[Editor’s note: This piece contains spoilers for Only Murders In The Building.]
Ever since Only Murders In The Building launched in 2021, it’s been tough to ignore the Arconia’s snarky yet sweet resident Howard Morris (Michael Cyril Creighton), largely because he refuses to take the backseat. In an ensemble that gets crowded with each passing year, Howard remains a reliable source of laughs and eccentricities. The show’s ongoing fifth season, however, finds him in a downward spiral. Feeling isolated from his loved ones, he quickly grows attached to and possessive of the Arconia’s new “doorman,” the AI robot L.E.S.T.R. And it isn’t until this week’s penultimate outing that Howard finally comes to terms with his surprisingly dispiriting journey.
In the process, Howard not only reaffirms his connection with Charles (Steve Martin), Oliver (Martin Short), and Mabel (Selena Gomez), but also provides them with a necessary clue to solve the two crimes they’re investigating. The character’s emotional outburst lets Creighton (High Maintenance, The Marvelous Mrs. Maisel, Spotlight) show off his dramatic chops, with the actor telling The A.V. Club that he relished the chance to depict Howard’s “vulnerable side.” We spoke to Creighton about being OMITB‘s fourth musketeer, finding his footing with the role, and opening up in a scene with Steve Martin.
The A.V. Club: Episode nine gives Howard a long-overdue moment of clarity when he confesses his loneliness to Charles. Did you and the writers sit down to talk about how to navigate this breakthrough for him?
Michael Cyril Creighton: I never know what’s coming in the show. I like to learn episode by episode, because I always trust the writers. But I was a little nervous this year about Howard’s storyline, at least for the first few episodes, because of his new obsession with L.E.S.T.R.’s AI and technology. I was nervous that we’ve lost a bit of his humanity. Howard’s always a little sweet and sour, but he was particularly sour in the first half of season five. That wasn’t in my comfort zone. So when I got the script for episode nine, it was a surprise for me that Jonathan [Jason Veasey] had broken up with him. That was so sad. But then that big speech to Charles made everything make sense about him from season one to now. It made the deal with the pig in season four, and all the animals before, make sense. The show already deals with loneliness so beautifully, but I never thought that we would see Howard drop the facade and speak plainly and clearly about why he wants to be part of the group so badly.
It was so moving to me to do that scene with Steve Martin, too. I don’t think I’ve ever had a scene with just him. This was an emotional day onset. And I know we’re in this big comedy, but it was meaningful that they got to the core of Howard’s heart in this episode. I was initially only supposed to be in two episodes of the show, and the only thing we really knew about this character in the beginning was that he loved animals and he loved gossip. But the deeper we got into this world, we got to see his desires, and what he desperately wants is to be good at something when he doesn’t seem to be good at anything. He’s always trying and failing. I find that to be admirable. I don’t know that I personally could do that. He’s never one thing and can go from charming to furious. It doesn’t always make sense to me, but the character shifts are always fun to play, and the writers have been good at never letting me down with that.
AVC: You said Howard was initially meant to be in two episodes. Was there a moment when you realized he’s an integral part of the show and a sort of fourth musketeer to this trio?
MCC: It comes in waves. The moment I realized, “Oh, there’s something special to explore about this character and we need to see more of him with them,” was in the season-two finale during the killer-reveal party. I feel like that’s when Howard came to life, and we learned a lot more about him, like he’s a bad actor who loves theater and is willing to put himself out there even if it’s embarrassing. That moment was key to his longevity as part of the fabric of the show. And then, in this season’s ninth episode, he also gets to kind of crack the case. Howard provides an important clue. I feel like that’s all he’s wanted. In that moment, he feels accepted and as part of the group, but he also can’t believe that he got it right after spending so much time getting it wrong. All he’s wanted is for Charles, Oliver, and Mabel to show him some respect. He’s been sour this season, and so to see them come back together and have this nice win is awesome. I also have a ringside seat to the greatest showbiz friendship ever, Steve and Marty, and then I got to watch Selena just seamlessly enter that friendship. Their dynamic is very similar to what we see onscreen. They’re always learning from each other, making fun of each other, and treating each other with tons of respect. So it’s been nice to watch that friendship blossom and get to be a part of that [offscreen].
AVC: Season five also reveals the complicated relationship between Howard and his mother and her reaction to his coming out. What do you feel the value is of seeing that play out now?
MCC: My initial thought of what his relationship with his mother was like was pretty far off because in season three, we get a line where he’s talking about wanting to act and that his mother said to him, “Never use that voice again. It’s matronly and shrill.” To me, that’s such a harsh thing to say to a young gay guy that I assumed their relationship must have been awful. So the flashback to them in episode two was necessary to understand theirs was a story of acceptance and not judgment. It felt very important to have that storyline shown right now, especially as a queer character on a popular TV show, that his whole life isn’t awful. This season, I was worried that Howard was going down a dark path, but I think that he’s on his way to an even brighter, better future.
AVC: Talk about filming the part of episode nine when the Arconia’s residents get together to celebrate their last day in the building. It feels like this year brought some focus back on that side of the show, too.
MCC: Yeah, that’s why I loved filming that [residents’] block party in the lobby and getting to spend an entire day with Nathan Lane. I have idolized him since I knew who he was. I did a production of Guys And Dolls in high school, and I mimicked his voice and his performance from the Broadway production to a T. I was basically playing Nathan Lane playing Nathan Detroit, so spending the day with him was a dream. Working with the robot was challenging. It just does not have any comic timing, you know? [Laughs] But I did love that day when all of us were having that party, including spending time with new additions like Beanie Feldstein and Jermaine Fowler, who was my buddy onset.
AVC: Did you ever tell Nathan Lane about your production?
MCC: Yeah, I think I told him the first time I met him. I don’t know if he was flattered or annoyed at the time. But I do think he’s so funny in episode nine. He improvised that bit when I say something like I “broke up” with [L.E.S.T.R.] and Teddy goes, “Howard, are you fucking the robot?” or something.
AVC: Do parts of your personality ever bleed into the characters you play, especially considering you’ve been in Howard’s shoes for five seasons now?
MCC: I do think Howard is a very heightened version of me. I have emotional shifts, although certainly not as quickly as Howard does. I don’t end up using improv as much, though. Maybe once we’ll do a fun take at the end, but generally, what ends up in the final cut is what the writers have written. That doesn’t mean I don’t try it in different ways every time. I don’t think of boundaries between myself and the character. I think that I started working more regularly when I started approaching characters from a personal place, as opposed to what I thought people wanted me to do. Once I got rid of that albatross around my neck, I started booking more work. For a long time, I thought that my specificity was a detriment, stopping me from getting work; and once I realized it’s an attribute, that was the game-changer that got me the kind of work I wanted.
AVC: What was the first job you booked that made you feel that way?
MCC: I would say High Maintenance was one of the first times I got to show a vulnerable side of myself. For the first part of my career, I loved it, but I was mostly playing things like a nasty, snarky salesman or something. It was a lot of fun, but it didn’t feel sustainable, at least for me. I need variety. So with High Maintenance and also Spotlight, being able to show a vulnerable side where comedy and sadness go together, those are the two roles that come to mind and the ones I’m really proud of. And with Only Murders In The Building, I’ve evolved as an actor doing this job. I have never had a regular job of being in a TV show for five seasons, playing the same character. There’s also no denying that I’m onset every day with the greats. If I weren’t becoming a better actor, there would be a problem because there’s so much to learn and absorb day to day.
AVC: You created and starred in the web series Jack In The Box in 2009, which you ended after four seasons. Do you remember why you decided to wrap that up and pursue other acting gigs?
MCC: It was just such a small team with me and my DP. There was no other crew. I created Jack In The Box while working in a box office, and I worked there for many more years after that, but I created it as a way to learn how to act on camera and to learn to write for other people and act with people that I wanted to act with. I ended it because it felt like the right time, and I was afraid I was running out of material. I didn’t want it to go on longer than it was meant to, and I was curious what would happen next for me. I had won a WGA Award for it, and it felt like I should close that chapter to see what’s next. I’m forever proud of it, but I wanted to open up my life a little bit and see if I could get other things going. It took a little while, but I did it. I do miss the feeling of being in charge of my own project and taking control of the producing and writing because I enjoy that aspect of the business. I get to do it now in the Only Murders podcast that I host and am an executive producer of. I’ve never wanted to host a podcast, but when they asked me, it made sense to do so because I love talking about the show. I love talking to the crew members and the cast. One of my favorites I’ve done so far is with the production assistants. That’s a skill I learned now. I’m always trying to learn like Howard—and luckily, I haven’t had as many failures as him.
AVC: You’ve appeared on a ton of shows. Would you consider yourself a character actor? And what makes a good one?
MCC: Oh, yes, I definitely think of myself as a character actor. A lot of times, those are people who are considered the B list, but all of my favorite actors are character actors, so it’s a dream to be part of that group. I try to just not judge myself and be as playful as possible in the roles, which is easier said than done. But I try to get out of my head and out of my own way and not do what I think I’m supposed to do, but do what feels right. I watch my stuff but not obsessively. I used to not be able to watch before because I used to be very critical of how I looked or sounded. I’m over that now for the most part, which is a really great place to be, because there’s worth in watching your own work if you can. I learn stuff from things I’ve done. There are performances that people love that I’m thinking, “Oh, if I just did it this way, it would be so much better.” But then again, we’re usually our own worst critics.
AVC: Circling back to Only Murders, Howard’s emotional moment in episode nine could signal this being his last hurrah in a way. Can you tease anything about the finale next week, and do you ever worry that he’ll be killed off?
MCC: As an actor, I don’t know that being the victim on Only Murders is the worst thing because then you get a whole other season where we learn more about you and see your humanity. I’m not saying whether that’s the end of this season, but I will say that it’s not the worst option. I can’t say much more than that for now.
AVC: Finally, as someone who’s part of the show, do you view Only Murders as a comfort watch?
MCC: We are so lucky to have a core trio that’s so lovable that people want to keep coming back to watch them. The fact is that the show isn’t really about murder but about creating a community, which is a universal thing. We want a world in which you have other people to lift you and be there for you. That’s all these people are trying to do in some bad circumstances and while trying to be the best versions of themselves that they can be. That’s why it has the longevity. The show is about the connections we make in life, and we’re always going to need to see that—no matter what’s going on in the real world.
