Issue link: https://digital.copcomm.com/i/1521956
f you have ever found yourself entranced by an Agatha Christie mystery, fascinated by f ilm noir, or taken with true-crime docudramas on television, you will likely find kindred spirits in Charles-Haden Savage, Oliver Putnam, and Mabel Mora. In the hugely popular Hulu series "Only Murders in the Building," Charles (Steve Martin), Oliver (Martin Short), and Mabel (Selena Gomez) are among the denizens of the Arconia, a tony New York apartment building whose friendship rests in their collective interest in murder mysteries. This being the 21st century, the trio embarks on a true-crime podcast. Created by Martin and John Hoffman, the series skimps on neither mystery nor comedy: the unsolved crimes presented are juicy and intriguing, and the shenanigans of Charles, Oliver, and Mabel are always entertaining. Over the course of three seasons to date, the show has established an impressive roster of recurring and guest stars, including Tina Fey, Nathan Lane, Paul Rudd, and Meryl Streep. Helping make the mystery—and the wit—come to life are supervising sound editors Mathew Waters and Danika Benton Wikke. Together, they make the smallest footstep resonate and each line of dialogue sparkle. A native of Kentucky, Waters got his start in the business while attending San Jose State University where, during his senior year, he attended a talk by sound designer Stephen Hunter Flick ("RoboCop," "Speed"). "I didn't know this job existed, and when he came and talked about what he did, it was everything I love to do," said Waters, who has enjoyed a long career in feature films and television. He is a multiple Primetime Emmy winner for his work on "Game of Thrones," "Daisy Jones & the Six," and, most recently, "Only Murders in the Building." I 33 S U M M E R Q 2 I S S U E C O V E R S T O R Y