Ethan Shanfeld Murder mystery is having a moment.Maybe it’s because the pandemic has us glued to our couches, hankering to solve puzzles.
Maybe it’s because the weekly episode drops have overtaken the once-dominant binge format. Maybe it’s because in 2019, “Knives Out” grossed more than $300 million at the global box office and Adam Sandler’s “Murder Mystery” broke Netflix’s opening weekend records.The past few years alone saw the rise of premium streaming mysteries “The Afterparty,” “Mare of Easttown,” “Only Murders in the Building,” “The Undoing” and “The Flight Attendant” — as well as genre subverters “Murderville” and “The White Lotus.”While the reason why this genre is dominating our television sets and Twitter feeds is perhaps a mystery in itself, showrunners of the season’s top shows attribute their successes to the golden era of streaming, the rise of premium television and — according to “The Afterparty” creator Chris Miller — the “timeless human desire to find answers to important questions.” Miller originally intended “The Afterparty,” first conceived a decade ago, to be a movie, until he realized it would work better as a series so audiences “could spend more time with each character and get deeper inside of their heads.” It just so happened that the show coincided with the resurgence of weekly episode drops, replacing the once-dominant binge format.“The binge model squelches conversation rather than fosters it, while the weekly model encourages people to guess and talk about clues and debate with each other, because everyone’s in the same place,” he says.It can also lead to a snowball effect in viewership. “Mare of Easttown” was a major beneficiary of the weekly model, with its finale scoring 4 million.
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