We all know the formula: it begins with a dead body, and quickly introduces a motley crew of outlandish characters, each with a motive for murder. The whodunnit genre has been a cultural fixture since the days of Arthur Conan Doyle and Agatha Christie—the latter of whom has been outsold only by the Bible and Shakespeare. Recently, though, the murder mystery has achieved a new level of saturation, with streaming services offering up a seemingly endless supply of glossy thrillers. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss how these new entries are updating the classic form. “Wake Up Dead Man,” the latest of Rian Johnson’s “Knives Out” movies, slyly incorporates social commentary, while shows like “Search Party” and “Only Murders in the Building” poke fun at the figure of the citizen sleuth. In our era of conspiracy theories and vigilante actors, there’s also a dark side to the archetype. “This desire to be the hero and to follow the logical trails and take things into your own hands—it's very appealing, if you do it right,” Schwartz says. “It’s great if you catch the right guy. If you don’t, and you catch the wrong one, the entire foundation of society crumbles.”

Read, watch, and listen with the critics:

“Knives Out” (2019)
“Glass Onion” (2022)
“Wake Up Dead Man” (2025)
“Big Little Lies” (2017-)
“The White Lotus” (2021-)
“And Then There Were None,” by Agatha Christie
“Rian Johnson Is an Agatha Christie for the Netflix Age,” by Anna Russell (The New Yorker)
“The Mirror Crack’d from Side to Side: A Miss Marple Mystery,” by Agatha Christie
“Only Murders in the Building” (2021-)
“Nicole Kidman Gives Us What We Want in the Silly, Soapy ‘Perfect Couple,’ ” by Vinson Cunningham (The New Yorker)
“The Residence” (2025)
“The Adventure of the Speckled Band,” by Arthur Conan Doyle
“Search Party” (2016-22)
“The Hound of the Baskervilles,” by Arthur Conan Doyle
The “Encyclopedia Brown” books
“Clue” (1985)

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Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.

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“Wake Up Dead Man” and the Whodunnit Renaissance

Critics at Large | The New Yorker