When faced with a genuine critique of true-crime culture in season two, OMITB took the easy way out. nwquah writes
,” which recontextualizes the character whose sudden murder serves as the catalyst for Mabel, Oliver, and Charles’s sophomore adventure. Folger, played with furrowed-brow perfection by Jayne Houdyshell, was mostly deployed as an obstacle and minor antagonist for much of the first season, a harrumphing figure whose position as ironfisted Arconia board presidentallowed her to threaten our heroes with eviction in the fallout of their high jinks.
During her standing lunch appointment at the Pickle Diner, Bunny sifts through a Boca Raton brochure, wondering about life beyond her identity as the god of a small kingdom. When the check comes, she tips a thick envelope of cash to the waiter. “No one else who needs it,” she says when he objects. “Make me a promise: Don’t only love one thing. Because if that one thing goes away, then you’re left with nothing. And that sucks.
as obnoxious, annoying, and self-centered. Frankly, this is probably how they come across to most of their neighbors not directly involved in their caper, and it’s here thatbriefly occupies an engaging space of critique. Bunny’s antagonism in the first season was informed by her love for the building she governs.
That solipsism has dire consequences. Indeed, the last moments of Bunny’s life involved her reaching out to the trio for solace, their not comprehending her need for compassion, and her returning alone to her apartment, where she’s ultimately killed. For a moment, the show seems to be evoking the question: Are Charles, Oliver, and Mabel, as a collective, kinda assholes in this world?
In fact, it’s possible to read the Arconia Three as indirectly responsible for her death. Season two’s murder-mystery resolves in spectacularly messy fashion; it’s tough to argue the reveal of Poppy as the mastermind (
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