EPISODE 12: BONUS: Clues in the Costumes w/ Dana Covarrubias

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Show Notes

Producer Maggie Boles joins Elizabeth and KK in the studio and reports a conversation she had with the talented Dana Covarrubias; Costume Designer for Seasons 1 and 2. We learn all about colors, wardrobe and collaboration. PLUS some clues in the costumes? If you have a theory about who killed someone email us onlymurders@strawhutmedia.com

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Straw hut media. You know,
like off the top of my head,

I'm like, Oh, I have
this like miss tie that's like a fish.

It's like a salmon, I think, but it's like it's head is

here and that it's tail is here, just like kind of just weird,

these like amazing things and they're like
I just I have to have this.

As anyone have you ever had a
character where that the fish tie? No,

I don't think so. I don't
think so, which is that not

any need to? Welcome to this
very special bonus episode of only murders in

the pod, the show where we
look behind the scenes and mine for clues

as we meet the casting creators of
a Hulu original series, only murders in

the building. I'm your host,
Kevin Lawn, and I'm your other host,

Elizabeth Keener, and today on the
show we're doing things a little differently.

We have with those in the studio. One of our producers, Maggie

Bowls, who sat down with the
costume designer, had to go Maggie,

hi. Yeah, it was really
great. I think we can all agree

that the clothing and the colors and
the production design on season one was very

memorable and so as we wait for
the new season, I thought it would

be cool to talk to a few
of the people who made some of those

striking visual aspects of the show come
to life. So I sat down with

Dana Cover rubious. She's the costume
designer for seasons one and two, and

it was new years day, so
everybody was moving a little slower than norm

there, but Dana was a champ. So just, you know, being

over, that's all. Yeah,
that's the main event today for sure.

Yeah, yeah, I am Dana
Cooper Abus and I'm the costume designer on

only murders in the building. When
I hear this music I'm instantly transported into

the opening credits of only murders,
where we're painting up the side of the

Arconia, looking into all the windows
and seeing first Charles, then Oliver and

then Mabel, all in their signature
looks, and as we come back down

the building we see all these bright
reds and teals and yellows. So the

first thing I wanted to ask Dana
was where that all started and where the

thematic colors came from, and she
said a big inspiration was, I guess

not surprisingly, the hearty boys books
every cover had a similar color pellette of

these like miracles and teals and really
like Crimson Reds, and I think we

were just drawn to that. It
was, you know, started obviously that

that's like a huge plot point and
season one those books. And I think

we were just looking at the artwork
myself in the production designer for beach and

it just it and I think been
at the same time we were looking at

some stills from rear window the hitchcock
film and notice that in the windows,

like you know as the still shots
when you're looking through the windows, you

know, of people's apartments, there
was a similar color pellette of yellows and

teals and reds. It kind of
just coming up like when we were doing

our early research. Sometimes they think
when you're, you know, starting your

creative process, things sort of happened
to kind of come together and that way

where you just keep saying the same
thing over and over again and it's like

Oothe, this is, this is
what we should have to basic color pallet

on. So when he came to
the characters individual style and color pellets,

she worked closely with the actors to
develop their signature looks. So let's focus

on our three main characters, Charles, Oliver and Mabel Dana said for Charles,

it all started on a preproduction zoom
call with Steve Martin and showrunner John

Hoffman. I think we were just
supposed to be talking about steeds glasses.

I think it was like a meeting, like let's just have a meeting,

let's talk about the glasses, that's
figure out the glasses. And then we

ended up just talking about his costume
a bit and he mentioned that he had

never worn jeans as a character ever
and so he was interested in maybe where

jeans and I was like, oh, that's really fascinated because I do think

jeans really changed in the last fifteen, twenty years for men. You know,

they used to be so uncomfortable and
stiff and now jeans has so much

stretched in them. But I think
a lot of men like enjoy wearing them

or now. But yeah, we
decided that's like that was his idea.

You know, he was like,
I just think my character Jean and then

you know in the script there's the
moment where he's making the Omelet and you

see him like having that sort of
repetitive behavior of making the Omelet over and

over again. And that sort of
what led me to the idea of him

being repetitive in his dress. But
I think he he mentioned, you know,

just that he wanted to keep it
simple. So I think it was

sort of like a collaborative and it
was like a happy, you know,

conclusion that we came to together that
it was like simple in this way of

like it's a shirt, it's a
sweater, it's jeans. It's just kind

of, you know, not not
doing anything to complicated with this character,

because he's a type of guy that
like likes that, you know, comfort

and the repetition. There was also
a lot of inspiration taken from Steve Martin's

personal style. Like he just could
be as like amazing personal style and Real

Life Steve Martin wore's a lot of
hats, but the hats he wears are

a little too cool for someone like
Charles Hayden savage. We, you know,

we want it. We definitely knew
we wanted to have him in a

hat, but we had to like, you know, we did like more

in order winter shows. We did
more of like a wool, you know,

it Stingji from Fedora. Another thing
was the color blue. Is this

beautiful Blue Eyes. It looks great
on him. The blue with Steve was

very you know, he's he's a
really sort of repetitive personality where he Finds

Comfort in and it sinks staying the
same and they're not being too much change

in his life. So we wanted
to make sure to that was reflected in

the costumes and so obviously we repeat
a similar type of outfit for him all

the time. I don't think he
ever wore different pants. Ok, I

think he wears exactly jeans with almost
every outfit. I think maybe you wore

suit at one point, I think
when he was on the date with jam,

but he basically always was Jean's,
a sweater, a button down and

even all of his buttondowns are exactly
the same maker. They're the same exact

sir, just in a different pattern
or different color. You know, a

blazer, the hat, you know, it's all very formulated. It's strange

that Steve Martin has never worn jeans
as a character. Yeah, well,

I mean, I know. And
then the three Amigas. I guess you

wore chaps, Choo Cheetas slacks.
Yeah, loads of flacks. I was

loved that word. slacks, trousers, back to Steve. Dana says that

she sees two distinct versions of New
York. I think of New York City

is being like you can either see
it through the lens of like it's this

beautiful sort of like cobblestone road,
like Brown, brick, red brown,

like that kind of world, or
it's just like steely, cold metal blue

kind of world. And for me
it was like Steve felt more in that

world. But it's a little bit
of a mix. It's like I think

new Yorksley so interesting in that way
and this is such a New York show.

So I think you kind of found
that in his character, the combination

of sort of the brick and the
blue. We do want of browns for

him as well. Sorry, this
is all very theoretical, like crazy designer

brain. Top that. I just
want to say. You know, we

talked about that with a couple of
other people. Did two types of New

York. Right where there's the philharmonic, you'll run into somebody who's that.

Then you'll run into someone on the
street that is just like hey, what's

up right, you know, and
that's it's very interesting to dicotoging side by

side. Yeah, and how she
as a costumer, thinks of it in

her brain. You know, it's
very interesting, totally and it sounds like

Dana had a lot of detailed and
in depth discussions about who Charles is and

why he wears the things he does. Yeah, definitely, and it's interesting

you say that because Dana said that
was especially be true from Martin Short,

when it came to Oliver's character.
I mean, every time we have a

fitting, we have a you know, thirty minute like philosophical conversation about who

this man is, like who is
all over, like just this makes sense,

like in the specific moment and really
up until we shoot a scene.

You know what I go to every
time an actors wear any costume, I

go to their dressing room myself and
like make sure that they're good with everything.

And a lot of times in that
moment, you know, ten minutes

before we about to shoot a scene, he'll be like, you know,

I really don't think like Oliver would
have put a blazer on for this because

he's running here. He's just very
he's like he's very thoughtful about all of

it and together we came up with
the idea that like he's obsessed Timothy Shallowmet

and that he wanted to like dress
like timothy shallow, like Oliver's like obsessed

to shouting. They said a spider
universe and spider man universe. I think

we should all dress a little bit
like Tomitationalme, Tim Tall J A,

I'll dress like him. Does he
wear jeans? He does. where it

has I read that, uh,
but you read them to him where I'm

like that on new splash. I
was like, but you probably true,

you don't read. Continue. The
whole thing was character is that he's this,

you know, theater director and it's
very like sort of dramatic, over

the top personality and for some reason
like purples and golds and teals like just

to me felt like theatrical. And
I found this other image when I was

doing my research of a beautiful Broadway
Theater and the curtain was sort of like

a really deep red doll. That
and the seats, I think we're gold

and there was some purple in there
somewhere, and that image to me was

like Oh, this is this is
Marty, like this is this is Oliver.

You know, we had this whole
like long talk about, you know,

whether he should always have a scarf
on, because it kind of came

became his like signature thing and always
has this like scarf draped and that kind

of idea came from, you know, the whole thing of him being,

you know, theater director and like, to me the scarf is kind of

like a curtain, you know,
it's kind of like a theater. That's

why wing structurally like on his body
and creates like a Presdium, which I

think is really fun. But at
the same time it's not realistic that a

person would always where the it's.
You know, we're a scarf all the

time. So we just had a
conversation about that. But like let's make

sure it's real. You know,
I feel like he always he's like really

wonderful because he always keeps me in
check because you know, as a designer

you get so excited about just the
look of a thing and you can get

really distracted because you just want to
make it look amazing. But then having

someone like really back in and be
like, let's talk about the reality of

this, speaking of grounding the characters
in reality, Oliver was the only one

who got to wear any true designer
wardrobe. He had some early thousand s

proud and Javanshi, that he would
have fought before he lost all his money.

I think she hited out of the
park with all of her I mean

all of them. But he was
he was was, he was grounded and

real but so theatrical, and it
really you've sent that he would wear that

stuff, because remember in the pilot
he was wearing a kind of a purple

the perfect. It seems like a
legal kind of that. It's him feel

that way, because he probably wasn't
that way for a long time the character,

because he lost so much, and
it really made him feel powerful or

whatever. Still like a costume for
hand. So she did a great shot.

That really great job, all of
them, but that was fantastic.

Yeah, are you ready to talk
about maple now? Yes, I know

where as blame. Yes, so
for May Ball. Her clothing was a

mix of new and second hand and
it came from places like the real,

realcom and other stories, Aritzia,
and also a handful of Brooklyn thrift shops.

Do you know why? No,
no, we're going to tell us.

I'll tell you if I break.
We welcome back. We're here with

one of our producers, Maggie bowls. Yeay, Maggie who talked to Dana

coba rubious, the costume designer for
seasons one and two, of only murders

in the building. Before the break, we learned about the inspiration and collaboration

in developing the looks of Charles and
Oliver, and now we're talking Mabel.

Yes, so, like I was
saying before the break, Mabel's wardrobe was

made of a mix of new and
thrifted stuff from places like the real,

real and other stories, Aritzia and
a handful of Brooklyn thrift shops. And

that's because it's where Dana thinks Mabel
would actually shop. And maybe this is

a stupid question. Yes, but
are those stores? And assuming they are,

why would she shop there? Because
she's cool, because she's an artist,

she doesn't have a ton of money, but she clearly has expensive taste

and secondhand is the way to go
if your taste doesn't match your Patrick.

HMM. So do you think this
is how we're talking Mabel style? But

do you think that has anything to
do with Selina's style in the sense of

did she talk to Dana and figure
out together what too? Yeah, what

did use? I asked Dana that. So let's hear what she had to

say about it. She just like
has amazing personal styles. So we definitely

stow a lot of things from her
personal style. I mean, she just

looks amazing and everything she you know, I think the first time we get

her she was wearing these giant,
beautiful gold hoops and that was something I

definitely took and and used for maple
and all that aside, let's get into

Mabel's color. Hers Dina had seen
photos of Selena Gomeas in a magazine where

she was wearing a yellow top and
I was like, Oh my God,

she looks studying in yellow. We
decided kind of early on that we wanted

to somehow it work in her Mexican
heritage and that, you know, merit

miracles play a huge, have a
huge symbolic role in Mexican heritage, representing

creativity and sort of death and rebirth
and like resurrection BEC and so you know,

her character, sleet's character beable,
is has this you know, horrible

thing that's happened in her passage.
She's cut. She's just like struggling to

get past it, struggling to figure
it out so that she can move forward,

so that she can be reborn,
so that was sort of a symbolic

thing we used throughout this season.
So we kind of stuck to marable colors

for her, with yellows and golds
and reds and just anything sort of in

that in that yeah, she's just
so laid back and so willing to like

try anything and it's such a wonderful
out of your creative attitude to have.

You know, it just feels very
like lay back and easygoing and she just

like like I don't think there's ever
been anything that she's like no, I

won't try. Like she's just so, so sweet and and you know,

I think she really loves getting into
the wardrobe because they think it really helps

her become mable. I think the
especially like the boots and the coats and

all of that. It's like definitely
the character. You know. Yeah,

maple definitely as a very iconic look. I mean they all kind of have

very iconic looks. Did you see? Did you see any Halloween costumes of

them this year? So many that
that's yeah, so many. It was

so amazing. People were sending me
DMS on instagram just with photos of like

babies dressed up like table and like
dogs, like I saw him dog costume

where it was just up like Mabel, my mother, and like her friends

all dressed up like like Mabel and
all of her Charles is awesome. Yeah,

so such a I mean it's I've
always said, like since the getting

of my career, that it's like
the biggest compliment or someone where's your costume

as a Halloween costume, you know, like a huge compliment to a costume

center. Did you guys see any
only murders costumes in your Halloween festivities?

Last year I passed out three candies
and then passed up us and yourself.

I did see online to people who
were dressed up like Charles and I like

to think that one of them was
Jane Lynch dressed up as Charles. It's

funny. Oh, good one.
We saw one our friend Alex. one

is tied eye guy. It was
pretty easy costume to throw together last minute.

Yeah, maybe even a little too
easy, I think. So.

Did it have blood? I know
that would have been extra so, as

the kids say, extra so.
Speaking of the tight I sweatcher and HMM.

I asked Dana how that came about
and she said it was something the

writers came up with, but Dana
did have to decide was what the Tede

hoodie would look like. Yeah,
it came down, weird enough. It

came down to how many we could
find and making sure it couldn't have grain

in it, because we knew we
were going to have to use green screen

at some point. But at first
we were thinking like, you know,

maybe we can make it and then
we can kind of make it more saturated

and we can make it like whatever
colors we want. But then we knew

at some point that we were going
to have to have many, many,

many, many multiples of it,
like at least fifty or you know,

something like that, and that's really
impossible to replicate tight eye in that way.

You know, like to make sure
that it's all the same, because

it's just the process of making tight
ie is you know, it's going to

be different. You know, a
lot of tight I just comes across to

Hippie defeat, you know, like
one stock s and we wanted it to

be cool and we wanted it to
feel like fashion Oba or like, you

know, something that like the character
Oscar would think was cool. So do

you think that the cast got for
their rap party? They all got the

Hoodie already and Hoodie from one of
the fifty hoodies that they had? Yeah,

there's room. I'm really hoping that
they just used like Tim kno sex

toy chest. Oh yeah, treasure
trush. I wonder how many of those.

They're smart. God, they had
fifty. But now that we're talking

about Tim Cono, now that we
know who killed him, did Danna mention

any clues in the costuming that would
have tipped us off that Jan was the

murder? Oh yeah, that's a
good question. And Yeah, should we

be looking for clues in the clothing
in season two? I don't know about

season two, but I did ask
her about season one and she said John

Hoffman and the creative team were super
secretive about the ending of season one.

Even, I think, up until
Amy Ryan sitting. I don't think I

knew that she was. So yeah, I think he really kept it secret

and even like on our you know, scaredufug on our schedules or in certain

scripts, like it would be like
concealed, like you wouldn't like even know.

I think when we shot you know
that for that sort of like opening

scene of the pilot and then they
come back to it and tink episode where

mables covered a blood and she's over
the body like we shot it with like

three different bodies, two or three
cameras, two or three, because they

I don't I don't know if it
was because they weren't sure who it was

or if they didn't want us to
know. I don't, I don't really

don't know. But they're really they
really want to keep the secret very secret.

So I think at some point I
did have to go to John Hoffin

and say, like, I need
to know, like I did. You

know, because it doesn't form how
you know how they'll dress potentially. Wow,

it's crazy to me how long they
were able to hide the identity of

the killer from the key members of
the team. For so long, I

know. And and when we were
talking to who during season one, they

told us they shot the arrest scene
in the final episode with three different people

being arrested. Oh so good.
While some of it was for Paparazzi and

some of it for those loose lipped
grips contry store as every woe all us,

we're here us. Ryan looks very
offended by this big at grips.

So no grips were harmed. In
the grips were armed, but for Jan

Dana said, there weren't exactly Easter
eggs to look for, but there were

little clues in her wardrobe that told
us that she wasn't quite right. There

were little hints that she was insane
when her wardrobe just, you know,

she's an adult woman and we always
have her wearing these like really sort of

girly, girlish, tiny little I
think they were owls, owl earrings.

They were just very like silly and
like way too, you know, young,

and it's just just the little things
like that that are like just a

little off, you know, and
you're like why, it's weird, weird

choice. And then I think all
the pussy bow blouses, you know,

also are like a little it's like
conservative, but then you know, it's

she had a really interesting combination of
like sexy and conservative. Like yeah,

I don't know, I think.
I think that that we just knew we

wanted her to be a little off, and I think that we try to

do that, but like in a
kind of elegant way. Oh, less

we forget the the sexy, the
zooner share. Yeah, and she loved

her merchandise. I think that's the
first time he saw her. It was

yeah, right, yeah, and
she had her bassoon and everything. Yeah,

that should have been a major red
flow. That was a fly.

I didn't ask Dana about that t
shirt and I regret it. We forgot

about it, but I wonder,
I mean, what was and with exception

of that shirt, the sexy passoon
share, most of the clothing we see

on only murders is pretty cool stuff
to wear. Not Anything you'd have to

do much coaxing or convincing of an
actor to give a chance. But I

was wondering about other shows. You
know what if your characters personality is really

far off from your own, like
Julie Robertson Pretty woman or, I don't

know, something like that. Yeah, it's I mean it's like the hardest

part of the job probably is,
like, you know, we always say,

like we're part designer but but also
part therapists, like you know,

and and it's hard. It's like
you really have to, you know,

you meet us, you know,
like and, you know, big celebrity,

you just met them, usually when
they're at the sitting, and then,

you know, moments later you'd be
like, okay, now, please

take all your clothes off and,
you know, allow me to, you

know, put you these other clothes. It's like in most people, you

know, like don't want to try
things on. You know, it's not

comfort. You know, like lots
of people don't like to do it.

It's you know, I don't like
to go to stores and have to like

beat the dressing room and try things
on like Gif like get it off,

and sometimes you get stuck and it's
like it's not it's not fun. So

I don't blame them when they don't
like it. But but yeah, I

mean it's sometimes you do some coaxing, you know. Sometimes you do a

little tap dancing to try to like
convince someone that that you know what you're

asking them to put on make sense
for the character. Sometimes you have to

do a bit of like reminding that
you know, this is for the characters.

Obviously isn't something you would where as
a person, you know, which

helps sometimes. But but no,
I would see like most people are willing

to go for it, you know, because they know they are playing a

character. And then and then also, I'm very open to you know,

you know someone's like that I really
don't think this is right or I don't

want to try this on, and
I'm always like, okay, you have

this other option. You know,
that's why you always have several racks of

she's just in case someone's not feeling
it. I found this part really interesting

because it's sounds almost like everyone involved
in a project is trying to get to

know these characters in a different way
and they're all trying to figure out these

subtle details that create the magic that
makes a character feel real. So like

the actor knows the character in one
way and then the costume designer knows the

character in a slightly different way,
and maybe the writers know them a little

differently the showrunner, and so a
lot of what they have to do when

they're collaborating with each other is find
the places where they agree and, you

know, explain the places where they
don't agree. It's kind of like layering.

I mean it starts on the page
and then when people read it,

something jumps out at them and whatever
they're take on as their as their job.

So whatever that job might be,
when it comes to do you know,

whether the actor or the designer or
whatever it is, they layer that

character and that's what makes them so
fascinating to us, because we see the

layers in there. It's not just
kind of a onedimensional character where you go,

you just you see it and sometimes
that makes you really you know,

some characters are so lovable or sometimes
they're loony Tuny's like Jan and you still

love them, you know. But
it's all that layering, including the clothing

and everything else. It's really interesting
the collaboration that goes into it, because

the costume designer has to do their
job and the actor has to wear the

clothes they may be comfortable they're going
to be in at all the yeah,

along with collaborating with the actors,
there's even more collaboration and communication that goes

on with the production designer, who's
deciding on the entire esthetical language of the

show. Kurt Beach, the production
signer season one, was just so incredibly

talented, as I'm sure you can
see with the design of each of their

apartments. It's so beautiful. Really
good news we're going to do another bonus

episode where we talked to Curt beach
and also the set decorator, Rich Marie,

so stay tuned for that one.
With the apartments. Like you know,

I think I get to walk around
and see the apartments like before we

do any shooting, so I usually
do that I usually do a little tour

of the stage and make sure I
know what, you know, the main

color theme is and each room and
sort of imagine the characters standing in those

rooms. But it's hard to keep
it all and your head, of course.

And then, yeah, with our
show it's you know, it's also

like each episode is like one day
or two days, so they're going to

be in thirty different you know sets
basically in this one look. So you

kind of have to make sure it's
just going to work everywhere. And sometimes

they're like really happy accidents. There's
a moment that's actually in this season,

so I don't know how much I
can talk about it, but there's a

moment that I just loved and it
was a total happy accident where Mabel,

we had favor these socks and she's
on her couch and and there was just

I saw the socks on the couch, I was like, Oh my God,

they're the exact same color, but
I love it, like they're exact

same like you know, burnt like
orange and marigolds and Brown, I think,

or burgundy or something, and it's
like exact same pattern as a couch

and it looks, looks so cool. So sometimes it's like sometimes it does

match too much, but it's kind
of good, you know, looks really

yeah, I was hoping she would
give us some inside details about season two.

What else did she have to say? I promise I'll tell you everything

she told me about season two,
which wasn't very much. But I did

have one more question for her.
I was curious where all the clothes go

after the show wraps. So I
asked how much you're this job kind of

like comes out into your personal life, like do you have like rooms with

racks full of clothes at home,
or like a storage unit with because actually

my best friend is a costume designer
too. She said she just had her

first ACD job recently this year.
So she's just she wants to move into

a two bedroom apartment because she has
so much stuffs, yum, and she's

like I can write off the second
room and just use it as I canasically

a giant walk in poset. So
I'm curious if that's like that for you

too. Yes, absolutely. I
think you start to become like a just

total hoarder of clothing and especial pieces
that you find when you're a thrift shop

and you're just like I need this. Yeah, you find these things and

you collect them and it becomes part
of your kit. You know, we

all have a kit and the kit
has, you know, clothing, obviously,

but then it also has wordrob supplies, steamers, hangers, Rax,

you know, like all that kind
of stuff. And you know, I

think the longer you work in this
industry, the more you just hoard more.

You you get more and more stuff
and at this point my kit,

Oh man, it's got to be
forty racks of clothing. HMM, only

forty racks? Huh? Forty racks, yes, and thirty bins of shoes.

Wow. But it's not all everyday
like cool fun clothes like you see

on only murders. She says she's
got a rack of NYPD police uniforms,

a rack of EMT uniforms, three
racks of waiter waiter, you know,

server costumes like black ties and black
aprons and green aprons and you know different

kinds of aprons and like striped aper. You know, it's just you end

up developing this, you know,
massive kit. So yeah, I bring

it with me from job to job. But then there is the in between.

You know, of course it's free
lance work. So in between the

jobs you're like, weird, I
put all of this and usually have the

store space and and it's annoying,
but you got to do it because I

just like can't let go of it. So there's because things in there and

it's really so, so, so
helpful when you're on a job to have

all those options. So it's not
just your friend Maggie who's holding all this

stuff. No, okay, definitely
not. She's not alone enough the big

club. It's a big club.
No, no, it's every I think

it's every designer. Well, and
you know, I think we go through

phases where you're like eat this and
you sell it. You can like sell

it off sometimes, and I've done
that probably two times, where every completely

sold by entire kids and like I
don't, I don't need this, and

then and then end up getting it
back and having you know, it's always

useful. I feel like if you
sell your kit you're making some really big

life changes. Yeah, it's like
like it's like spring cleaning on steroids.

Doesn't mean like I'm done doing teen
shows. I'm selling off all my high

school basketball uniforms. You know.
MMM, two things I don't do anymore

spring cleaning and steroids. It's like
what am I gonna do with thirty were

old costumes? Maybe I can turn
that down to ten. You never know,

though, you never know, and
these nights in shining are here defending

all over both. So season two. I did ask her if there is

anything she could tell us and when
we talked on New Year's they had already

had about eight weeks of prep and
shot the first two episodes before they broke

for the holidays. Yeah, I
don't know, I'm not sure what I

can't say, but I can just
say that I'm I'm so excited for people

to see it because I think,
you know, I think the season was

obviously such a hit and had such
great viewership and like the fans have been

so excited and I think that they
are just going big with this one,

you know, like I think they're
like go bigger, go home, and

when I read the first couple strips, I was like yes, yes,

yes, because just costume is this
season is like so amaz. It's just

so fun. Like they this at
the writers and John or Sharnder just like

wrote all these amazing scripts that are
just beautiful and just allow for really fun

costumes. Just put it that way. Awesome. So pretty vague, but

I don't know, maybe there's a
crew in there. Pretty vague, madgie.

I mean give us nothing every time. That is a tight whipped group.

Yeah, yeah, that it ain't
no grip group costumes. She's like

there's gonna be some really exciting costume. Well, she said they're going big.

Yeah, HMM, yes, big
talk, big job. I think

that's exactly what she was trying to
you know, we picked up on that

that. Yeah, I hope,
I hope our listeners are listening. I

would hope so. Well, thank
you so much for taking the time on

New Year's Day and just talk to
us. Thank you, guys. I'm

so sorry again for the pushing and
by I'm so glad we could make it

work. Yeah, happy to here, happy to hear to you. Thanks

for listening to this very special bonus
episode of only murders in the pod.

Please keep sending your thoughts and theories
to us at only murders at Straw Hupe

Mediacom. As we continue waiting for
season two, will be releasing more bonus

content, including our interview with season
one production designer, current each and set

decorator, for seasons one and two. Rich Murray. Take a minute to

subscribe, rate, follow and review
if you like. The show only murders

in the pod is a production of
Straw hut media, hosted by Elizabeth Keyner

me and Kevin Lawney, produced by
Ryan Tillotson, Maggie bowls and Williams Darling.

Associate producer is Stephen Markley. Original
Music by Kyle Merritt. Only murders

in the building original score music by
Sadartha Kozl and big, big thanks to

John Hoffman, Ari Avishet and the
entire Hulu team.
Only Murders in the Building Podcast
Sneak behind-the-scenes of the Hulu Original, Only Murders in the Building starring Steve Martin, Martin Short, and Selena Gomez. Listen in as Elizabeth Keener and he... View More




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