September 18, 2024 • 38 mins
What an episode! Today we’re talking all about Season 4 Episode 4! Ryan and Maggie talk to writer Madeleine George about some of the different places she and the other writers looked for inspiration into the world of stunts and whose idea it was to make Glen Stubbins an Irishman! We’ll also hear from actor Michael McFadden, who plays the bartender at Concussions about the special skill he shares with Paul Rudd.
Just a heads up, there are spoilers for episode four. So listeners, if you haven't watched yet, stream it now and come right back!
We’ll be back Friday for more on Episode 4, so make sure you subscribe to the show if you haven’t already!
Send us your thoughts and theories (perhaps in a voice memo??): onlymurders@strawhutmedia.com
Or chat with fellow fans on Reddit: https://www.reddit.com/r/OnlyMurdersHulu
Just a heads up, there are spoilers for episode four. So listeners, if you haven't watched yet, stream it now and come right back!
We’ll be back Friday for more on Episode 4, so make sure you subscribe to the show if you haven’t already!
Send us your thoughts and theories (perhaps in a voice memo??): onlymurders@strawhutmedia.com
Or chat with fellow fans on Reddit: https://www.reddit.com/r/OnlyMurdersHulu
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Strawt Media.
Speaker 2 (00:02):
He wanted so badly to throw himself into that dumpster
and then like, you know whatever, the producers are like
stop stop sap, you know, like swapp in the other person.
Speaker 3 (00:15):
Hello, and welcome to another episode of the Only Murders
in the Building Podcast. I'm Ryan Tillotson and I'm Maggie Bowles.
We're 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 1 (00:28):
Today on the show, we're talking all about season four,
episode four, The Stuntman. We'll hear from writer Madeline George
about where the writer's room looked for inspiration into the
world of stunts and whose idea it was to make
Glenn Stubbins an irishman.
Speaker 3 (00:42):
We'll also hear from actor Michael McFadden about what actor
skill he shares with Paul Rudd.
Speaker 1 (00:48):
But first, a quick recap and listeners. There are spoilers
for episode four, so if you haven't watched, hit pause,
go watch and come right back.
Speaker 3 (01:06):
Episode four, The Stuntman. We open up on Charles's dream
he's looking for sas he gets up at three am
and makes a new murder board shows it to Oliver
and Mabel. He adds Paradise to the board because it
was in his dream.
Speaker 1 (01:20):
We see Vince Fish doing something suspicious with the Portuguese flag,
and through Oliver's stocking of Loretta on Instagram, the trio
discovers that Sas was at a bar called Concussions right
before she died.
Speaker 3 (01:30):
So the trio goes to the bar, a stuntman's bar,
and they start asking a bunch of questions. They meet
Glenn Stubbins, Ben Glenroy's stunt double Ben Glenroy, Ben's dead Yijit,
and they learned that Saz has been seeing a chiropractor.
Speaker 1 (01:45):
She'd been in pain apparently and was planning to retire,
and so doctor Maggie the chiropractor. It gives Charles an
adjustment and he sees her again in the forest.
Speaker 3 (01:54):
Meanwhile, Howard is responsible for pig sitting and squatting in
the Dudentoff apartment for Mabel. Someone slips a flyer under
the door and lures him out to audition for the movie.
Speaker 1 (02:04):
Oliver opens up to Mabel about his insecurities with Auretta,
and it turns out he's made a finsta this person
named Ronnie so that he can chat with her.
Speaker 3 (02:13):
When Mabel gets back to her apartment, she finds the
Westi's moving her bed. Turns out they are part of
a rent control scheme and they might let her in.
They're paying only two hundred dollars a month.
Speaker 1 (02:23):
Absolutely crazy. They tell Mabel that Helga Rudy's ex from
Finland was the voice on the ham radio and that
she's crazy. She's the wrong kind of weirdo.
Speaker 3 (02:32):
Mabel updates Charles and Oliver and convinces Oliver to kill Ronnie,
not litterally.
Speaker 1 (02:38):
Charles fills in for Saz in a traditional stuntman's funeral
at concussions, and when he gets hit in the head
with a real bottle instead of a breakaway, he remembers
SAS's dream of opening a trampoline park, the Sas Pataki
Impact Academy.
Speaker 3 (02:51):
The trio goes to the place where Saz was building
her stunt school and they find Bev Mellon there with
a gun someone from show business.
Speaker 2 (03:00):
Don't move all, blow your fucking brains out.
Speaker 1 (03:08):
We just talked to Richard Kind, which was an absolute delight.
Speaker 3 (03:12):
So fun. What a sweet, sweet man.
Speaker 2 (03:15):
He is a genuinely sweet man. I have a picture
of him. He you know, he came by the set
when we were shooting on the Upper West Side just
he's like, I just live over there, you know, like
in his shorts and sweat socks. And then he was like, well,
I gotta go to Costco and he left.
Speaker 3 (03:30):
This is Madeline George, the writer of episode four. How
was it.
Speaker 1 (03:33):
Coming back into the room for season.
Speaker 3 (03:35):
Four after the strike too?
Speaker 1 (03:37):
After the strike and after three whole seasons, and I.
Speaker 2 (03:41):
Mean, you know, I guess there's a there's a quality
of like improbable magic to this show where it's even
in the first season there was a sort of like
this could never work kind of feeling to it, like
it just it's just so, as they say, lightning in
a bottle, you know, the quality of the thing that
we've been making together. And so every single time we
(04:03):
start again, it's like, can we pull this off again?
Like is this gonna work? And so I feel like
season four was very much like that. We really like,
I mean, John Hoffman led us charged us right off
of a Broadway cliff in season three, and it felt
a little like untoppable in certain ways, just like once
you have Meryl streep in like a spangled hat, like
(04:25):
where do you go from there? But on the other hand,
like there's this also sort of a sky's the limit
feeling to especially the beginning of breaking one of these seasons,
and so like being able to like throw everything at
the wall and have these take these huge swings. It's
it was just like exhilarating. The beginning of season four
was a really exhilarating time.
Speaker 3 (04:45):
That's fun.
Speaker 1 (04:46):
I have hat.
Speaker 3 (04:46):
So this season we really explore says, we learn about
her all of her backstory. We just get to learn
about who she is, which we never really got to do.
How did you guys decide what to put in there?
How to create that world of Saz?
Speaker 2 (05:01):
I mean I think that the idea of obviously the
character is such a like as a one off, even
in the first season, was such a like as I say,
like a big swing or a pie in the sky
kind of a character move. But I mean Jane as
a as an actor really inhabited that character and gave
us a lot to work with in terms of what
(05:22):
kind of swashbuckling, six foot tall lady might be in
that particular role. I wish that y'all could see the
exquisite set deck, like the amazing work that the team
did filling out all of the props in SAS's apartment.
I spent some time just like kind of wandering through
(05:44):
that set, like looking at like four layers deep of
like nick knacks and papers on the desk the set
de Russian team had. They had like you know, feminist
stunt manuals and likes from like you know, a woman's
only stunt club or whatever. They really filled out the
(06:07):
kind of world that this person would have been habited.
And Wow, as a writer, it's inspiring to watch whatever.
You know, you're like in a room with snacks in
it and a whiteboard and you're having like thoughts and
feelings and then cut two six months later, like a
team of hundreds of people have brought something to three
D life in that way, and it's just like it's
(06:28):
just mind boggling.
Speaker 3 (06:30):
We we we've talked to them once or twice before.
We should bring them back because Christmas guys room. I mean,
there's a few sets that are just pretty mind blowing.
Speaker 2 (06:40):
Yeah, they're mind blowing. They're stunning. And then and you
and it's like you're seeing them on the dailies or
you know, we're looking on and it's like they look incredible.
But then when you walk into there and then you
open a drawer and you're like, what the even the
silverware has Christmas trees on it? How are they doing
this their magic? I love, Sorry, that's really not what
you asked me about, but I have to say, like,
(07:00):
it really blew my mind when I was Yeah, but
we did a lot of as a room, we did
a lot of research into stunt communities, and we also
sort of created our own mythology a little bit, just
like you know, but stunt performers are an incredible subculture
and they have extremely interesting codes by which they operate
(07:21):
and interesting.
Speaker 3 (07:22):
Can you give me an example or like, is that
funeral thing a normal thing?
Speaker 4 (07:26):
Is that?
Speaker 3 (07:27):
Do they have such a community like that.
Speaker 4 (07:29):
You're profiting off of death?
Speaker 5 (07:31):
Meanwhile, the people who really loved her can't even give
her the traditional stunt man's.
Speaker 4 (07:35):
Funeral she deserves what why not? No body, no funeral?
Speaker 2 (07:41):
The funeral thing is made up? That was the pitch
of Alex Bigelow, one of the incredible writers and the staff.
But they but there are you know, certainly their stunt
gyms and their stunt associations, and there are stunt dynasties.
This is a thing. The thing we're saz is, you know,
brought up and by a family of stunt performers. That's
(08:02):
definitely something that really it is true, and it's even
true on our own set. The stunt coordinator is part
of a family of stunt people. Really, I guess it
makes sense. It's like it's a little bit like family business. Yeah,
I mean, I hear that if you're that kind of well,
let me say this. You might think that stunt people
are like fearless or daredevil types or something, and of
(08:27):
course that may be a component of it, but actually
they're very safety oriented, like they know better than anybody,
you know, what you need to have in place in
order to do these death defying things without because they
need to be able to get up and walk away
and go to work.
Speaker 1 (08:42):
The next day, right of course.
Speaker 2 (08:43):
Yeah, So it's not like free solo you know what
I mean, where they're just like, how can I push
my body to the nth degree. They're very thoughtful about
listening to fear and paying attention what the limits might be.
Speaker 1 (08:56):
I love that how deep into researching the stunt community
and stunt the art of stunt stuntsmanship. I don't know
what the word is, but stuntsmanship. How deep did you
go into that world? Either yourself when you were putting
this episode together and then in the room as a group.
Speaker 2 (09:18):
I mean in the room, people brought in stuff as
we were beginning to sort of construct the world. A
lot of the sort of bigger things like the stunt
bar and stuff like that. That's our creation. I mean,
I wouldn't be surprised to wear that there's a stunt
bar somewhere, but we did make that up. But I
personally spent a lot of time, Like I got very
into this one podcast, which is Daniel Radcliffe, you know
(09:38):
from Harry Potter. He you might know that famously his
stunt double was severely injured on the last film. They
have this really interesting relationship. They were really close because
this guy had doubled for him for many many for
many movies in many years, and then he was injured
on the set. And so those two have a podcast
(10:00):
where they interview stunt performers and I listen to dozens
of episodes. I can't recommend it enough, not the least
because they have stunt performers representing all the best accents
of the British isles. There are a lot of Asses
and Scott's and Welsh stunt performers on that podcast.
Speaker 3 (10:19):
Wow, wait, just one question on this like is his
stunt double? Is his stunt double the same age as him?
Speaker 2 (10:26):
Roughly?
Speaker 3 (10:27):
Like was he stunting at ten or what?
Speaker 2 (10:30):
Yes, And this is the other reason why there are
families of stunt people, because there needs to be. I
mean there are sometimes people of short stature who who play,
who do stunts for kids, but also there are young,
young stunt performers and so yes, this guy came up
sort of with Daniel Radcliffe and then now he hosts
the podcast and then Daniel Radcliffe like they together interview
(10:50):
stunt people and they have an incredible segment at the
end of every one of these podcasts where they are like,
what's the one stunt you've never done that you've always
wanted to do, And every stunt person has like, imediately no,
They're like, I want to get lit on fire, I
want to get thrown off a building. I never done horsework.
I've always wanted to do horsework. It's a great world fun.
Speaker 1 (11:08):
That's amazing.
Speaker 3 (11:12):
Ben Glenn y Ben's dead.
Speaker 4 (11:16):
Yij it, He's gone forever. I'd love to be here,
but there's no possible way. He can't come back from
the dead, now, can you.
Speaker 3 (11:28):
I'm Glenn Stubbins, Ben's stunt double. Did you know when
you were writing this that you were going to get
Paul Rudd to play Glenn.
Speaker 2 (11:39):
Glenn Stubbins, Yeah, I mean that, I guess. I don't
know at what point it was like we're, yes, we're
doing it. I mean, I know that we were like,
what a banana's idea? Like, obviously, that can't possibly work.
We would never get him, we would never work. And
then when it you know, he's like the gamest of
the game actors, and I think the sort of this,
the silliness of it and the spectacle of it, it
(12:03):
just really appealed to him because I think he likes
to be around Stephen Marty.
Speaker 3 (12:06):
Yeah, I mean, of course.
Speaker 1 (12:08):
And then with that, I mean it's first of all,
it's so funny hearing the voice over him with an
Irish accent.
Speaker 2 (12:15):
He asked to be Irish by the way, he was like,
can I be Irish?
Speaker 1 (12:18):
That was his idea that's so funny.
Speaker 3 (12:23):
I love that detail.
Speaker 1 (12:27):
When when they go outside and he's trying to get
his role in the in the in the film or whatever,
and he starts doing all of those stunts for them.
Speaker 6 (12:35):
Yes, can you help me get a job on your film?
You lost your stone double, I lost my acting double.
We could make each other hole again. I don't need
a double, not even one that can do this.
Speaker 7 (12:49):
Oh God, I'm curious if you talked through the stunts
who he might do to impress them, or if you
were kind of like he does stunts.
Speaker 1 (13:01):
And then you kind of let a stunt coordinator figure
out what you could get away with in this space.
Speaker 2 (13:06):
In the script, it says something like he takes he
like punches himself in the head and takes a head
or over a garbage can or something like that. And
then Chris Barnes, the stunt coordinator, was like built out
this big, beautiful set piece of choreography, and I mean
Paul did a bunch of it. Not the part that
would threaten, but he was and he was like raring
(13:26):
to go. Like I remember on that set watching him
like he wanted so badly to throw himself into that
dumpster and then like, you know whatever, the producers like
stop stops up, you know, like swap there in the
other person.
Speaker 1 (13:38):
Okay, I love the cannon ball.
Speaker 2 (13:40):
The canniball is amazing, and I was I was blown
away watching the kind of my background as a writer
is in theater, and obviously, like film, stunts are so
such their own thing, and yet there's something very theatrical
about doing that, like what's it called the cowboy cross
or something like that, where you know, the celebrity runs
off camera and then the stunt and runs on camera
(14:01):
and you just keep rolling the whole time, and it's like, really,
it's like theater magic on film.
Speaker 3 (14:08):
Yeah, absolutely, it was. It was hilarious. I had so
much fun watching it. To stay on the theme of
stunt stunt people, Uh, you said that you talked about
a little bit earlier, the funeral, Like you guys made
that up. But how did you decide what how that
would how that would come together? Exactly what the.
Speaker 1 (14:26):
Detailed details of the stuntman's funeral?
Speaker 4 (14:28):
Is that a real bottle? You asked? Whole set them up?
You crip? Are you calling me a rex baby?
Speaker 6 (14:37):
Yeah?
Speaker 2 (14:44):
I do think that when as soon as we had
this thought that, oh, maybe there's a stunt person bar,
you know, out in some outer burrow, you know, like place.
It ended up being in Hell's kitchen in the end.
But and then immediately, I think our next thought as
a room was like, and wouldn't it be great if
somehow it could erupt into a massive roadhouse style bar
fight by dand and we could watch people just smash
(15:06):
each other with breakaway furniture. Obviously that would be delightful.
How can we make that happen? And I think the
thing about the funeral is that it was a chance
to do a kind of you know, a set piece
in the bar that also really spoke to the relationship
between Charles and Saz and Sas is in the episode
very much partly because we are like learning about the
(15:29):
world through Glenn Stebbins. Every time I say his name,
I'm almost laughing. It's like he's the guy, he's our guide,
he's our guide into this kind of underworld. And Sas
is appearing in dreams, and so the chance for Charles
to do something meaningful for her, you know, I think
the funeral kind of hit all those It ticked all
those boxes for us.
Speaker 3 (15:50):
We know that your tasks kind of you with writing
this specific episode, but do you have like a favorite
from this season, like a favorite moment, joke bit.
Speaker 1 (16:02):
Because we know it's such a collaborative process that you
know you have this episode, but everybody's working on everything, right, It's.
Speaker 2 (16:09):
So it's so collaborative, and in fact, from this episode,
I have to admit that like not just one of
my favorite bits, but one of my like a peak
moment of collaborative delight of my entire life is the
moment where Glenn they go into the back room. Doctor
Maggie is the chiropractor and has the little room and
they go back there and Glenn is like, I'm going
(16:31):
to get on the rat baffler. They can't recognize me
when I'm upside down, and he hops on this inversion
table and he flips upside down.
Speaker 4 (16:38):
Oh I don't want an adjustment. I just want to
ask a few questions. Okay, well, hey, don't mind me.
I'll be hiding on the rat baffler.
Speaker 6 (16:47):
They can't recognize me when I'm upside down.
Speaker 2 (16:50):
Just to say, like the way that that came about
in the room, we were like, how is he going
to be part of this conversation we were trying to
think about, like, you know, what he needed to be
in the scene, how is he going to be used.
Rob Trabowski, one of the great comic writers of all time,
was like, what if he's on like an inversion table
and he's like hanging upside down. And then Ben Smith
one of the great comic writers of all time, was like, yeah,
he could be like they can't recognize me when I'm
(17:12):
upside down. And then Joshua Allen and grandfather, one of
the great comic writers of all time, is like, it
could be called he could say I'll be on the
I'll be on the rec deceiver. And then I was like,
I'll be on the rat baffler. And it was like boom,
boom boom. That happened in like the course of like
four seconds. And then playwright me was just like, oh
my gosh, like what if you could write jokes like this,
(17:32):
you know from the theater too, like that only four
people's minds all inclined in the same direction. Trying to
solve this absolutely cuckoo bananas problem, which is how to
get Irish stun double Paul Rudd, who's in a fight
with some imaginary rats in the scene, but not interfering
(17:54):
with the emotional trajectory of the Steve Martin character. Like
that was just like a spectacular for me. Rat Baffler
is really like peak comedy. Joy I couldn't it was.
It was one of the great days of my life.
Speaker 3 (18:08):
Yeah, that's great.
Speaker 1 (18:11):
Another thing that happens in this episode is we uncover
the rent control scheme, the dude off rent control scheme,
and these these Westies are paying like two hundred dollars
a month for their apartment, which is crazy. I was
just curious, like, what is the craziest rent control rent
that you've heard of someone having?
Speaker 3 (18:32):
Have you heard of two?
Speaker 4 (18:34):
Well?
Speaker 2 (18:34):
I mean when I lived in when I first moved
to New York it was the you know, the mid nineties,
and I lived in the West Village in a rent
controlled single room where which I always say, I had
this long balsa wood stick and I could do everything
I needed to do in my apartment with this stick,
Like I could turn on the oven, I could open
(18:54):
the door, I can press the buttons on my VCR. Yes,
it was a VCR Like it was a very small part,
is what I'm trying to say. And famously the guy
downstairs from me, who the kind of apartment where you're like,
how many blankets does this guy have taped over his windows?
You know what I mean, like that kind of apartment
And he was paying forty seven a month because he
(19:15):
had been in this little basement studio since you know whatever,
the sixties or something.
Speaker 3 (19:21):
So this is possible. The two hundred dollars could be
like that, forty six dollars would still be maybe under that.
Speaker 2 (19:28):
Now, you know, I love that You're like stress testing
only murders in the building for plausibility. That's so sweet
to me.
Speaker 1 (19:36):
I mean, no, I just like it makes me wonder.
Like my brother, for example, has a rent control department
in Santa Monica. He's thinking about moving to Austin, but
he's been here, He's been in the apartment for like
fifteen years, and he's like, but whatever I do, I'm
going to keep the apartment because this is like, this
is the equivalent of owning properties, having a rank control department.
It's the closest we'll get to the home ownership, you.
Speaker 2 (20:00):
Know, it's really it's the real thing. I mean, my
partner and I are happily married now, but like in
the beginning of our relationship. She was like, I was like,
we should move in together, and she was like, well,
I can't leave my one bedroom apartment in the East
Village because it's so cheap, because it was rent control.
And it was like it was kind of like it
was like mirror the apartment moment. It's real.
Speaker 3 (20:24):
Yeah, it's very real. It's great, that's very real.
Speaker 4 (20:27):
We're illegally subletting rent control departments.
Speaker 6 (20:31):
We're not a cult, so a rent control scheme, although
I have suggested getting matching bathrobes in the past.
Speaker 4 (20:38):
Every apartment on this floor was rented by Professor Dunlow years.
Speaker 3 (20:42):
Ago two hundred dollars rent. Gosh, under dollar rent.
Speaker 1 (20:45):
Should you imagine in New York City. I went, come on, like,
that's something to kill for.
Speaker 2 (20:50):
Right exactly.
Speaker 3 (20:52):
So, yeah, wows vicious.
Speaker 1 (20:55):
Indeed, indeed very suspicious.
Speaker 8 (20:57):
We are.
Speaker 1 (20:57):
Also, his first question was, how's do not making any
money off of this?
Speaker 3 (21:01):
Yeah, he's only trudging two hundred dollars for rest And
that's what I didn't understand. So you know, well, did you.
Speaker 1 (21:06):
Ever consider that dudent Off might just be a nice person? No,
the thought never crossed server.
Speaker 3 (21:11):
No, but interesting interesting.
Speaker 1 (21:16):
I would consider it. I would consider that he's just
trying to take care of his people, his family.
Speaker 3 (21:21):
That yeah, that's a good point. That's very sweet.
Speaker 1 (21:23):
Yeah, you see the gooden people. I see that.
Speaker 5 (21:25):
That's good.
Speaker 1 (21:29):
That was Lillian Rebello and olivera daughter in the Sauce family.
I guess we should try harder to see the gooden people.
Speaker 3 (21:36):
Agreed. After the break, we'll talk to Michael McFadden, who
plays the tough guy bartender at Concussions.
Speaker 1 (21:50):
Welcome back. We're talking about season four, episode four, and
now a new character in the season, Michael McFadden. He
plays the bartender at Concussions.
Speaker 4 (22:00):
What are you really here for?
Speaker 5 (22:02):
We were hoping we could ask a few questions about
Saz Pataki.
Speaker 4 (22:06):
I'm not talking to you. Well, maybe my friend mister
Lincoln will change your mind.
Speaker 3 (22:12):
Mister Abraham Lincoln, you're quite intimidating when we first see
you at the bar.
Speaker 5 (22:20):
You are look, I really don't have any tattoos.
Speaker 3 (22:24):
That's good.
Speaker 1 (22:25):
Those are intense sleeves you have, so yeah, you are.
You look a lot friendlier here than you did there.
We'll be honest.
Speaker 4 (22:32):
That's well, that's acting acting this podcast. I've actually listened
to everything through twice.
Speaker 5 (22:41):
Whoa, oh, yes, you're a free night a week at
that while I work at a restaurant. I'm living the Uh,
I'm living the dream as an actor being aware. Yeah,
but one night a week I drive delivery for about
a four hour shift. So that gets me through a
lot of the a lot of the podcast here.
Speaker 3 (22:59):
Yeah did uh? Well, let's talk about that scene. You know,
sure has anything like that ever happened to you in
real life?
Speaker 1 (23:07):
Because we know you said you you mentioned your you
do those those actory jobs.
Speaker 4 (23:12):
Well, yeah, I mean I was.
Speaker 5 (23:13):
I was a bartender for a good twenty years in
all different kinds of places, from a Michelin star rated
place in the Theater district of Manhattan to buckets of
blood in Brooklyn. So well, I've had plenty of time
to find that character.
Speaker 1 (23:31):
Yeah. So has anyone ever come in with I don't know,
five six dollars and tried to get information?
Speaker 4 (23:40):
I'd rather that you know a lot of them have
come in with no mind?
Speaker 3 (23:43):
Yeah, was it hard to I would have a very
hard time keeping a straight face around those around those
two specifically, But I mean, like, how how's yours? How's
your game?
Speaker 4 (23:55):
Well?
Speaker 5 (23:56):
They've been you know, they've been idols of mine for
fifty years. Started watching SNL when I was five and
it's all Marty on SCTV and saw Steve hosting Saturday
Night Live when it was a big deal to stay
up till eleven thirty and watch SNL.
Speaker 4 (24:14):
So, I mean, the moment was huge.
Speaker 5 (24:16):
So they're like I, I prepared, over prepared for the scene.
Like I my process is always to prepare to a
degree where I know the text inside and out and
I know the other lines. But it was especially important
to not just be well prepared. But I wanted to
(24:37):
impress them, you know, so but I did. You know
Marty especially, you really have to be in the scene
to not break for him because he's you know, they're
trying all kinds of different things. They'll go off script
to give him a different line, and he'll just try anything.
But the moment is so huge that you know the
(24:58):
grat you know, you're aware of the gravity. You don't
want to mess up the takes, and there was a
lot to do that day, so you know that it's
going to take at least until lunch before they turn
the cameras around, so you don't want to waste their
time by breaking right.
Speaker 3 (25:14):
So tell us about the bar.
Speaker 1 (25:15):
Concussions is the name of it, concussions.
Speaker 5 (25:19):
It's a real bar. It's a real bar in Ridgewood.
Queen's called wind Jammer.
Speaker 1 (25:23):
Wing Jammer, not Concussions. I was like, there's a real
barkll concussions. No, so let's talk about that. We come
into Concussions. We've got Charles Oliver and Mabel and then
we get a surprise is it from what looks like
Ben glen Roy but is not? So can you tell
us about about that?
Speaker 5 (25:42):
Yes, well, evidently we're friends, me and Glenn Stubbins, and
I am the keeper of the bar where all the
stunt men hang out.
Speaker 4 (25:53):
We're not stunt doubles. The actors are our actor doubles.
Speaker 3 (25:59):
You have the faces faces faces.
Speaker 4 (26:02):
Yes, the faces, they're like the suits.
Speaker 5 (26:04):
Yeah, yeah, so we we have we have nothing but
contempt for the faces.
Speaker 4 (26:10):
Sas Fataki was my stunt double. Not here, he says,
is acting double? You just a face?
Speaker 2 (26:16):
We don't like faces.
Speaker 4 (26:18):
People we say about faces? Did them your molesses?
Speaker 1 (26:22):
We know we have you an episode four in Concussions,
but we're wondering, do we do we see you again,
do we get to come.
Speaker 2 (26:30):
Back to this bar?
Speaker 5 (26:31):
Well, no, I'm actually taken out of the bar. Yes,
so they see me out of context.
Speaker 4 (26:39):
And then they're like, oh my gosh.
Speaker 5 (26:41):
They're like, hey, it's that bartendercussion something to look forward to. Yeah,
and John, when we wrapped on episode four, John had
hinted that if things go a certain way with the writing,
that I would be brought back.
Speaker 4 (26:57):
But uh, I feel.
Speaker 5 (26:59):
Really honored because it felt like I was kind of
shoehorned in there. They didn't really need to.
Speaker 4 (27:04):
So it was I was ecstatic and the fact that.
Speaker 5 (27:08):
He dropped that hint had me like counting the days
on the calendar, like, where could they be. They haven't
wrapped the season yet and they haven't called me.
Speaker 4 (27:19):
But when I got the call, I was like wow,
and they gave me some really cool stuff to do.
Speaker 3 (27:25):
Oh that's exciting.
Speaker 1 (27:26):
Was there any backstory written on the page for for No?
Speaker 5 (27:30):
No, it's a no, it's it was just a guy
in his I get the breakdown, said bartender forties fifties.
I'm fifties, so I was on the I was on
the high end of that. And it's at a stunt
man bar, you know. I'm I stay in shape, but
I'm not. I don't look like a stunt man. And
(27:51):
I knew some guys that read for this, and they.
Speaker 4 (27:54):
Looked the part.
Speaker 3 (27:55):
See, I had assumed you were like an old like
you were like a stuntman, like retired and to open
up a bar or something. That's kind of where my
brain took it all. But as a as the backstory, yeah, yeah.
Speaker 4 (28:06):
Yeah, I was.
Speaker 5 (28:08):
I you know, I'm not one for backstories like I
I've heard some guys do that. They'll write a backstory
and I don't know that it reads or helps. I
just you know, just know the text, yeah, and listen
and you'll be fine. It's like, because if the writing
is brilliant as it is here, all the work is
(28:29):
done for you.
Speaker 2 (28:30):
Yeah.
Speaker 3 (28:30):
It was actually, you know, you complemented the writers. But
I think they must have liked you as well, because
that's actually we got your name on a list and
that's why we reached out because the writers, oh wow, yeah.
Speaker 5 (28:41):
Well, you know, I'm embarrassed not to know her name,
but one of the writers and I'm assuming it was
the one who wrote my my dialogue back in the
video village, as I was walking through was like, Wow,
that's really.
Speaker 4 (28:57):
Good and that so I kind of knew I was
doing something right.
Speaker 5 (29:00):
Everything starts with knowing I'm working with Steve Martin and
Martin Shore and Selena Gomez.
Speaker 3 (29:07):
Madeline George is who is who wrote episode for So
I bet you that's the one that was there for you.
Speaker 4 (29:12):
Yeah, I'm sorry Madeline that I was. I was at
a disadvantage because.
Speaker 5 (29:19):
I felt I felt out of, like a fish out
of water just going just walking into.
Speaker 4 (29:24):
That entire situation.
Speaker 2 (29:25):
I bet yeah.
Speaker 4 (29:27):
I was really humbled.
Speaker 2 (29:29):
No, I mean it was like he was so good
that we were like, how can we how can we
find more for this person? I mean it's really a
lesson and like be amazing when you go on your
set because writers are still working.
Speaker 1 (29:39):
That is Madeline George again, writer of the episode.
Speaker 3 (29:42):
Yeah, well you yeah, you were there on the set
while they were shooting.
Speaker 2 (29:45):
For a lot of it. Yeah, this year, I really
made an effort and it's a you know, it's an
incredible learning experience for writers to be part of that
if they haven't done producing work. But also it's just
like incredibly fun on the Only Murder set. There's just
a lot of fun stuff going on, I can imagine.
Speaker 3 (30:01):
And when you're there on set, are you people like
constantly like looking to you, like do we change this?
Or like is that kind of as a thing that's happening.
Speaker 2 (30:09):
Yeah, well, I mean again very collaboratively. Like so if
people like like Martin Short and Steve Martin and Paul
Rudd are on set, they are themselves being like what
about this? What about this? What about this? And like
it's not that you would be like yes, no, yes, no,
Steve Martin, but more like I would be like, yeah, incredible,
or what about this? Or you try to like put
your own spin on it or anyway, just like get
(30:29):
in the mix with those geniuses.
Speaker 3 (30:32):
Everyone's kind of spit fireing ideas and then you try them.
Speaker 2 (30:35):
Yeah. And then the director of episode four or four,
Chris Kotch, he's just like he's really brilliant and he
also has ideas and he's like writing on his feet
and encouraging other people to also write on their feet.
Very positive environment.
Speaker 3 (30:49):
Back to Michael McFadden the Bartender. Do you think he
gets a name later or does he just stay bartender?
Speaker 1 (30:55):
It's a great question. Do you have any favorite movies?
Roles from Steve Martin or Martin short.
Speaker 5 (31:01):
Oh well, I mean I saw Steve Martin's first play
that he put up. He wasn't in it, but it
was Picasso at the Lapanagill and I can quote some
lines from that. But one of my favorites. I like
him when he's serious, like when Steve Martin's turn in
David Mammotz the Spanish prisoner.
Speaker 4 (31:24):
That was yeah.
Speaker 5 (31:25):
And I love watching them be interviewed honestly and like
and now it's like, you know, I don't know them.
I've worked a total of three days with them, but
you know, just having like feeling like, oh, they're my buddies.
Speaker 3 (31:43):
Three days. What were the three days? So I assumed
it would be two days.
Speaker 4 (31:46):
It was the two scenes, know well there was there's well,
Steve was in two days.
Speaker 5 (31:54):
The first day in episode four is the trio walking
into the bar, and then on uh, I had a
three day contract work too, So the next day or
it was a Monday, and then a Wednesday, I went
back to Concussions or the Windjammer, and we had the
(32:14):
memorial for Saz right, and Steve was and there are
apparently three Steves. There's Steve himself there's his stunt double,
and then there's his picture double.
Speaker 4 (32:27):
So there's two.
Speaker 5 (32:28):
There's three of them walking around on any given day,
so you haven't had your coffee.
Speaker 1 (32:33):
That's absolutely absurd for this season, especially too, because you've
got three Steve Martins, plus you've got Eugene Levy, who
I assume has.
Speaker 5 (32:42):
Eugene Levy probably has two of those.
Speaker 2 (32:48):
Who also has You've got to at least st Yeah,
this is so many Steve.
Speaker 4 (32:57):
It's like an infinity mirror of Steve.
Speaker 8 (33:01):
Okay, we do have to yeah, wow, Okay, So that
that reminded us about Saz's memorial, which is absolutely absurd.
Speaker 5 (33:13):
Yeah, and it's and it makes sense. I mean, it's
not really all that absurd. Like, yo, I could see
that because stunt people have their superstitions and their you
know and and all their own motivations. So I could
definitely see that happening. And that was that was really
cool because I got to actually have two lines with
Paul Oh yeah, we got and we and and that
(33:37):
was a great thing because I you know, he's he
really is as sweet a guy as everyone says he is.
Speaker 4 (33:43):
And we had a lot of a lot of like
education in common oh really, or training in common?
Speaker 5 (33:50):
We think we had the same the same fencing teacher
because it was so long ago, it's like going on
thirty years ago.
Speaker 4 (33:57):
Like I knew that it was Joe Daily, but he
was I'm quite sure.
Speaker 5 (34:00):
But he's had a lot more names to remember than
I ever have, right, And yeah, but.
Speaker 4 (34:06):
He was just a great guy. And I was up
for another job.
Speaker 5 (34:12):
That day, and when we broke for lunch, I found
out that I booked it and I told him and
he was more excited about.
Speaker 4 (34:18):
It than I was. He's like, that's great. I was like, Wow,
I'm gonna let that sink in.
Speaker 2 (34:27):
I love that.
Speaker 1 (34:31):
The most random thing to have in common with Paul Rudd,
you know, the same friends, so hyper specific, you know,
that's great. So with the secrecy around Paul Rudd returning
for this season, what has it been like to you know,
like know these things about this show that's like this
(34:54):
like wildly popular show, but like have to keep all
of these secrets, Like what's that like.
Speaker 4 (35:02):
Most difficult? Was?
Speaker 5 (35:03):
Like, you know, because just about anybody you tell that
you're on the show is a huge fan of the show.
Speaker 4 (35:09):
I mean, if you look at the numbers for the Hulu.
Speaker 5 (35:13):
It's the Hulu trailer itself, not all the Pirositic twins
that have latched onto it. But it's got eleven million
views in five days. So there's a lot of people
that are invested in the show and they're all, so,
what happens? And I'm like, cool, I can't tell you that.
And these are like random customers at my restaurant. Yeah, yeah, yeah,
(35:36):
because you know, everyone kind of knows what I do.
And it's a small family place, so everyone knows what
I do. And they they're all asking, well, what if
you know, have you've gotten any jobs lately?
Speaker 4 (35:46):
Are you working? Which is the rudest question.
Speaker 5 (35:48):
You can ask an actor, but they're not actors, so
they don't know. Yeah, I'm working here, I'm serving you spaghetti.
Speaker 4 (35:58):
So they want to know, but they don't, you know.
I was like, well, if I you know, I have
enough information where I you know, I could I could
ruin everything.
Speaker 3 (36:07):
But you know, so that's why I'm going to ask you,
so you know you know the uh you know, yes,
don't tell me.
Speaker 4 (36:14):
I know. No, I'm not gonna tell.
Speaker 3 (36:16):
I just wanted to know if you knew.
Speaker 5 (36:20):
No I have, Like I'm like one step below sealed
training for short.
Speaker 4 (36:24):
Sure, I.
Speaker 5 (36:26):
Would never reveal it, not under that under waterboarding.
Speaker 3 (36:30):
Good good, that's good.
Speaker 1 (36:31):
That's I think that's probably why they brought you back.
Makes sense that about you.
Speaker 3 (36:38):
That's it for today. Thank you so much for listening.
That podcast metal and mentioned with Daniel Redcliffe and his
stunt double or.
Speaker 1 (36:44):
Should we say David Holmes and his acting double.
Speaker 3 (36:47):
Right, That podcast is called Cunning Stunts.
Speaker 1 (36:50):
We'll be back in a few days with the SaaS Patacki,
Jane Lynche plus Michael Cyril Crichton who plays Howard, and
of course John Hoffman.
Speaker 3 (37:09):
Please send your thoughts and theories to us at Only
Murders at straw hutmedia dot com. Take a minute to subscribe,
rate the show, follow us, and leave a review if
you enjoy the show.
Speaker 1 (37:18):
Only Murders in the Building podcast is a production of
straw Hut Media, hosted and produced by Ryan Tilton and
Maggie Bowles. Associate producer is Stephen Markley. Original music by
Kyle Merritt and Only Murders in the Building theme music
by Siddartha Coosla. Your assistant editor is Daniel Ferreira and
Production Assistant is Caroline Mendoza.
Speaker 3 (37:34):
Thank you so much to Madeline George and Michael McFadden
for talking with us this week, and a big, big
thanks as always to John Hoffman and the entire Hulu team.
Speaker 1 (37:43):
Season.
Speaker 3 (37:47):
Sorry, there's a cat behind me. It's okay.
Speaker 2 (37:49):
That cat is beautiful.
Speaker 3 (37:51):
I know, she's just like walking on our chairs. She's
stun tiedting. Good job, good job, she did great. The
subreddit is going to go wild.
Speaker 2 (38:06):
They are they really listen. You know, those people run
the world.
Speaker 1 (38:09):
But we all know that's the true deep state, is
Reddick Hannah Swinebinder.
Speaker 3 (38:19):
That's a good one. We talked to a few of
the Westies. I don't know how much you know about
the the Westies over.
Speaker 4 (38:25):
There, not the Irish mobsters.
Speaker 2 (38:27):
Not the Irish mobsters.
Speaker 1 (38:28):
You're our first Irish mobster. There's a dog mayor in
idle world.
Speaker 3 (38:32):
Yeah, I'd no idea.
Speaker 2 (38:33):
There's a goat mayor somewhere else.
Strawt Media.
Speaker 2 (00:02):
He wanted so badly to throw himself into that dumpster
and then like, you know whatever, the producers are like
stop stop sap, you know, like swapp in the other person.
Speaker 3 (00:15):
Hello, and welcome to another episode of the Only Murders
in the Building Podcast. I'm Ryan Tillotson and I'm Maggie Bowles.
We're 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 1 (00:28):
Today on the show, we're talking all about season four,
episode four, The Stuntman. We'll hear from writer Madeline George
about where the writer's room looked for inspiration into the
world of stunts and whose idea it was to make
Glenn Stubbins an irishman.
Speaker 3 (00:42):
We'll also hear from actor Michael McFadden about what actor
skill he shares with Paul Rudd.
Speaker 1 (00:48):
But first, a quick recap and listeners. There are spoilers
for episode four, so if you haven't watched, hit pause,
go watch and come right back.
Speaker 3 (01:06):
Episode four, The Stuntman. We open up on Charles's dream
he's looking for sas he gets up at three am
and makes a new murder board shows it to Oliver
and Mabel. He adds Paradise to the board because it
was in his dream.
Speaker 1 (01:20):
We see Vince Fish doing something suspicious with the Portuguese flag,
and through Oliver's stocking of Loretta on Instagram, the trio
discovers that Sas was at a bar called Concussions right
before she died.
Speaker 3 (01:30):
So the trio goes to the bar, a stuntman's bar,
and they start asking a bunch of questions. They meet
Glenn Stubbins, Ben Glenroy's stunt double Ben Glenroy, Ben's dead Yijit,
and they learned that Saz has been seeing a chiropractor.
Speaker 1 (01:45):
She'd been in pain apparently and was planning to retire,
and so doctor Maggie the chiropractor. It gives Charles an
adjustment and he sees her again in the forest.
Speaker 3 (01:54):
Meanwhile, Howard is responsible for pig sitting and squatting in
the Dudentoff apartment for Mabel. Someone slips a flyer under
the door and lures him out to audition for the movie.
Speaker 1 (02:04):
Oliver opens up to Mabel about his insecurities with Auretta,
and it turns out he's made a finsta this person
named Ronnie so that he can chat with her.
Speaker 3 (02:13):
When Mabel gets back to her apartment, she finds the
Westi's moving her bed. Turns out they are part of
a rent control scheme and they might let her in.
They're paying only two hundred dollars a month.
Speaker 1 (02:23):
Absolutely crazy. They tell Mabel that Helga Rudy's ex from
Finland was the voice on the ham radio and that
she's crazy. She's the wrong kind of weirdo.
Speaker 3 (02:32):
Mabel updates Charles and Oliver and convinces Oliver to kill Ronnie,
not litterally.
Speaker 1 (02:38):
Charles fills in for Saz in a traditional stuntman's funeral
at concussions, and when he gets hit in the head
with a real bottle instead of a breakaway, he remembers
SAS's dream of opening a trampoline park, the Sas Pataki
Impact Academy.
Speaker 3 (02:51):
The trio goes to the place where Saz was building
her stunt school and they find Bev Mellon there with
a gun someone from show business.
Speaker 2 (03:00):
Don't move all, blow your fucking brains out.
Speaker 1 (03:08):
We just talked to Richard Kind, which was an absolute delight.
Speaker 3 (03:12):
So fun. What a sweet, sweet man.
Speaker 2 (03:15):
He is a genuinely sweet man. I have a picture
of him. He you know, he came by the set
when we were shooting on the Upper West Side just
he's like, I just live over there, you know, like
in his shorts and sweat socks. And then he was like, well,
I gotta go to Costco and he left.
Speaker 3 (03:30):
This is Madeline George, the writer of episode four. How
was it.
Speaker 1 (03:33):
Coming back into the room for season.
Speaker 3 (03:35):
Four after the strike too?
Speaker 1 (03:37):
After the strike and after three whole seasons, and I.
Speaker 2 (03:41):
Mean, you know, I guess there's a there's a quality
of like improbable magic to this show where it's even
in the first season there was a sort of like
this could never work kind of feeling to it, like
it just it's just so, as they say, lightning in
a bottle, you know, the quality of the thing that
we've been making together. And so every single time we
(04:03):
start again, it's like, can we pull this off again?
Like is this gonna work? And so I feel like
season four was very much like that. We really like,
I mean, John Hoffman led us charged us right off
of a Broadway cliff in season three, and it felt
a little like untoppable in certain ways, just like once
you have Meryl streep in like a spangled hat, like
(04:25):
where do you go from there? But on the other hand,
like there's this also sort of a sky's the limit
feeling to especially the beginning of breaking one of these seasons,
and so like being able to like throw everything at
the wall and have these take these huge swings. It's
it was just like exhilarating. The beginning of season four
was a really exhilarating time.
Speaker 3 (04:45):
That's fun.
Speaker 1 (04:46):
I have hat.
Speaker 3 (04:46):
So this season we really explore says, we learn about
her all of her backstory. We just get to learn
about who she is, which we never really got to do.
How did you guys decide what to put in there?
How to create that world of Saz?
Speaker 2 (05:01):
I mean I think that the idea of obviously the
character is such a like as a one off, even
in the first season, was such a like as I say,
like a big swing or a pie in the sky
kind of a character move. But I mean Jane as
a as an actor really inhabited that character and gave
us a lot to work with in terms of what
(05:22):
kind of swashbuckling, six foot tall lady might be in
that particular role. I wish that y'all could see the
exquisite set deck, like the amazing work that the team
did filling out all of the props in SAS's apartment.
I spent some time just like kind of wandering through
(05:44):
that set, like looking at like four layers deep of
like nick knacks and papers on the desk the set
de Russian team had. They had like you know, feminist
stunt manuals and likes from like you know, a woman's
only stunt club or whatever. They really filled out the
(06:07):
kind of world that this person would have been habited.
And Wow, as a writer, it's inspiring to watch whatever.
You know, you're like in a room with snacks in
it and a whiteboard and you're having like thoughts and
feelings and then cut two six months later, like a
team of hundreds of people have brought something to three
D life in that way, and it's just like it's
(06:28):
just mind boggling.
Speaker 3 (06:30):
We we we've talked to them once or twice before.
We should bring them back because Christmas guys room. I mean,
there's a few sets that are just pretty mind blowing.
Speaker 2 (06:40):
Yeah, they're mind blowing. They're stunning. And then and you
and it's like you're seeing them on the dailies or
you know, we're looking on and it's like they look incredible.
But then when you walk into there and then you
open a drawer and you're like, what the even the
silverware has Christmas trees on it? How are they doing
this their magic? I love, Sorry, that's really not what
you asked me about, but I have to say, like,
(07:00):
it really blew my mind when I was Yeah, but
we did a lot of as a room, we did
a lot of research into stunt communities, and we also
sort of created our own mythology a little bit, just
like you know, but stunt performers are an incredible subculture
and they have extremely interesting codes by which they operate
(07:21):
and interesting.
Speaker 3 (07:22):
Can you give me an example or like, is that
funeral thing a normal thing?
Speaker 4 (07:26):
Is that?
Speaker 3 (07:27):
Do they have such a community like that.
Speaker 4 (07:29):
You're profiting off of death?
Speaker 5 (07:31):
Meanwhile, the people who really loved her can't even give
her the traditional stunt man's.
Speaker 4 (07:35):
Funeral she deserves what why not? No body, no funeral?
Speaker 2 (07:41):
The funeral thing is made up? That was the pitch
of Alex Bigelow, one of the incredible writers and the staff.
But they but there are you know, certainly their stunt
gyms and their stunt associations, and there are stunt dynasties.
This is a thing. The thing we're saz is, you know,
brought up and by a family of stunt performers. That's
(08:02):
definitely something that really it is true, and it's even
true on our own set. The stunt coordinator is part
of a family of stunt people. Really, I guess it
makes sense. It's like it's a little bit like family business. Yeah,
I mean, I hear that if you're that kind of well,
let me say this. You might think that stunt people
are like fearless or daredevil types or something, and of
(08:27):
course that may be a component of it, but actually
they're very safety oriented, like they know better than anybody,
you know, what you need to have in place in
order to do these death defying things without because they
need to be able to get up and walk away
and go to work.
Speaker 1 (08:42):
The next day, right of course.
Speaker 2 (08:43):
Yeah, So it's not like free solo you know what
I mean, where they're just like, how can I push
my body to the nth degree. They're very thoughtful about
listening to fear and paying attention what the limits might be.
Speaker 1 (08:56):
I love that how deep into researching the stunt community
and stunt the art of stunt stuntsmanship. I don't know
what the word is, but stuntsmanship. How deep did you
go into that world? Either yourself when you were putting
this episode together and then in the room as a group.
Speaker 2 (09:18):
I mean in the room, people brought in stuff as
we were beginning to sort of construct the world. A
lot of the sort of bigger things like the stunt
bar and stuff like that. That's our creation. I mean,
I wouldn't be surprised to wear that there's a stunt
bar somewhere, but we did make that up. But I
personally spent a lot of time, Like I got very
into this one podcast, which is Daniel Radcliffe, you know
(09:38):
from Harry Potter. He you might know that famously his
stunt double was severely injured on the last film. They
have this really interesting relationship. They were really close because
this guy had doubled for him for many many for
many movies in many years, and then he was injured
on the set. And so those two have a podcast
(10:00):
where they interview stunt performers and I listen to dozens
of episodes. I can't recommend it enough, not the least
because they have stunt performers representing all the best accents
of the British isles. There are a lot of Asses
and Scott's and Welsh stunt performers on that podcast.
Speaker 3 (10:19):
Wow, wait, just one question on this like is his
stunt double? Is his stunt double the same age as him?
Speaker 2 (10:26):
Roughly?
Speaker 3 (10:27):
Like was he stunting at ten or what?
Speaker 2 (10:30):
Yes, And this is the other reason why there are
families of stunt people, because there needs to be. I
mean there are sometimes people of short stature who who play,
who do stunts for kids, but also there are young,
young stunt performers and so yes, this guy came up
sort of with Daniel Radcliffe and then now he hosts
the podcast and then Daniel Radcliffe like they together interview
(10:50):
stunt people and they have an incredible segment at the
end of every one of these podcasts where they are like,
what's the one stunt you've never done that you've always
wanted to do, And every stunt person has like, imediately no,
They're like, I want to get lit on fire, I
want to get thrown off a building. I never done horsework.
I've always wanted to do horsework. It's a great world fun.
Speaker 1 (11:08):
That's amazing.
Speaker 3 (11:12):
Ben Glenn y Ben's dead.
Speaker 4 (11:16):
Yij it, He's gone forever. I'd love to be here,
but there's no possible way. He can't come back from
the dead, now, can you.
Speaker 3 (11:28):
I'm Glenn Stubbins, Ben's stunt double. Did you know when
you were writing this that you were going to get
Paul Rudd to play Glenn.
Speaker 2 (11:39):
Glenn Stubbins, Yeah, I mean that, I guess. I don't
know at what point it was like we're, yes, we're
doing it. I mean, I know that we were like,
what a banana's idea? Like, obviously, that can't possibly work.
We would never get him, we would never work. And
then when it you know, he's like the gamest of
the game actors, and I think the sort of this,
the silliness of it and the spectacle of it, it
(12:03):
just really appealed to him because I think he likes
to be around Stephen Marty.
Speaker 3 (12:06):
Yeah, I mean, of course.
Speaker 1 (12:08):
And then with that, I mean it's first of all,
it's so funny hearing the voice over him with an
Irish accent.
Speaker 2 (12:15):
He asked to be Irish by the way, he was like,
can I be Irish?
Speaker 1 (12:18):
That was his idea that's so funny.
Speaker 3 (12:23):
I love that detail.
Speaker 1 (12:27):
When when they go outside and he's trying to get
his role in the in the in the film or whatever,
and he starts doing all of those stunts for them.
Speaker 6 (12:35):
Yes, can you help me get a job on your film?
You lost your stone double, I lost my acting double.
We could make each other hole again. I don't need
a double, not even one that can do this.
Speaker 7 (12:49):
Oh God, I'm curious if you talked through the stunts
who he might do to impress them, or if you
were kind of like he does stunts.
Speaker 1 (13:01):
And then you kind of let a stunt coordinator figure
out what you could get away with in this space.
Speaker 2 (13:06):
In the script, it says something like he takes he
like punches himself in the head and takes a head
or over a garbage can or something like that. And
then Chris Barnes, the stunt coordinator, was like built out
this big, beautiful set piece of choreography, and I mean
Paul did a bunch of it. Not the part that
would threaten, but he was and he was like raring
(13:26):
to go. Like I remember on that set watching him
like he wanted so badly to throw himself into that
dumpster and then like, you know whatever, the producers like
stop stops up, you know, like swap there in the
other person.
Speaker 1 (13:38):
Okay, I love the cannon ball.
Speaker 2 (13:40):
The canniball is amazing, and I was I was blown
away watching the kind of my background as a writer
is in theater, and obviously, like film, stunts are so
such their own thing, and yet there's something very theatrical
about doing that, like what's it called the cowboy cross
or something like that, where you know, the celebrity runs
off camera and then the stunt and runs on camera
(14:01):
and you just keep rolling the whole time, and it's like, really,
it's like theater magic on film.
Speaker 3 (14:08):
Yeah, absolutely, it was. It was hilarious. I had so
much fun watching it. To stay on the theme of
stunt stunt people, Uh, you said that you talked about
a little bit earlier, the funeral, Like you guys made
that up. But how did you decide what how that
would how that would come together? Exactly what the.
Speaker 1 (14:26):
Detailed details of the stuntman's funeral?
Speaker 4 (14:28):
Is that a real bottle? You asked? Whole set them up?
You crip? Are you calling me a rex baby?
Speaker 6 (14:37):
Yeah?
Speaker 2 (14:44):
I do think that when as soon as we had
this thought that, oh, maybe there's a stunt person bar,
you know, out in some outer burrow, you know, like place.
It ended up being in Hell's kitchen in the end.
But and then immediately, I think our next thought as
a room was like, and wouldn't it be great if
somehow it could erupt into a massive roadhouse style bar
fight by dand and we could watch people just smash
(15:06):
each other with breakaway furniture. Obviously that would be delightful.
How can we make that happen? And I think the
thing about the funeral is that it was a chance
to do a kind of you know, a set piece
in the bar that also really spoke to the relationship
between Charles and Saz and Sas is in the episode
very much partly because we are like learning about the
(15:29):
world through Glenn Stebbins. Every time I say his name,
I'm almost laughing. It's like he's the guy, he's our guide,
he's our guide into this kind of underworld. And Sas
is appearing in dreams, and so the chance for Charles
to do something meaningful for her, you know, I think
the funeral kind of hit all those It ticked all
those boxes for us.
Speaker 3 (15:50):
We know that your tasks kind of you with writing
this specific episode, but do you have like a favorite
from this season, like a favorite moment, joke bit.
Speaker 1 (16:02):
Because we know it's such a collaborative process that you
know you have this episode, but everybody's working on everything, right, It's.
Speaker 2 (16:09):
So it's so collaborative, and in fact, from this episode,
I have to admit that like not just one of
my favorite bits, but one of my like a peak
moment of collaborative delight of my entire life is the
moment where Glenn they go into the back room. Doctor
Maggie is the chiropractor and has the little room and
they go back there and Glenn is like, I'm going
(16:31):
to get on the rat baffler. They can't recognize me
when I'm upside down, and he hops on this inversion
table and he flips upside down.
Speaker 4 (16:38):
Oh I don't want an adjustment. I just want to
ask a few questions. Okay, well, hey, don't mind me.
I'll be hiding on the rat baffler.
Speaker 6 (16:47):
They can't recognize me when I'm upside down.
Speaker 2 (16:50):
Just to say, like the way that that came about
in the room, we were like, how is he going
to be part of this conversation we were trying to
think about, like, you know, what he needed to be
in the scene, how is he going to be used.
Rob Trabowski, one of the great comic writers of all time,
was like, what if he's on like an inversion table
and he's like hanging upside down. And then Ben Smith
one of the great comic writers of all time, was like, yeah,
he could be like they can't recognize me when I'm
(17:12):
upside down. And then Joshua Allen and grandfather, one of
the great comic writers of all time, is like, it
could be called he could say I'll be on the
I'll be on the rec deceiver. And then I was like,
I'll be on the rat baffler. And it was like boom,
boom boom. That happened in like the course of like
four seconds. And then playwright me was just like, oh
my gosh, like what if you could write jokes like this,
(17:32):
you know from the theater too, like that only four
people's minds all inclined in the same direction. Trying to
solve this absolutely cuckoo bananas problem, which is how to
get Irish stun double Paul Rudd, who's in a fight
with some imaginary rats in the scene, but not interfering
(17:54):
with the emotional trajectory of the Steve Martin character. Like
that was just like a spectacular for me. Rat Baffler
is really like peak comedy. Joy I couldn't it was.
It was one of the great days of my life.
Speaker 3 (18:08):
Yeah, that's great.
Speaker 1 (18:11):
Another thing that happens in this episode is we uncover
the rent control scheme, the dude off rent control scheme,
and these these Westies are paying like two hundred dollars
a month for their apartment, which is crazy. I was
just curious, like, what is the craziest rent control rent
that you've heard of someone having?
Speaker 3 (18:32):
Have you heard of two?
Speaker 4 (18:34):
Well?
Speaker 2 (18:34):
I mean when I lived in when I first moved
to New York it was the you know, the mid nineties,
and I lived in the West Village in a rent
controlled single room where which I always say, I had
this long balsa wood stick and I could do everything
I needed to do in my apartment with this stick,
Like I could turn on the oven, I could open
(18:54):
the door, I can press the buttons on my VCR. Yes,
it was a VCR Like it was a very small part,
is what I'm trying to say. And famously the guy
downstairs from me, who the kind of apartment where you're like,
how many blankets does this guy have taped over his windows?
You know what I mean, like that kind of apartment
And he was paying forty seven a month because he
(19:15):
had been in this little basement studio since you know whatever,
the sixties or something.
Speaker 3 (19:21):
So this is possible. The two hundred dollars could be
like that, forty six dollars would still be maybe under that.
Speaker 2 (19:28):
Now, you know, I love that You're like stress testing
only murders in the building for plausibility. That's so sweet
to me.
Speaker 1 (19:36):
I mean, no, I just like it makes me wonder.
Like my brother, for example, has a rent control department
in Santa Monica. He's thinking about moving to Austin, but
he's been here, He's been in the apartment for like
fifteen years, and he's like, but whatever I do, I'm
going to keep the apartment because this is like, this
is the equivalent of owning properties, having a rank control department.
It's the closest we'll get to the home ownership, you.
Speaker 2 (20:00):
Know, it's really it's the real thing. I mean, my
partner and I are happily married now, but like in
the beginning of our relationship. She was like, I was like,
we should move in together, and she was like, well,
I can't leave my one bedroom apartment in the East
Village because it's so cheap, because it was rent control.
And it was like it was kind of like it
was like mirror the apartment moment. It's real.
Speaker 3 (20:24):
Yeah, it's very real. It's great, that's very real.
Speaker 4 (20:27):
We're illegally subletting rent control departments.
Speaker 6 (20:31):
We're not a cult, so a rent control scheme, although
I have suggested getting matching bathrobes in the past.
Speaker 4 (20:38):
Every apartment on this floor was rented by Professor Dunlow years.
Speaker 3 (20:42):
Ago two hundred dollars rent. Gosh, under dollar rent.
Speaker 1 (20:45):
Should you imagine in New York City. I went, come on, like,
that's something to kill for.
Speaker 2 (20:50):
Right exactly.
Speaker 3 (20:52):
So, yeah, wows vicious.
Speaker 1 (20:55):
Indeed, indeed very suspicious.
Speaker 8 (20:57):
We are.
Speaker 1 (20:57):
Also, his first question was, how's do not making any
money off of this?
Speaker 3 (21:01):
Yeah, he's only trudging two hundred dollars for rest And
that's what I didn't understand. So you know, well, did you.
Speaker 1 (21:06):
Ever consider that dudent Off might just be a nice person? No,
the thought never crossed server.
Speaker 3 (21:11):
No, but interesting interesting.
Speaker 1 (21:16):
I would consider it. I would consider that he's just
trying to take care of his people, his family.
Speaker 3 (21:21):
That yeah, that's a good point. That's very sweet.
Speaker 1 (21:23):
Yeah, you see the gooden people. I see that.
Speaker 5 (21:25):
That's good.
Speaker 1 (21:29):
That was Lillian Rebello and olivera daughter in the Sauce family.
I guess we should try harder to see the gooden people.
Speaker 3 (21:36):
Agreed. After the break, we'll talk to Michael McFadden, who
plays the tough guy bartender at Concussions.
Speaker 1 (21:50):
Welcome back. We're talking about season four, episode four, and
now a new character in the season, Michael McFadden. He
plays the bartender at Concussions.
Speaker 4 (22:00):
What are you really here for?
Speaker 5 (22:02):
We were hoping we could ask a few questions about
Saz Pataki.
Speaker 4 (22:06):
I'm not talking to you. Well, maybe my friend mister
Lincoln will change your mind.
Speaker 3 (22:12):
Mister Abraham Lincoln, you're quite intimidating when we first see
you at the bar.
Speaker 5 (22:20):
You are look, I really don't have any tattoos.
Speaker 3 (22:24):
That's good.
Speaker 1 (22:25):
Those are intense sleeves you have, so yeah, you are.
You look a lot friendlier here than you did there.
We'll be honest.
Speaker 4 (22:32):
That's well, that's acting acting this podcast. I've actually listened
to everything through twice.
Speaker 5 (22:41):
Whoa, oh, yes, you're a free night a week at
that while I work at a restaurant. I'm living the Uh,
I'm living the dream as an actor being aware. Yeah,
but one night a week I drive delivery for about
a four hour shift. So that gets me through a
lot of the a lot of the podcast here.
Speaker 3 (22:59):
Yeah did uh? Well, let's talk about that scene. You know,
sure has anything like that ever happened to you in
real life?
Speaker 1 (23:07):
Because we know you said you you mentioned your you
do those those actory jobs.
Speaker 4 (23:12):
Well, yeah, I mean I was.
Speaker 5 (23:13):
I was a bartender for a good twenty years in
all different kinds of places, from a Michelin star rated
place in the Theater district of Manhattan to buckets of
blood in Brooklyn. So well, I've had plenty of time
to find that character.
Speaker 1 (23:31):
Yeah. So has anyone ever come in with I don't know,
five six dollars and tried to get information?
Speaker 4 (23:40):
I'd rather that you know a lot of them have
come in with no mind?
Speaker 3 (23:43):
Yeah, was it hard to I would have a very
hard time keeping a straight face around those around those
two specifically, But I mean, like, how how's yours? How's
your game?
Speaker 4 (23:55):
Well?
Speaker 5 (23:56):
They've been you know, they've been idols of mine for
fifty years. Started watching SNL when I was five and
it's all Marty on SCTV and saw Steve hosting Saturday
Night Live when it was a big deal to stay
up till eleven thirty and watch SNL.
Speaker 4 (24:14):
So, I mean, the moment was huge.
Speaker 5 (24:16):
So they're like I, I prepared, over prepared for the scene.
Like I my process is always to prepare to a
degree where I know the text inside and out and
I know the other lines. But it was especially important
to not just be well prepared. But I wanted to
(24:37):
impress them, you know, so but I did. You know
Marty especially, you really have to be in the scene
to not break for him because he's you know, they're
trying all kinds of different things. They'll go off script
to give him a different line, and he'll just try anything.
But the moment is so huge that you know the
(24:58):
grat you know, you're aware of the gravity. You don't
want to mess up the takes, and there was a
lot to do that day, so you know that it's
going to take at least until lunch before they turn
the cameras around, so you don't want to waste their
time by breaking right.
Speaker 3 (25:14):
So tell us about the bar.
Speaker 1 (25:15):
Concussions is the name of it, concussions.
Speaker 5 (25:19):
It's a real bar. It's a real bar in Ridgewood.
Queen's called wind Jammer.
Speaker 1 (25:23):
Wing Jammer, not Concussions. I was like, there's a real
barkll concussions. No, so let's talk about that. We come
into Concussions. We've got Charles Oliver and Mabel and then
we get a surprise is it from what looks like
Ben glen Roy but is not? So can you tell
us about about that?
Speaker 5 (25:42):
Yes, well, evidently we're friends, me and Glenn Stubbins, and
I am the keeper of the bar where all the
stunt men hang out.
Speaker 4 (25:53):
We're not stunt doubles. The actors are our actor doubles.
Speaker 3 (25:59):
You have the faces faces faces.
Speaker 4 (26:02):
Yes, the faces, they're like the suits.
Speaker 5 (26:04):
Yeah, yeah, so we we have we have nothing but
contempt for the faces.
Speaker 4 (26:10):
Sas Fataki was my stunt double. Not here, he says,
is acting double? You just a face?
Speaker 2 (26:16):
We don't like faces.
Speaker 4 (26:18):
People we say about faces? Did them your molesses?
Speaker 1 (26:22):
We know we have you an episode four in Concussions,
but we're wondering, do we do we see you again,
do we get to come.
Speaker 2 (26:30):
Back to this bar?
Speaker 5 (26:31):
Well, no, I'm actually taken out of the bar. Yes,
so they see me out of context.
Speaker 4 (26:39):
And then they're like, oh my gosh.
Speaker 5 (26:41):
They're like, hey, it's that bartendercussion something to look forward to. Yeah,
and John, when we wrapped on episode four, John had
hinted that if things go a certain way with the writing,
that I would be brought back.
Speaker 4 (26:57):
But uh, I feel.
Speaker 5 (26:59):
Really honored because it felt like I was kind of
shoehorned in there. They didn't really need to.
Speaker 4 (27:04):
So it was I was ecstatic and the fact that.
Speaker 5 (27:08):
He dropped that hint had me like counting the days
on the calendar, like, where could they be. They haven't
wrapped the season yet and they haven't called me.
Speaker 4 (27:19):
But when I got the call, I was like wow,
and they gave me some really cool stuff to do.
Speaker 3 (27:25):
Oh that's exciting.
Speaker 1 (27:26):
Was there any backstory written on the page for for No?
Speaker 5 (27:30):
No, it's a no, it's it was just a guy
in his I get the breakdown, said bartender forties fifties.
I'm fifties, so I was on the I was on
the high end of that. And it's at a stunt
man bar, you know. I'm I stay in shape, but
I'm not. I don't look like a stunt man. And
(27:51):
I knew some guys that read for this, and they.
Speaker 4 (27:54):
Looked the part.
Speaker 3 (27:55):
See, I had assumed you were like an old like
you were like a stuntman, like retired and to open
up a bar or something. That's kind of where my
brain took it all. But as a as the backstory, yeah, yeah.
Speaker 4 (28:06):
Yeah, I was.
Speaker 5 (28:08):
I you know, I'm not one for backstories like I
I've heard some guys do that. They'll write a backstory
and I don't know that it reads or helps. I
just you know, just know the text, yeah, and listen
and you'll be fine. It's like, because if the writing
is brilliant as it is here, all the work is
(28:29):
done for you.
Speaker 2 (28:30):
Yeah.
Speaker 3 (28:30):
It was actually, you know, you complemented the writers. But
I think they must have liked you as well, because
that's actually we got your name on a list and
that's why we reached out because the writers, oh wow, yeah.
Speaker 5 (28:41):
Well, you know, I'm embarrassed not to know her name,
but one of the writers and I'm assuming it was
the one who wrote my my dialogue back in the
video village, as I was walking through was like, Wow,
that's really.
Speaker 4 (28:57):
Good and that so I kind of knew I was
doing something right.
Speaker 5 (29:00):
Everything starts with knowing I'm working with Steve Martin and
Martin Shore and Selena Gomez.
Speaker 3 (29:07):
Madeline George is who is who wrote episode for So
I bet you that's the one that was there for you.
Speaker 4 (29:12):
Yeah, I'm sorry Madeline that I was. I was at
a disadvantage because.
Speaker 5 (29:19):
I felt I felt out of, like a fish out
of water just going just walking into.
Speaker 4 (29:24):
That entire situation.
Speaker 2 (29:25):
I bet yeah.
Speaker 4 (29:27):
I was really humbled.
Speaker 2 (29:29):
No, I mean it was like he was so good
that we were like, how can we how can we
find more for this person? I mean it's really a
lesson and like be amazing when you go on your
set because writers are still working.
Speaker 1 (29:39):
That is Madeline George again, writer of the episode.
Speaker 3 (29:42):
Yeah, well you yeah, you were there on the set
while they were shooting.
Speaker 2 (29:45):
For a lot of it. Yeah, this year, I really
made an effort and it's a you know, it's an
incredible learning experience for writers to be part of that
if they haven't done producing work. But also it's just
like incredibly fun on the Only Murder set. There's just
a lot of fun stuff going on, I can imagine.
Speaker 3 (30:01):
And when you're there on set, are you people like
constantly like looking to you, like do we change this?
Or like is that kind of as a thing that's happening.
Speaker 2 (30:09):
Yeah, well, I mean again very collaboratively. Like so if
people like like Martin Short and Steve Martin and Paul
Rudd are on set, they are themselves being like what
about this? What about this? What about this? And like
it's not that you would be like yes, no, yes, no,
Steve Martin, but more like I would be like, yeah, incredible,
or what about this? Or you try to like put
your own spin on it or anyway, just like get
(30:29):
in the mix with those geniuses.
Speaker 3 (30:32):
Everyone's kind of spit fireing ideas and then you try them.
Speaker 2 (30:35):
Yeah. And then the director of episode four or four,
Chris Kotch, he's just like he's really brilliant and he
also has ideas and he's like writing on his feet
and encouraging other people to also write on their feet.
Very positive environment.
Speaker 3 (30:49):
Back to Michael McFadden the Bartender. Do you think he
gets a name later or does he just stay bartender?
Speaker 1 (30:55):
It's a great question. Do you have any favorite movies?
Roles from Steve Martin or Martin short.
Speaker 5 (31:01):
Oh well, I mean I saw Steve Martin's first play
that he put up. He wasn't in it, but it
was Picasso at the Lapanagill and I can quote some
lines from that. But one of my favorites. I like
him when he's serious, like when Steve Martin's turn in
David Mammotz the Spanish prisoner.
Speaker 4 (31:24):
That was yeah.
Speaker 5 (31:25):
And I love watching them be interviewed honestly and like
and now it's like, you know, I don't know them.
I've worked a total of three days with them, but
you know, just having like feeling like, oh, they're my buddies.
Speaker 3 (31:43):
Three days. What were the three days? So I assumed
it would be two days.
Speaker 4 (31:46):
It was the two scenes, know well there was there's well,
Steve was in two days.
Speaker 5 (31:54):
The first day in episode four is the trio walking
into the bar, and then on uh, I had a
three day contract work too, So the next day or
it was a Monday, and then a Wednesday, I went
back to Concussions or the Windjammer, and we had the
(32:14):
memorial for Saz right, and Steve was and there are
apparently three Steves. There's Steve himself there's his stunt double,
and then there's his picture double.
Speaker 4 (32:27):
So there's two.
Speaker 5 (32:28):
There's three of them walking around on any given day,
so you haven't had your coffee.
Speaker 1 (32:33):
That's absolutely absurd for this season, especially too, because you've
got three Steve Martins, plus you've got Eugene Levy, who
I assume has.
Speaker 5 (32:42):
Eugene Levy probably has two of those.
Speaker 2 (32:48):
Who also has You've got to at least st Yeah,
this is so many Steve.
Speaker 4 (32:57):
It's like an infinity mirror of Steve.
Speaker 8 (33:01):
Okay, we do have to yeah, wow, Okay, So that
that reminded us about Saz's memorial, which is absolutely absurd.
Speaker 5 (33:13):
Yeah, and it's and it makes sense. I mean, it's
not really all that absurd. Like, yo, I could see
that because stunt people have their superstitions and their you
know and and all their own motivations. So I could
definitely see that happening. And that was that was really
cool because I got to actually have two lines with
Paul Oh yeah, we got and we and and that
(33:37):
was a great thing because I you know, he's he
really is as sweet a guy as everyone says he is.
Speaker 4 (33:43):
And we had a lot of a lot of like
education in common oh really, or training in common?
Speaker 5 (33:50):
We think we had the same the same fencing teacher
because it was so long ago, it's like going on
thirty years ago.
Speaker 4 (33:57):
Like I knew that it was Joe Daily, but he
was I'm quite sure.
Speaker 5 (34:00):
But he's had a lot more names to remember than
I ever have, right, And yeah, but.
Speaker 4 (34:06):
He was just a great guy. And I was up
for another job.
Speaker 5 (34:12):
That day, and when we broke for lunch, I found
out that I booked it and I told him and
he was more excited about.
Speaker 4 (34:18):
It than I was. He's like, that's great. I was like, Wow,
I'm gonna let that sink in.
Speaker 2 (34:27):
I love that.
Speaker 1 (34:31):
The most random thing to have in common with Paul Rudd,
you know, the same friends, so hyper specific, you know,
that's great. So with the secrecy around Paul Rudd returning
for this season, what has it been like to you know,
like know these things about this show that's like this
(34:54):
like wildly popular show, but like have to keep all
of these secrets, Like what's that like.
Speaker 4 (35:02):
Most difficult? Was?
Speaker 5 (35:03):
Like, you know, because just about anybody you tell that
you're on the show is a huge fan of the show.
Speaker 4 (35:09):
I mean, if you look at the numbers for the Hulu.
Speaker 5 (35:13):
It's the Hulu trailer itself, not all the Pirositic twins
that have latched onto it. But it's got eleven million
views in five days. So there's a lot of people
that are invested in the show and they're all, so,
what happens? And I'm like, cool, I can't tell you that.
And these are like random customers at my restaurant. Yeah, yeah, yeah,
(35:36):
because you know, everyone kind of knows what I do.
And it's a small family place, so everyone knows what
I do. And they they're all asking, well, what if
you know, have you've gotten any jobs lately?
Speaker 4 (35:46):
Are you working? Which is the rudest question.
Speaker 5 (35:48):
You can ask an actor, but they're not actors, so
they don't know. Yeah, I'm working here, I'm serving you spaghetti.
Speaker 4 (35:58):
So they want to know, but they don't, you know.
I was like, well, if I you know, I have
enough information where I you know, I could I could
ruin everything.
Speaker 3 (36:07):
But you know, so that's why I'm going to ask you,
so you know you know the uh you know, yes,
don't tell me.
Speaker 4 (36:14):
I know. No, I'm not gonna tell.
Speaker 3 (36:16):
I just wanted to know if you knew.
Speaker 5 (36:20):
No I have, Like I'm like one step below sealed
training for short.
Speaker 4 (36:24):
Sure, I.
Speaker 5 (36:26):
Would never reveal it, not under that under waterboarding.
Speaker 3 (36:30):
Good good, that's good.
Speaker 1 (36:31):
That's I think that's probably why they brought you back.
Makes sense that about you.
Speaker 3 (36:38):
That's it for today. Thank you so much for listening.
That podcast metal and mentioned with Daniel Redcliffe and his
stunt double or.
Speaker 1 (36:44):
Should we say David Holmes and his acting double.
Speaker 3 (36:47):
Right, That podcast is called Cunning Stunts.
Speaker 1 (36:50):
We'll be back in a few days with the SaaS Patacki,
Jane Lynche plus Michael Cyril Crichton who plays Howard, and
of course John Hoffman.
Speaker 3 (37:09):
Please send your thoughts and theories to us at Only
Murders at straw hutmedia dot com. Take a minute to subscribe,
rate the show, follow us, and leave a review if
you enjoy the show.
Speaker 1 (37:18):
Only Murders in the Building podcast is a production of
straw Hut Media, hosted and produced by Ryan Tilton and
Maggie Bowles. Associate producer is Stephen Markley. Original music by
Kyle Merritt and Only Murders in the Building theme music
by Siddartha Coosla. Your assistant editor is Daniel Ferreira and
Production Assistant is Caroline Mendoza.
Speaker 3 (37:34):
Thank you so much to Madeline George and Michael McFadden
for talking with us this week, and a big, big
thanks as always to John Hoffman and the entire Hulu team.
Speaker 1 (37:43):
Season.
Speaker 3 (37:47):
Sorry, there's a cat behind me. It's okay.
Speaker 2 (37:49):
That cat is beautiful.
Speaker 3 (37:51):
I know, she's just like walking on our chairs. She's
stun tiedting. Good job, good job, she did great. The
subreddit is going to go wild.
Speaker 2 (38:06):
They are they really listen. You know, those people run
the world.
Speaker 1 (38:09):
But we all know that's the true deep state, is
Reddick Hannah Swinebinder.
Speaker 3 (38:19):
That's a good one. We talked to a few of
the Westies. I don't know how much you know about
the the Westies over.
Speaker 4 (38:25):
There, not the Irish mobsters.
Speaker 2 (38:27):
Not the Irish mobsters.
Speaker 1 (38:28):
You're our first Irish mobster. There's a dog mayor in
idle world.
Speaker 3 (38:32):
Yeah, I'd no idea.
Speaker 2 (38:33):
There's a goat mayor somewhere else.
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