The seventh episode of Only Murders in the Building's exhilarating fourth season, aptly titled "Valley of the Dolls," weaves a spellbinding tapestry of suspense and narrative convolutions. Following the dizzying camerawork of episode six that left viewers yearning for solid ground, this installment gracefully restores equilibrium while catapulting us into a maelstrom of intrigue and breathless anticipation.
The episode commences with our trio of amateur detectives—Charles, Oliver, and Mabel—on the lam, their once-solid fortress of the Arconia shattered by the shocking revelation of being under constant watch. Their predicament is acutely felt as they flee to the perceived safety of Charles' younger sister Doreen's abode, nestled in the tranquility of Jersey. But as Only Murders in the Building so adeptly demonstrates, safety is a fleeting mirage, and the deceptive calm before the tempest often proves the most perilous.
Doreen, brilliantly embodied by Melissa McCarthy, injects a delightful eccentricity into the narrative, her doll-adorned surroundings offering both comic levity and an eerie undercurrent. The unannounced arrival of Bev, Eva, Zach, Eugene, and Loretta only stirs up the already tumultuous waters, each character carrying their own baggage of anxiety and suspicion, concocting a volatile cocktail.
The subplot detailing Oliver and Loretta's relationship undergoes a dramatic sea change. A hasty breakup text, born of panic and fear, triggers a chain reaction that culminates in a confrontation between Loretta and Doreen, erupting into a physical clash that is both hilarious and astonishing. Yet, beneath the veneer of slapstick humor lies a poignant moment of reconciliation and unwavering commitment. Loretta's acceptance of Oliver's imperfections, symbolized by the doll's bracelet donned as a makeshift engagement ring, stands as a testament to the indomitable power of love amidst the chaos and madness.
The enigma surrounding the mysterious figure cashing Dudenoff's checks deepens, transforming the initially overlooked actors into invaluable cornerstones of the investigation. Their gruesome murder board and piercing insights suggest that the peril looming over the Only Murders gang may have roots far older than anticipated, potentially tracing back to the nascent days of their podcast's inaugural season. This revelation plunges Charles into a vortex of self-reflection, compelling him to reassess every assumption he'd held dear about the case.
Howard's relentless pursuit of the cashed checks uncovers a jaw-dropping truth: the Westies, the eccentric denizens of the Arconia's West Tower, are entwined in the web of Dudenoff's murder. This disclosure strikes a chord of disbelief and foreboding, as the once-serene Arconia now teems with suspicion and peril. The Westies, once perceived as quaint oddballs, are suddenly cast in a sinister light, their motives and allegiances shrouded in doubt.
As the episode hurtles towards its climax, the puzzle pieces grudgingly align, yet the picture they paint remains murky and elusive. The specter of who has been watching the Only Murders gang lingers, casting a haunting shadow over every character and lead. The tension mounts, and the stakes soar to unprecedented heights.
"'Valley of the Dolls'" stands as a testament to the show's mastery in balancing humor, heart-pounding suspense, and nuanced character development. It keeps audiences perched on the precipice of their seats, while simultaneously inviting guffaws at the absurdities that unfold. This episode is a thrill ride of emotions, leaving viewers ravenous for the subsequent chapter and the answers it promises to unravel.
In the realm of Only Murders in the Building, reality is but a fleeting illusion, and "'Valley of the Dolls'" exemplifies the series' prowess in subverting expectations. As we eagerly await the season's grand finale, one certainty echoes: the truth, akin to the killer, often lurks in plain sight, waiting to be uncovered.
