Arrested Development

Arrested Development, American television sitcom created by Mitchell Hurwitz and executive produced by Ron Howard and Brian Grazer. Arrested Development aired from 2003 to 2006 on the Fox network, followed by a two-season reboot on Netflix in 2013 and 2018–19. The series follows the dysfunctional Bluth family as it goes from riches to rags when its housing development company crumbles because of patriarch George, Sr.’s embezzlement scheme and illegal business practices.

Arrested Development was initially a critically lauded niche series that struggled to find a wider audience, but it ultimately became a cult favorite after it was canceled following its third season. The show helped launch or invigorate the careers of several of its stars, including Jason Bateman, Will Arnett, Michael Cera, Alia Shawkat, David Cross, and Tony Hale.

Premise

Billed in the title sequence as “the story of a wealthy family who lost everything and the one son who had no choice but to keep them all together,” Arrested Development depicts a selfish and shallow Orange county, California, family whose members are alienated from each other by their wealth and who must learn how to get along in the sudden absence of that wealth.

Discover how ordinary objects work, and expand your understanding of the familiar.

SIGN UP

" height="20" alt="HEW Logo">

Thank you for signing up!"

Back to homepage

By clicking "Sign Up", you consent to the Britannica Privacy Policy and Terms of Use.

In the show’s pilot episode, the Bluth family gathers on a yacht to celebrate the retirement of patriarch George, Sr., who is expected to announce that his son Michael will succeed him as president of the family’s housing development company, the Bluth Company. Unexpectedly, George, Sr., announces that his wife, Lucille, will succeed him, shortly before federal agents board the yacht and arrest him for fraud. As the most competent and ostensibly least self-involved member of the family, Michael is left to navigate the legal fallout and keep the family together and in control of the company. Throughout the first three seasons, Michael seemingly wants nothing more than to be rid of his manipulative, self-seeking family, but time and again he allows himself to be dragged back into their crises, often because of his desire for power, a sense of moral superiority, and his father’s approval.

Distinctive style

The show is notable for a distinct visual style that was uncommon among other sitcoms of the time. Whereas most traditional sitcoms were shot on a soundstage with a studio audience and a laugh track, Arrested Development was shot on location without an audience or laugh track. The show also deviated from the single-camera setup popular among less-traditional sitcoms of the time, instead using multiple cameras, some of which were handheld. It also often relied on natural light and interspersed the main action with nested flashbacks to fabricated archival footage and cutaway gags with visual punch lines.

The show’s humor is highly self-referential, with recurring jokes and layered ironies that critics have noted both reward devoted fans and arguably make it harder for new viewers to start watching mid-series. Another distinctive stylistic element of Arrested Development is the omniscient narration by Ron Howard, who compared his dispassionate approach as the show’s narrator to that of an actor narrating a nature documentary. Howard’s commentary often smoothed over the sometimes disjointed results of the show’s rushed shooting process and helped audiences follow its complex plots.

Cast and characters

The Bluth family is helmed by George Bluth, Sr. (Jeffrey Tambor), a greedy and domineering businessman whose company is under investigation by the Securities and Exchange Commission (SEC). He spends the show’s first three seasons trying to circumvent his criminal charges. Dishonest and manipulative, George, Sr., pits his children against each other and continues to conspire to commit fraud throughout the series. George, Sr., was initially supposed to appear only in the pilot episode but ended up as a series regular because the producers loved Tambor’s performance. Tambor also plays George’s twin brother, Oscar.

Explore Britannica Premium!

The trusted destination for professionals, college students, and lifelong learners.

SUBSCRIBE

George’s wife, highly critical and out-of-touch Lucille Bluth (Jessica Walter), is often drunk, dismissive, and knowingly cruel but also funny and, somehow, still likable. Sharply strategic, she pretends to be a victim of her husband’s misconduct and her children’s negligence while using psychological leverage to keep the family in line. George and Lucille are staggeringly bad parents to their adult children, over whom they constantly work to maintain their influence.

Their eldest son, George Oscar (“Gob,” pronounced like the biblical figure Job) Bluth (Will Arnett), is a bumbling career magician who is outwardly aggressively self-assured and inwardly deeply insecure. Youngest son Byron (“Buster”) Bluth (Tony Hale) is an overly sheltered mama’s boy with an unhealthy relationship with and fixation on his mother, Lucille. Middle child Michael Bluth (Jason Bateman) feels a responsibility to clean up his father’s and siblings’ messes and to keep the family together. He is framed as the comedic “straight man” to his absurd family but becomes an increasingly absurd character himself, especially in the show’s last two seasons. Michael’s sister, vapid socialite Lindsay Bluth Fünke (Portia de Rossi), puts most of her effort into creating the illusion that she is a dedicated philanthropist and mother while actually working to maintain her physical appearance and social status.

Lindsay is unhappily married to Tobias Fünke (David Cross), a psychiatrist who in the show’s pilot episode, having lost his medical license, leaves his practice to become an aspiring actor. Like many members of the Bluth family, Tobias is severely lacking in self-awareness. He is untalented as an actor and oblivious to his own innuendo-laden pattern of speech. It is also strongly insinuated that Tobias is a closeted gay man, and, although this seems obvious to every member of the Bluth family, Tobias appears unwilling or unable to face it. He also suffers from a phobia of being naked in public or private, referring to himself as a “never-nude,” a condition frequently played for laughs.

Their rebellious daughter Maeby Fünke (Alia Shawkat) is torn between trying to attract her self-absorbed parents’ attention and diverting them so that she can execute her various schemes in peace, such as pretending to be twin girls, one of whom is terminally ill, and working as a successful Hollywood executive instead of attending high school. Michael’s teenage son, George Michael Bluth (Michael Cera), is a mild-mannered, dorky, and responsible kid who struggles to find his identity and deal with his romantic feelings toward his cousin Maeby.

Arrested Development also features a rich world of recurring bit characters and celebrity guest stars, including Henry Winkler as the family’s incompetent lawyer, Barry Zuckerkorn; Liza Minnelli as Lucille Bluth’s best friend and chief social rival, Lucille Austero (also known as Lucille 2); and Ed Begley, Jr., as real estate mogul and Bluth Company competitor Stan Sitwell.

Cancellation

Despite being nominated for a remarkable seven Emmy Awards and winning five for its first season, the show’s ratings were low. Hopes that the first season’s critical acclaim would translate into higher ratings for season two proved empty. Still, Fox affirmed its support for the show by ordering a third season in 2005. The third season performed even worse than the previous two, however, losing approximately two million viewers from its season-two average. Fox canceled the show in 2006.

Netflix reboot

After its cancellation, Arrested Development developed a reputation as a unique and daring show that had been canceled before its time. Its devoted fan base frequently advocated for a reunion. Eventually, fans’ pleas were heard, with Hurwitz in 2011 teasing a limited-run television series into a movie.

Season four of Arrested Development premiered on Netflix in late May 2013 to mixed reviews. The shooting of season four was beset by scheduling conflicts that made it difficult to get all the cast members in the same place at the same time, so Hurwitz opted to devote one or two episodes to each character rather than have the plot depend on the presence of the entire ensemble. Season four maintained the original seasons’ ambition with its intensely complex and layered plots, although the episodes are longer, and it was the show’s most overtly political work to date, resulting in what critics called an uneven product. In 2018, five years after the fourth season aired, Netflix released a more chronological edit of season four and relegated the original cut to the series’s “Trailers & More” section.

Season five (2018–19) leaned into the show’s ensemble roots. Some critics argued that, though the final season was able to make up for some of the fourth season’s shortcomings, it failed to achieve the show’s former glory. Reflecting on Arrested Development’s run, some commentators said that the less-than-stellar reboot may have undermined the show’s legacy, while others felt that the characters maintained their comedic essence throughout the final two seasons.

Controversy

In 2017 allegations emerged that Tambor had sexually harassed two trans women while working on the television series Transparent. In an interview with The Hollywood Reporter the following year, Tambor denied sexually harassing or otherwise harming his colleagues, but, in a bizarre attempt at damage control, he admitted to being “volatile and ill-tempered” and once yelling at costar Jessica Walter in a “blowup” while working on Arrested Development.

As this disclosure became public prior to the premiere of season five on Netflix, most of the main cast of Arrested Development sat down for an interview with The New York Times with the apparent intention of smoothing over the reports of Tambor’s behavior toward Walter. That effort was widely acknowledged to have backfired, as Bateman, Hale, and Cross offered numerous justifications for Tambor’s behavior, which Walter described as the worst verbal harassment she had experienced on a set in her 60-year acting career. Many cultural critics assessed the actors’ responses as an example of the extent to which men’s verbal abuse of women is normalized and excused in professional settings. All three later publicly apologized to Walter for their comments.