As the season 3 finale of Hulu’s Only Murders in the Building rapidly approaches, it’s hard to deny that this installment has been an enthralling ride. With a constellation of riveting plot twists and the addition of powerhouse talents like Meryl Streep and Paul Rudd, this season stands as a testament to the show’s ambition and creative prowess. At its core, the season has revolved around the mystery of who murdered Hollywood star Ben Glenroy, just before his Broadway debut.
However, amidst all the mystery and glamor, there is still a lingering need in the show’s overarching narrative—a personal trajectory for Mabel Mora, one of the three leading protagonists. Contrary to her more deeply developed co-leads, Mabel’s individual growth has been largely neglected throughout the series, despite her being key to the narrative. In this article, we delve into the stagnancy of Mabel’s character and potential for growth by this season’s end.
Who is Mabel?
Shrouded in cynicism and reserve, Mabel Mora (played by Selena Gomez) has always been a mysterious individual. These qualities are part of what make the character intriguing and differentiate her from her comedic counterparts, Charles and Oliver (played by Steve Martin and Martin Short). However, with little details about her life given to the audience, the show has taken these qualities of Mabel far too close to heart.
Throughout seasons 1 and 2, we learn just a few details: she’s staying in the Arconia to renovate her aunt’s apartment, her father died when she was young, and, as a teenager, she and her friends dubbed themselves “The Hardy Boys,” engaging in imaginative mysteries within the confines of the apartment complex. These details are important and, in the early life of the series, do a great job of engaging the viewer. However, basic aspects of Mabel, such as her aspirations, social life, professional background, cultural heritage, and socioeconomic status, remain vague, offering little insight into her life beyond the “Only Murders in the Building” podcast. She remains a riddle, revealing only pieces of her past when casual conversations require. Slowly, the “Whodunnit?” question mark of the show comes in equal standing with that of “Who is Mabel?”
Ragged Romance
Furthermore, Only Murders has navigated Mabel’s romantic life in a rather tumultuous manner. Throughout season 1, her rekindled connection with childhood friend Oscar Torres (played by Aaron Dominguez) hinted at a coming romance, with Gomez and Dominguez sharing undeniable on-screen chemistry. Despite this relationship having strong promise, the show abruptly abandoned it at the top of season 2, opting to relegate their relationship to a mere friendship. That season, Mabel instead engaged in a relationship with Alice Banks (played by Cara Delevingne). By the season’s end, it was ultimately reduced to a fleeting fling. Each of these relationship ends have little impact on Mabel or how she progresses into the following season.
Now, in the current season, she finds herself involved with Tobert, portrayed by Grey’s Anatomy‘s Jesse Williams. However, given the series’ penchant for introducing significant guest stars only to swiftly exit them from the narrative (similar to Cara’s appearance as Alice), one must question whether this latest romantic endeavor will truly advance beyond a surface level connection. While Mabel’s romantic entanglements have generally added riveting levels of drama to each season, the show’s propensity to abandon them from season to season denies Mabel romantic development and further obfuscates her desires.
Possible Rectification
This season of Only Murders the narrative is finally offering more attention towards the individual story of Mabel, shedding light on several undisclosed aspects of her life. In the first few episodes, we learn Mabel is a college dropout, is nearing the end of her twenties, and, upon completing the renovation of her aunt’s apartment, must relocate to a more affordable area. This newfound knowledge imparts depth and relatability to her character. Moreso, the series creates conflict for her as she grapples with the timeless question of what professional direction to steer her life. This subplot is subtly interwoven into the season and remains consistent throughout, hinting at a potential resolution in the season finale. Although it may not entirely rectify other thin elements of her character or dissolve all lingering questions, it finally grants Mabel a way to grow that allows opportunity for positive shifts to her narrative in future seasons, or, should this be the series’ culmination, a satisfying closure to her arc.
Through complex long-term relationships and grand career opportunities, viewers have been presented substantial growth for Charles and Oliver throughout Only Murders, which have added compelling layers to them. For the narrative to best make use of its core characters, its important such evolution is granted to Mabel, as well. We eagerly anticipate the season three finale to see how it wraps up Mabel’s current narrative.
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