what
are they and the jails protective or they are they
tell me about the jail.
Speaker 2 (15:21):
Yeah, well those gels were talking about it protective gels.
There are gels that are accelerants also, but you don't
want to get those two confused, so you keep things
very separate. Those gels are barrier, they're usually cooler in temperature.
But there's something that was scientifically designed. Originally there was
(15:42):
a man named Gary Zeller, and we call it the
Zel Gel. He's long gone, but he's actually one I
think Academy Award in mountain stunts because they don't have them,
but because he wanted in advancements for pyrotechnics or special
off by creating that zel and pretty much most people
(16:04):
who are using it some form of a gel barrier,
which most everybody is is some form of probably derives
from half of the contents of the original Zell gel,
which I don't even know if it's still available.
Speaker 3 (16:18):
But do you put that gel all over your body
or do you just put it on. Like you say,
you let your hand on fire, you just put it
on your hand.
Speaker 2 (16:26):
Well, you would put it on the part of your
body that's burning, and you would put it near anything
like if your hand had to come and you know,
I don't know, put out a fire that's on your shoulder,
you'd obviously put the gel on. You put a barrier
of gnomes, which is a fire retardant underwear that race
(16:46):
car drivers use. You would soak that in the gel
and then you would put that on. And then if
you have to have wardrobe and wardrobe is going to
need to be dry, you would put on some sort
of like kind of an asbestos suit or something that
and let the moisture the water bleed through so it
doesn't make your clothes look all wet and spotty. So,
you know, if you're coming down the street and somebody's
(17:08):
gonna ignite you for some reason, you don't want the
person coming down looking like there are you know, like
they just walked through a rainstorm or something. So there's
barriers and protection levels that he is interesting.
Speaker 4 (17:20):
It sounds like they're a bit slimy, So it's like
a salamander.
Speaker 2 (17:24):
Oh yeah, No, it's not really fun, or maybe it
is fun to be all filled with gel. I mean,
I've done full body burns when my whole body has
been you know, all my clothes are completely my socks,
my gloves, everything are completely soaked in jel. And then
like I said, then you even put a pair of
(17:44):
dry gnomes long underwear on, and then you might put
the barrier on. The barrier is not fire retardant at
all because it would melt eventually, but you're just trying
to keep the wardrobe. Once the fire is happening, it
doesn't matter that burns away.
Speaker 3 (18:01):
Wow. So the who is the stunt man that that
portrayed the jin huh character Marshall or Rex Marshall p Pope? Yeah,
who is that? Who is that man?
Speaker 2 (18:12):
Sue Liu is his name. Pretty experienced dunt guy. Done
a lot of live shows, done some acrobatics, does a
lot of martial arts and stuff. Very talented stunt person.
And so I had asked him about his burn experience
because that's pretty important. I didn't know if we needed
a rehearsal day. And you know, Murders or any big
(18:33):
show or any show is not a place for people
to learn and do their first fire. I don't know
how they're going to react. I don't know if they
can potentially panic. I don't know if they'd be cautious,
because you know, there's still performing during a fire. They
still have to hit certain marks. They still have to
get up, they have to hit the ground, they have
to be able to tell the safety team that if
(18:53):
they're feeling hot. So there's a lot to it. So
you don't tend to just put a new guy in
a fire. Everybody needs their first fire, but hopefully it's
done at a school or a class. So when I
asked Sue what his fire experience was, he kind of
undersold himself, but he was just being humble. And then
he showed me some reels and I said they were
(19:16):
quite impressive, and I said, okay, we got the right
guy where I felt he didn't need a rehearsal because
you know, to rehearse a full burn like that. Anytime
you do a full burn is a tremendous risk no
matter what. So it wasn't the type that needed rehearsal.
After I saw what he could do, and he's, you know,
somebody who definitely listens, hits his marks.
Speaker 4 (19:36):
You know in the In the episode, he catches fire
again and he accidentally burns Ron Howard's eyebrows off. Have
you ever heard of anything like can you catch fire
again after a fire stunt?
Speaker 5 (19:47):
Is that a Is that a real thing?
Speaker 1 (19:50):
Oh?
Speaker 2 (19:50):
Yeah, I mean fire is number one fuel is you know,
beyond the accelerant itself is feeding it air. So because
you down on the ground until the guy's completely put
you out with Co two's or maybe even you know,
with him, it might have a Hudson spray or with
some water in it and stuff like that, and you
(20:12):
make sure you're completely out. Then you stand up and
put your arms in the air and the guys circle
you and they ask you do you feel hot? Or
are there any hotspots? So there's a whole process that happens.
Marshall in this case was so excited as a young
actor or a young stuntman. He sees this famous director
and he jumps up prematurely and runs. Well, obviously, when
(20:35):
you run, you're really it's like a blowing air on
a fire, It can actually accelerate it. So yeah, he
kind of, you know, was the victim of his own wrongdoing.
Now granted, just his arm you saw it. I think,
from my understanding, just his arm went on fire, but
that's all they really needed.
Speaker 5 (20:52):
Yeah, so it's possible, very possible.
Speaker 4 (20:55):
Oh yeah, how many times have you been set on
fire as a stuntman?
Speaker 9 (21:00):
Who?
Speaker 2 (21:01):
I did a television show called Rescue Me, which was
a fireman show. I honestly couldn't tell you how many
times I've been on fire. You know, mostly it's partials,
but I've done quite a few full burns. I double
Bam mar Jarra in a movie where I ran out
of a building on fire, tripped, fell, tried to get
(21:23):
into a car, jumped in the car, and then drove
the car down the street. That's probably the biggest show.
Speaker 5 (21:30):
That is huge.
Speaker 3 (21:31):
I thought Bam was known for, like doing stunts.
Speaker 5 (21:35):
Maybe not full body burns.
Speaker 2 (21:37):
Well, quote unquote, Bam came to me afterwards and he says,
I do a lot of shit and I heard a
lot of people. He goes, but that's something I'm so
glad you did, so quote quote unquote that was a
long time ago.
Speaker 5 (21:50):
Is there anything you feel like people get wrong about stunts?
Speaker 3 (21:56):
You mean, like trying to get into the stunt?
Speaker 5 (21:57):
No, No, like just.
Speaker 4 (21:58):
Like I feel like it's like it's it's like behind
the scenes of all these movies, right, like if the
stunt is doing the right thing, you forget that it's
a stuntman and you just think about the actor, you
know what I mean. So it's like it's meant to
be the sort of movie magic. And so I wonder,
is there anything you like? People don't realize this about stunts,
But we are not Dare Devils. We're safety oriented, you know.
(22:22):
I don't know that was something that I want to say.
One of the writers told us.
Speaker 2 (22:26):
I mean, you just hit it on the head and
you didn't get there till the very end. But if
the biggest fallacy I would think would be that, yes,
people think we're crazy. People think we're Dare devils. People
think we're in it for the limelight. I think none
of those are really true. I don't want the kid
(22:46):
that comes up to me and I get it all
the time. I want to be a stunt guy. I'm crazy,
I'll jump off that roof. You tell me what to do,
I'll do it right now. I'd rather a person who's
cautious and thinks about it and calculates it and figures
out out, Hey, how can I do that, How can
I do that and do that seven times? Because most
stunts are going to be done a couple times, depending
(23:07):
on how big they are. And you know, I get
stunt people that you know now a lot of times
they want a stunt person who cannot only deliver the lines.
My first thing for any person who wants to be
a stunt person is go to acting school. Because now
we're getting there. You know, production has gotten smarter, They've
gotten you know, what, are more efficient and instead of
(23:29):
doubling a cop who's chasing somebody up the fire escape
or running down a hole and tripping and falling or
down the steps, they're casting a stunt person. So, you know,
to be able to act and be a stunt person.
So you know, originally, I think most of the stunt
people you know did not want to go to auditions.
They did not want to deliver lines. They just wanted
(23:49):
to come in and slide a car or be involved
in a bar fight or do something like that. And
now I think acting is probably your biggest or one
of your bigger stunt tools right now that you can
have in your stuntback. You know, I mean, you're still
going to have to be willing to take risk and
calculate things and figure things out. But a good acting background,
(24:10):
you know. I tell them we're all in Screen Actors
Guild for a reason. We're actors first and foremost, and
we're stuntman second. Really, as much as they don't want
to believe it, that's you know.
Speaker 3 (24:19):
That's what I feel them interesting, Okay, very interesting? What
is like your favorite stunt to do or a stunt
that you've always wanted to do and haven't done.
Speaker 2 (24:27):
I really like a good barroom brawl where, you know,
and we got to do one here. It wasn't huge,
but I was very, very satisfied. And that does not
come out of a stunt coordinator his mouth much when
they see the final product, because you know, we have
to remember this isn't the full guy, and you know,
(24:49):
we always expect more. We always wish we sat in
the editing room, you know, and we don't. So I think,
just going back to my roots, I'm not into the
whole uh you know, Bruce Lee and the martial arts
because that's not my background. Although ironically my dad owned
six judo schools and I played competitive judo till I
(25:09):
was well into my thirties, but not anything I wanted
to do. I love a barroom brawl, people being pulled
over the bar, chairs, flying, people smashing into pianos. I mean,
I you know, and I know that's probably not the grandioso.
I mean, you might want to hear I want to
crash a biplane into a barn, but I don't know
(25:31):
if that's a reality anymore, or you know, if anybody's
going to let me do that. I think i'd have
to learn to fly first. But yeah, yeah, So, like
I said, I never gave it a lot of thought
what I would like to do. I mean, I love
doing water stuff, you know, and I've got to do
a lot of flip boats. I love doing reenactments for
shows like forensic fire fires and law firms and stuff
(25:54):
that's really not part of the television business. But I've
done some serious reenactments where I've been brought into the
police in pound Yard and looked at the boats and
figured out and then I have it that it's my
job to go out on the water and recreate that crash.
Speaker 7 (26:07):
WHOA.
Speaker 2 (26:08):
That's a challenge to me, you know, and I have
to do it accurate.
Speaker 5 (26:12):
That's like science.
Speaker 3 (26:13):
Yeah.
Speaker 2 (26:13):
Oh, yeah, not, it's exact forensics.
Speaker 5 (26:15):
Right, Yeah, that's wild.
Speaker 2 (26:18):
I've done it for law firms, I've done it for
the TV show Forensic Files, and so probably that's really
my favorite is working on the water and doing reenactments
that are more true to life.
Speaker 5 (26:30):
Very cool.
Speaker 3 (26:37):
After the break, the sad demise of Glenn Stubbins and
some theories.
Speaker 5 (26:51):
Welcome back.
Speaker 4 (26:52):
In this episode, Glenn Stubbins Ben Glenroy stunt double played
by Paul Redd, is murdered as soon as he wakes
up from his coma soon by the same person who
killed Saz and haw's her phone. Here's Ben Smith and
Alex Bigelo, the writers of the episode.
Speaker 8 (27:06):
You know, when we conceived of the character, admittedly, he
was just a pure comedy character like Paul Rudd's willing
to come back. Great, let's lean into this idea that
he looks like benk Glenroy, and let's play that he
knew Saz and he can give us more information about
Sas' life, just because we're having a character on the
inside of the Stunting world. And then when we reached
(27:27):
this point in the season, we realized, oh, there could
be this kind of sadder ending for him. And you know,
we'd kind of thought, you know, we're writing these scenes
like they just in love with the nurse, and we
were like kind of laughing, laughing, And then one day
we watched they had to film his death before the
rest of the show. The rest of the episode was
(27:48):
filmed because of Paul's schedule, so we were still like
in the process of writing it, and we just wrote
Paul's scenes and sent him off and they filmed him
like a month before the rest of the episode, and
I remember the Daily came back and Bags and I
were here in La watching those scenes and we're like,
oh my god, this is like heartbreaking and like horrible
to watch him be smothered. And we're like, okay, well,
(28:10):
like this needs to serve some real narrative purpose, and
so for to build that relationship between him and Rex Bailey,
and like that whole story felt like his character served
more than just a comedy purpose in the season, which
was nice.
Speaker 6 (28:24):
It's you what.
Speaker 3 (28:29):
No no, no, no.
Speaker 5 (28:31):
No y.
Speaker 4 (28:39):
This season you're tying it all back to season one
and some plot holes quote unquote, can you tell us
about like what that We talked about it a little
bit with Kristin Newman and Jake Schnezzl, But I would
love to hear both of your perspectives on that choice
this season.
Speaker 8 (29:00):
Oh gosh, I feel like that's above my pay grade.
Speaker 6 (29:04):
What did they say.
Speaker 4 (29:07):
They were explaining how the room had been planning this
for four seasons.
Speaker 8 (29:17):
I will say that when I was working on season one,
I guess I felt as though there were some answers
for those questions, but they were that was my own canon,
I guess, you know, like I guess at the time,
I guess I would say I did not think of
them as blot holes. I thought of them as I
guess I'd attributed all to that Jan had poisoned Winnie,
(29:39):
that Jan had left a note on her door to
hide any sense of guilt, and then other stuff that
wasn't explained can be chalked up to poor writing. But
but I think this worked out. I would love to
have turned out in the season that we kind of
like use that as an opportunity to be like, oh,
if there was another murder or death the building, what
(30:01):
would people in that building be doing to stop this
new trio of people who've made it their mission to
solve mystery? They would panic and they tried to dissuade it.
So I thought that was a very fun way to
circle back and to address those like kind of lingering questions.
I guess all long story short, at the time, I
wasn't thinking with these little plot holes, but I think
(30:23):
it was very fun to kind of circle back, especially
in a season that was making a movie about season one.
Speaker 6 (30:30):
That made a lot of sense to revisit it.
Speaker 8 (30:33):
Mm hmm definitely, But maybe people above my pay grade
had a master.
Speaker 6 (30:37):
Plan the whole time.
Speaker 5 (30:39):
Both things can be true.
Speaker 3 (30:41):
Absolutely.
Speaker 8 (30:42):
Also, I just want to shout out Biggs. This is
Biggs's first episode that she's written, and she crushed it.
Speaker 5 (30:49):
Yes you did.
Speaker 3 (30:50):
It was so great.
Speaker 4 (30:50):
And this is a big episode too. This is a lot.
It's a lot, and it's very funny.
Speaker 7 (30:55):
Thank you guys. I feel very lucky and had the
best time co writing with Ben. We had so much fun.
It was just basically a lot of giggles, which is
and it felt easy. You know. That's I feel like
the sign of a great episode.
Speaker 8 (31:12):
I do think it was kind of the easiest story
to break all season, and I think truly, and I
think part of that is actually because we've just finished
that whole you know, season one plot, whole story, Like
a lot of it was like kind of hidden and
you know, little teas, and now that that story kind
of like culminated and eight, it was like, great, we
(31:33):
can tell very kind of straightforward story here and just
like create our own little complications and twists, but not
anything as big as what we've been doing beforehand.
Speaker 6 (31:44):
It was very fun.
Speaker 7 (31:45):
Yeah, I felt like we had the SaaS flashbacks to
weave in, but otherwise it was just a classic like
the trio has a mission to figure something out and
it's their journey of finding it.
Speaker 5 (31:57):
Definitely.
Speaker 3 (31:58):
Yeah, Okay, it's that time again. Time to read some theories,
some emails.
Speaker 4 (32:11):
But first, we are nearing the end of the season
and so the opportunity to submit to win tickets to
the La Escape Room or New York Escape Room. Yes,
that's closing. We're closing that up because the finale is soon.
Speaker 3 (32:25):
We will be announcing the winners on the final episode
of this podcast for season four, which will air on Friday,
November first.
Speaker 4 (32:33):
That means that your last opportunity to submit to the
contest will be when Part one airs on Wednesday. That's correct,
October thirtieth, all right. Also the East egg this week
very obvious one big green screens above the Arconia foreshadowing
the set of Escape from Planet Clongo.
Speaker 3 (32:51):
Thank you to everyone that emailed. Janet J. Darnell, Jackie L.
Gabby A, Alexandra L. Morgan, h alex Da, Nina S.
Speaker 5 (33:01):
Very good, very good.
Speaker 4 (33:02):
Jamie G send an email asking us to listen to
Murder by Numbers by the Police.
Speaker 3 (33:06):
We put it on.
Speaker 5 (33:07):
We did, We listened.
Speaker 4 (33:08):
They were wondering if the lyrics maybe inspired the show.
Speaker 5 (33:13):
I didn't really see it, but who knows.
Speaker 4 (33:15):
That doesn't mean it's not inspired. We will at the
next opportunity we will. We'll find out if there's something
in there. But I did remember in season one with
the I'm watching you things, that's a famous Sting lyric
from every breath you take interesting And I don't remember
if we made that connection in season one.
Speaker 3 (33:32):
Because Sting was obviously present in season one exactly.
Speaker 5 (33:35):
Maybe he was there, I don't know.
Speaker 4 (33:37):
So maybe Sting is the mastermind here, That's my point.
Speaker 3 (33:41):
Lindy S after watching Lifeboat, was wondering if Helga and
Saz maybe they're related.
Speaker 5 (33:46):
I mean they do.
Speaker 4 (33:47):
They are tall, blonde women, So it's true.
Speaker 3 (33:50):
Yeah, do you think she'll feel different after watching episode nine?
Speaker 5 (33:53):
I would love to know.
Speaker 3 (33:54):
Let's know, Lindy.
Speaker 5 (33:55):
Okay, now here's Hannah with the Reddit scoop.
Speaker 1 (33:57):
Hey Maggie, Hey Ryan, and hey everyone. Escape from Planet
Longer was another fantastic episode. And I don't want to
take the credit, but our submembers had totally called somebody's reveals.
I'm always so amazed at how much they pick up on.
But without further ado, here are the final season four
theories from the Only Murders in the Building sub credit.
(34:20):
After an entire season of suspecting Marshall and this week's reveal,
people are not wondering if it could all be one
final red herring. Here is current value nine two seven
ice theory. Marshall's not the Mastermind. He's being controlled by
someone who doesn't want the movie to be made, and
that's the same person who wants to stop the podcast.
(34:41):
The Mastermind knows he stole the script and is using
it to blackmail him into doing their bidding. The first
order was to kill the trio, beginning with Charles and
Sas was never the intended target, So when he discovers
her body, he panics and leaves lots of evidence behind.
I don't think Marshall knows who is Blas. Amailing him
is a two person job, but only one of them
(35:03):
is doing the heavy lifting. I think Marshall will go
down for killing Glenn and Sas, but the real mastermind
could be revealed next season. Then we have m Bridget
with a theory about who could possibly be in cahoots
with Marshall. They say, I think that Bev hired Marshall
to kill Sas and Glenn Stubbins. Bev promised Marshall to
(35:23):
write her credit if he killed Sas, and maybe Sas
was going to back out on the movie idea and
Bev didn't want that to happen, so she put out
a hit on Sas. Then we've got another popular theory
brought to us by Natcats B seven to three, and
it relates to this season's theme of doubles. This season
has focused a lot on doubles. What if Rex Bailey
(35:46):
isn't Marshall but Marshall's twin brother. They may have committed
the murder together, or maybe Marshall isn't even involved in
the killings. All we know for sure is that he
stole sas a script. We also saw him kill Glenn,
but this could have been his twin. Now, while most
people are focusing on Marshall after what we saw in
apcent nine, some members still aren't convinced that the Westies
(36:10):
are completely innocent, and Rudy's name keeps coming back in
the conversation Here is upset heats six eight seven six theory.
I'm putting my money on Rudy. He wasn't playing oh
hell with the rest of the Westies when Saz got shot.
He's fit enough to have done it all in such
a short period of time. He knew that bit of
non tinsel wouldn't burn, and he served Mabel and Eva
(36:34):
agnog with ground deer hoof? Was it a joke? If not,
then where would he get that. Maybe he's a hunter,
so he's good at shooting. Like Charles said before, the
case thing from the rifle was popular in the sixties
amongst hunters. Rudy knew the building, he knew Dudonoff's apartment
was empty, and he knew about the internarrator were led
(36:58):
to believe it was Marshall, But how how would he
know about Dudonov's apartment and the incidate, writer, etc. I
think he stole the script but nothing more. An unexpected
name is also starting to emerge following that dry cleaning
news segment shown on the television in the hospital. Here
are potential Classic eighty nine thoughts on that. My theory
(37:18):
on Marshall's accomplice is Lester and the cleanup crew dry
cleaning van at the end credits. Lester is often seen
bringing dry cleaning in and out of the building, and
ever since the episode, my theory has been that Lester
called Charles about the window, so it gave him an
excuse to be in the apartment if someone saw him
(37:39):
or asked why his fingerprints would have been there, or
maybe he needed to do something in his apartment, perhaps
a just the cameras after the murder. Also, would a
dorman have keys to all the apartments, and we also
know Lester's a washed up actor who could maybe be
holding a grudge. Plus, in a pre season Lester gave
(38:01):
Charles his hat back because he left it somewhere. I
think maybe Lester used it to disguise himself as DAWs
while sneaking around. Something about that scene was suspicious to
me and Finally, we have bright top five six nine
to one with a wish for upcoming seasons of the show.
I love how they killed Paul Rudd twice on this show.
(38:22):
I'm kind of hoping they make it a running gag
and bring him back as a different character every season,
just to kill him again. That's it for me. Thank
you for listening. I can't wait to see if some
of these theories turn out to be true and join
us for more Only Only Murders in the Buildings.
Speaker 3 (38:37):
I've read it. That's it for today. Thank you so
much for listening.
Speaker 4 (38:48):
Even though there's only one episode left. If you have thoughts,
if you have theories and you want to send them
to us, please do Only Murders at strawham media dot com.
Speaker 3 (38:58):
Take a minute to subscribe, rate the show, follow us,
and leave us a review if you enjoy the show.
Speaker 4 (39:24):
Only Murders in the Building podcast as a production of
straw Hat Media, hosted and produced by Ryan Tilton and
Maggie Bowles. Our associate producer Stephen Markley, with original music
by Kyle Merritt and Only Murders in the Building theme
music by said Artha Cosla. Our assistant editor is Daniel
Ferreira and our production assistant is Caroline Mendoza.
Speaker 3 (39:39):
Thank you so much to Chris Barnes, Alex Bigelow and
Ben Smith for talking with us this week.
Speaker 4 (39:44):
And big big thanks as always to John Hoffman and
the entire Hulutine.
Speaker 3 (39:48):
See you soon for the finale.
Speaker 4 (39:51):
Heay,
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