|IMDB Rating:||9.0/10||Released Date:||02 Nov 2003|
Summary: Meet the wildly dysfunctional Bluth family. This family was once at the height of real estate development in Orange County, California. But when the family business - the Bluth Company - goes bust, they're suddenly found penniless with their assets frozen. They move into their last remaining asset - the model home left over from their latest housing tract. Their luxury vehicles are replaced with a reminder of the family's former wealth - the stair car that accompanied their private jet. The patriarch of the family is George Bluth - he's now in prison, and loving every minute of it. His wife Lucille and daughter Lindsay are spoiled socialites who can't handle getting kicked out of family restaurants. His son Buster is in his mid 30's and lives at home. His son George Oscar Bluth is a magician who started a group to get magicians to be taken seriously - and gets kicked out when his own tricks are revealed. Lindsay is married to a man named Tobias Funke, once a psychiatrist, who decides to become an actor. The only sane member of the family - Michael Bluth, along with his son George Michael, want nothing to do with the family business. But one bizarre circumstance after another keeps Michael and George Michael from leaving their eccentric family.
There are two questions regarding “Arrested Development,” which returned this weekend via Netflix: Is it good — or as good as it was — and does that really matter? Regarding the second, probably not. That’s because Netflix is emulating HBO by playing the attention-getting game, and as with “House of Cards,” reviving this Emmy-winning comedy has brought the service ample media coverage, reinforcing the perceived value of its original-programming efforts. So a vacillating answer to the first part is virtually irrelevant, especially since Netflix opted not to make episodes available in advance, allowing die-hards and critics (in this case, a group with considerable overlap) to weigh in simultaneously. From that perspective, “Arrested Development’s” long-awaited encore is like a lot of TV development — namely, an interesting idea that was more exciting on paper.