When the Hulu TV series “Only Murders in the Building” made its debut in August 2021, the show appropriated some of the popularity surrounding podcasts, specifically true crime entries. Centered around a fictional Upper West Side building called the Arconia, the show’s plot involves three of its residents investigating murders that occurred in the building and recording a podcast while doing so. 

Especially in its first season, the show combined comedy, mystery, and absurdity in creating something of a cross between Mel Brooks and Agatha Christie, with sidelines via Coppola’s “The Conversation” and Fosse’s “All That Jazz” adding to its absorbing atmosphere.

A large part of the show’s success is due to its cast, particularly leads Steve Martin, Martin Short, and Selena Gomez. Respectively, they play a former TV actor, Charles-Haden Savage; a failed theater director, Oliver Putnam; and an aspiring artist christened Mabel Mora. Of course Messrs. Martin and Short had worked together before, in movies such as “The Three Amigos,” so their rapport was assured, but adding in Ms. Gomez was the unknown quantity. 

Thankfully, she fit right in, often playing the sarcastic “straight man” to her co-stars’ antics. Throughout the first two seasons, viewers watched Steve Martin grimace and whine, Martin Short flail and grunt, and Selena Gomez deliver lines in such deadpan style that it almost seemed as if they were both jokes and curses.

The first two episodes of the show’s third season had their premiere this week and I’m happy to say the show’s best elements are still present, apparently ensuring another entertaining season. Yet signs of strain do appear, particularly as it seems that most of this season will revolve around the Broadway show Oliver is developing. At the end of season two, after the three had solved who killed the building’s president, the show cut to a year later and we saw Oliver’s lead actor (Paul Rudd) collapse on stage. The new season picks up this thread and also flashes back to a few months prior, when the stage production is being crafted and the cast and crew are getting to know each other. 

Mr. Rudd embodies a famous, obnoxious Hollywood actor starring in his first Broadway show, and all the tropes attendant with that description are present. As one might expect, not many of the dramatis personae mourn his loss when he goes dead. Soon it’s suspected that his death might be murder, and without the organic progression of the first two seasons, Mabel awkwardly suggests to her co-tenants that they record a podcast to document their investigation into the case.

The ace up the show’s slightly tattered sleeve for this third season is Meryl Streep. The renowned actress plays Loretta Durkin, an aging actress who has never had a major role and who is cast as the nanny in the hackneyed play Oliver is directing. In her audition scene, Loretta wows Oliver with her emotional insight into the character and her pointed line delivery, and all the director can say when she’s finished is: “Where have you been?” 

It’s a witty, meta joke playing off the actress’s immense acclaim and ubiquity. Later on, there’s another clever bit of business addressing the real actress’s gift with accents, and it becomes clear that the writers and directors will use Ms. Streep’s status as “Greatest Living American Actress” to wring even more mirth from the proceedings.

Already, like in prior seasons, inconsistencies in terms of plotting abound. Yet one doesn’t watch “Only Murders in the Building” for clearly delineated murder mystery timing, like in a quality true crime podcast. We watch it for the madcap, at times self-aware fun it generates and the heartfelt chemistry between its leads. Based on the season preview, the rest of the third season promises further zaniness, flights of fancy, and, yes, some whodunit energy. 

There will even be original songs by the likes of Sara Bareilles (“Waitress” the musical), Marc Shaiman and Scott Wittman (“Hairspray”), and others. A majority of the scene setting may be transferred to a Broadway theater from the Arconia, but here’s hoping the alchemy of cross-generational friendship, farce, and sleuthing stays put.