Mitchell Hurwitz

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Arrested Development Returns! 14 New Episodes In May, And A Movie On The Way?

Michael Cera Mitchell Hurwitz

The cult comedy Arrested Development was cancelled 6 years ago on Fox, however after the cast reunited in 2011 at the New Yorker Festival, creator and writer Mitchell Hurwitz announced that he was going to write a fourth season of the comedy, to precede a film. Filming began for the fourth season last summer, and it is only now that Hurtwitz has begun to reveal a little about this new season.

Speaking to the Detroit Free Press, Hurwitz said: "The bigger story is the family has fallen apart at the start of our show. They all went their own way, without Michael holding them together, so they're left to their own devices, and they're not the most successful devices... Each individual [episode] kind of depicts what happens in 2006 as the Bluths fled from the law on the Queen Mary [an event which ended the third season]." 

As screen rant notes, judging by the recently released episode titles, it seems that each one will focus on a member of the family, with most characters having 2 episodes dedicated to them. 

Continue reading: Arrested Development Returns! 14 New Episodes In May, And A Movie On The Way?

Arrested Development: Season Two Review

Season Two is when Arrested Development transcended simply being television's funniest show and became its very best. Its humor became richer and its savage cultural references became slyer and nastier. If the brilliant comedy's first season was enough to forever classify Arrested as a perennial classic, then its second season established the show as one of the great, edgy arbiters of pop cultural significance. No subject was too sacred to be humorously eviscerated by Arrested Development writers, and no uncomfortable human characteristic too dark to be viciously lampooned by their ever-complicated story arcs.

Arrested Development was always an ingenious cross between crisp satire and loopy human cartoon, but season two hit a stride from the start; the season opener, "The One Where Michael Leaves," picks up exactly where the first season left off, and enriches the already-complicated plot with hysterical new wrinkles. Family patriarch George Bluth Sr. (Jeffrey Tambor) has broken out of prison and escaped to Mexico, while well-adjusted middle son and our nobel hero Michael (Jason Batemen) has made a decision to break from the family entirely. As usual, he keeps getting sucked back in for a variety of reasons: with George Sr. on the lam, Michael must prove his innocence in connection with his father's shady business deal with Saddam Hussein (yes, it just keeps getting deeper), and he would also need money to post bail if he were unfairly arrested. But as complicated as Arrested can get, its themes always remain truly simple -- more than any other reason, Michael returns because his family needs him, and Michael himself has a need to be needed.

Continue reading: Arrested Development: Season Two Review

Arrested Development: Season One Review

Arrested Development is the defining television comedy of the decade. Its influence can be traced through several of the more popular network comedies that debuted since its sad, premature cancellation, most specifically shows like The Office, My Name is Earl, and especially 30 Rock. Created by the now-cult comedy legend Mitch Hurwitz, the show completely redefined what a "sitcom" could and should be -- shot on a single handheld camera, written as a quasi-documentary with a deadpan narrator (a fabulously matter-of-fact Ron Howard), focusing on a family that is barely likable, and telling stories so ridiculous they strain credibility. Yet the show is oddly endearing -- these characters are so fully actualized and the writing so brilliant that every element of the show works seamlessly.

The series made such a mockery of the traditional, homogenized three-camera sitcom with cheap sets and canned laughter, to the point that very few of them even exist anymore. Most TV comedies now chase after the off-the-wall genius of Arrested Development, with its sly, easy-to-miss references to every aspect of current pop culture, and its uncanny knack for testing the devotion (and the memory banks) of its viewers with severely high-risk inside jokes. The show was a bold concept, a sharply radical turn from the ordinary, and the funniest damn program to appear on television before or since its three-season run.

Continue reading: Arrested Development: Season One Review

Arrested Development: Season Three Review

The only real flaw in the third season of Mitch Hurwitz's flat-out brilliant sitcom Arrested Development is its unfortunate abbreviation. Fox delighted the show's fan base with a surprise pickup at the end of its second season, and then, apparently feeling remorseful about appeasing any segment of its audience not interested in American Idol, took it back, as far as they could; season three runs only 13 episodes, rather than the standard 22. Needless to say, there will be no season four.

Of course, this being Arrested Development and all, there are more laughs in those 13 episodes than a lifetime of just about any another live-action show. Hurwitz's show chronicles the twists and turns of the formerly wealthy, currently imperiled (and morally impaired) Bluth family, led by good son Michael (Jason Bateman). The show moves like a soap opera, cramming an hour's worth of bizarre plots into 20 minutes or so. Season three contains the most ambitious story arc of the show's run, wherein lovelorn Michael finds a new relationship with Rita (guest star Charlize Theron, appearing in five of the baker's dozen), a charming English woman harboring a deep secret. You may guess the twist ahead of the climactic revelation, but even if you do, it's just as much fun to notice the many clues that start to seem hilariously obvious.

Continue reading: Arrested Development: Season Three Review

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