Watching the detectives 2

ONLY MURDERS IN THE BUILDING is a comedy TV show with Steve Martin, Martin Short, and Selena Gomez, doing a New York crime podcast... where Sting is the first suspect. It's a highly amusing parody of amateur sleuths, who are neighbours, investigating a (suspicious?) death of an odd resident in their block. There’s brisk character development, so very little soap-opera present. Happily, it's more than just a sit-com, and almost a compelling satire on post-fame celeb-culture (for two older guys), one from 1990s' TV, the other from theatre, while Gomez is a great young foil for the American comedy stars. The most notable episodes are Boy From 6B, where actors have no audible dialogue or they're using sign-language because the podcast sponsor’s son is deaf, so it’s nearly a ‘silent-movie’ story. Fan Fiction has the podcast ‘stars’ meeting their crazily avid followers. Best guest-star is undoubtedly Tina Fey as Cinda, the celeb maven of the podcasting scene. Of course, there’s a twist-ending. Two further seasons are available now, and a fourth is in the works.

 

A pun on ‘manhunt’, Joe Penhall’s MINDHUNTER begins when the rule “psychology is for backroom boys” is rudely challenged by ambitious agent Ford, an idealist with empathy in conflict with old-school, late 1970s' policing (Ford shows Dog Day Afternoon to FBI trainees). When Ford meets crusty veteran Bill Tench, the agency's road-school boss, their chalk ‘n’ cheese duo are quickly established. Ford interviews serial killer Ed Kemper who spurs the team’s behavioural science research. “How can we get ahead of crazy..?” Cue: Talking Heads’ song Psycho Killer, roll credits. David Fincher directs the first two episodes with a perfect pacing not maintained later with good guy/ nerdy cop routines. Third episode’s intro for Dr Wendy Carr (Anna Torv, Fringe) prompts development of this BSU project, so there’s steady progress on questioning convicts about their motives. Cue: Boomtown Rats’ I Don't Like Mondays. Complications emerge from criminal lies about Federal corruption, while they brag of their own extremely violent fantasy lives. Contrast this with investigating busybody concerns, focusing on how mildly inappropriate activities may become escalating compulsions, while big differences between serial and spree killers are hot-button profiling labels. Fincher directs season one’s finale, exploring how the abyss is for stares, and the void for screams.