A Comparative Look at Good Omens and Only Murders

Beyond the shared connection of being developed by authors with courses on MasterClass, both Good Omens and Only Murders thrive on the buddy dynamic between their lead male characters. In Good Omens, this involves David Tennant and Michael Sheen, while Only Murders showcases the charisma of Martin Short and Steve Martin.

Recently, I’ve begun to question the notion of Neil Gaiman as the preeminent living author. This isn't solely due to the impending recognition of Haruki Murakami with the Nobel Prize for Literature. My skepticism doesn't stem from doubts about Gaiman's exceptional writing—his work is indeed commendable. Instead, I take issue with the idea that one singular White Male Englishman embodies the pinnacle of writing and creativity. Moreover, I'm starting to perceive Gaiman as akin to that whimsical horse galloping through various establishments in Lloyds-TSB advertisements. He certainly isn’t a one-dimensional creator; rather, he's a multifaceted one, though I sometimes sense an over-reliance on style and spectacle in his storytelling.

This becomes evident when comparing Good Omens: Season One with Good Omens: Season Two. The first season had a clear purpose that directed the narrative, serving as a satire of the film Omen. In contrast, the second season felt aimless, reminiscent of Hot Shots 2, which at least had a defined spoofing focus. Good Omens: Season Two came across as a collection of Gaiman-esque ideas, filled with clever yet ultimately hollow references that may not resonate with viewers outside of a specific cultural context.

What this highlights is the irreplaceable talent of Terry Pratchett, Gaiman's co-author, whose unique vision and humor are sorely missed. Gaiman struggles to fill the enormous gap left by Pratchett, a fact that is easily forgiven given the monumental challenge it represents.

The challenge of merging a multi-episode fantasy series heavy on special effects with a showcase for two remarkable actors results in a somewhat lackluster experience. Conversely, Only Murders cleverly utilizes its stars as the central focus, allowing for a rich ensemble of other talented actors to shine. Ultimately, I found myself confusing Good Omens with Staged, another comedy featuring Tennant and Sheen, and I found Staged much more enjoyable.

From interviews, Gaiman often appears somewhat dismissive of television producers who question his artistic vision or request additional resources for his projects. Given the substantial contributions of British talent to the American film and TV industry, one might wonder if UK creators would excel even more if provided adequate funding. Good Omens 2 dispelled that notion for me; British humor often requires a level of insider knowledge that can alienate general audiences. In contrast, American productions like Only Murders in the Building tend to be more inclusive and relatable.

The only moment Good Omens: Season Two truly came alive was during a vintage Gaiman storyline involving Nazis reincarnated as zombies. To wrap up, it seems evident that Steve Martin's writing in Only Murders surpasses Gaiman’s more self-indulgent projects.

[That said, I should note that I found the adaptation of The Sandman to be quite good. But that’s a discussion for another time.]

Digital Media and Ageism

What ultimately elevates Only Murders above the somewhat stale Good Omens 2 is Selena Gomez.

While I felt Gomez's performance was somewhat stiff in earlier seasons, exhibiting peculiar expressions for an accomplished actor, she truly comes alive in Season 3, embodying her character Mabel. Mabel serves as a counterbalance to the exuberant performances of Steve Martin and Martin Short. It seems Gomez has evolved from a somewhat lost figure among her more seasoned co-stars to someone who genuinely enjoys her role and contributes meaningfully to the show.

What is concerning, however, is the show's interpretation of youth, with references to participants from the Mickey Mouse Club in 2002—21 years ago. It's uncertain whether the club even continues to exist. Currently, being a talented young person in America presents numerous challenges. An article from Salon offers a sobering summary:

> “Biden became, at the moment he took office, the oldest president ever and all three of the most senior members of House Democratic leadership—Speaker Nancy Pelosi, Majority Leader Steny Hoyer, and Majority Whip Jim Clyburn—are over 80. At 71, Senate Majority Leader Chuck Schumer is relatively young. Minority Leader Mitch McConnell is 80.”

We are witnessing a significant transformation in the entertainment industry. What’s peculiar is who stands to benefit. For instance, Biden’s campaign has adeptly adopted cultural memes like Dark Brandon. It’s promising to see traditional television rejuvenated by concepts once deemed too avant-garde. The passion of the seasoned cast of Only Murders for their craft is infectious.

The rehearsal and performance of the “Which of the Pickwick Triplets did it?” skit is among the most entertaining moments I’ve witnessed in a long while. Season Three serves as a tribute to theatre and musicals. I commend the creators, writers, performers, and technical staff for honoring such a profound theme.

You'd expect platforms like Netflix, Disney+, and Hulu to churn out a plethora of new formats and talent akin to long-form TikTok. Instead, they’ve breathed new life into established figures like Nancy Pelosi and Dianne Feinstein—individuals who had a head start in the entertainment realm. This was not something I anticipated.

This season stood out for its ability to attract talents like Paul Rudd, who brings tremendous heart to his role, and Meryl Streep—truly the Margaret Atwood of acting—who delivers as expected. Michael Cyril Creighton also shines as Howard Morris among such esteemed company, marking another actor who has found his groove.

A Glimpse at the Stunning Graphic Design in Only Murders in the Building

Similar to Star Wars, my main draw to Only Murders lies more in its character design and artistic direction than in the plot itself. The series intricately weaves impressive graphic design into its narrative, reminiscent of They Live. The show features an array of quirky products and merchandise as clever inside jokes, with their packaging often highlighted in the end credits. The credits themselves are adorned with a striking New York typeface.

It eventually became clear that my writing style aligns well with graphic design topics. This realization reignited my passion for learning, leading me to enroll in courses on platforms like Domestika through Facebook and Instagram ads. As of now, I have signed up for at least fifteen courses covering topics from video game character creation to pin-up painting.

I was not surprised to discover that Laura Perez, the artist behind the enchanting character designs for Only Murders’ captivating titles, is offering a digital course.

I have not yet enrolled.

[Note: I am not a paid promoter for any online learning platform, including MasterClass and Domestika. In fact, I seek a private conversation with their executives.]