So, How Is: Arrested Development's Revival

First things first: does The Netflick's fourth season revival of Arrested Development measure up to the high standard of elaborately plotted and riotous comedy set by the original three seasons? Thankfully, the answer (to borrow Tobias' improv skills) is a resounding YES, and... how! After seven long years of absence, the Bluths are as hopelessly and obliviously self-involved as ever in 15 wonderful episodes (most of which are over 30 minutes long, improving upon the previous seasons' broadcast standard of 22 minutes) that catch us up on what's been going on for the last five years of each character's life since the season 3 finale. Although these episodes were pitched as merely a preamble to a movie that would finally bring the family back together, they really are a main event and even benefit from binge-watching too, as there is so much going on and it is so crammed with parody that (just like the original) re-watches will prove increasingly rewarding. The new episodes feature plenty of flashbacks and flashforwards, while  many of the same scenes are shown multiple times, but from different characters' perspectives in different episodes. Each character gets a focal episode (most get two actually) where other characters make appearances and affect that story in ways the focal character (and sometimes even the audience, until they see that character's own episode) is unaware of (Michael is the only one who appears at some point in every episode), so episodes are best seen in order, for these and other surprises, at least for the first viewing. The movie may still happen, or perhaps it will just be another season, though much will depend on cast schedules and creative availability (judging by these episodes, it will still be well worth the wait if it ends up taking longer than a year again). Although it is logistically quite different from the original series and plays more like a reunion, season 4 of Arrested Development is a true gift to fans, as "the story of a wealthy family whose future was abruptly canceled" is still full of the running gags, interwoven storylines, interconnected characters, series callbacks (and easter eggs/Anns), classic cameos, abundant miscommunication, and spirit that made it so hilariously special to begin with.

Two of the new cameos include flashbacks of Seth Rogen (understated and serviceable) and Kristen Wiig (showy and perfect) as George Sr. and Lucille in their younger years, when their schemes (like the Grinch-like Lucille's Cinco de Quatro to combat "the Mexican war on May 5th" and George's BabyTock to re-purpose all those defective cornballers) were only slightly less disastrous, but just as deliciously absurd. Yes there are plenty of flashbacks revealing events set before the original series, in addition to those set during the early seasons (jokingly ripped with "Showstealer Pro" software), and those set in between the season 3 finale and Cinco de Quattro (May 4th) 5 years later. In fact there are so many cuts back and forth, that it can get difficult to follow what happened when, but it helps that many events are shown multiple times and only adds to the re-watch-ability (the extended flashbacks also use a clever Cover Flow-style streaming-video animation as a transition between past and present as well). Additional cameos include all five Richter brothers appearing throughout the season, as well as Ron Howard playing a version of himself and Isla Fisher as his illegitimate daughter (whom Michael of course mistakenly presumes is his mistress). Ben Stiller's Tony Wonder returns in a more prominent role in GOB's story, as does his wife Christine Taylor's Sally Sitwell, who may or may not also suffer from the same illness as her father. Liza Minelli's Lucille 2 has bigger role as well, now controlling a substantial piece of the Bluth Company, and we meet her brother played by Tommy Tune as well. Henry Winkler of course returns as Barry Zuckercorn (as does Scott Baio's Bob Loblaw) and we find out how he became the family's "trusted" lawyer in the first place. Mad Men's John Slattery joins the show as a similarly loopy burn-out doctor friend of Oscar's, who still providing semi-useful medical advice despite being on all kinds of drugs, while Mary Lynn Rajskub plays a new lady-friend of Oscar's named Heartfire who doesn't speak, but communicates with her own personal subtitles. The cast of comedy Central's Workaholics also cameo as airport workers, and Mae Whitman's Ann "Egg" Veal (her?)  is also back, with brand new aliases such as Blank, And, and Mouth. This is just barely scratching the surface, as most of your favorites make at least one appearance, while potential new favorites are introduced (and Michael's dead wife is finally shown briefly in a flashback with a baby George Michael, though its not specifically stated).

The new season catches up on a lot of the cultural change that has taken place in the past years, including parodies of Entourage (GOB falls in with a Bieber-esque pop star's crew), storage auction shows (after a botched trick, GOB is discovered months later on Locker Hawkers as he's auctioned off), Bravo reality shows (Lucille ends up on The Real Asian Prison Housewives of the Orange County White Collar Prison System after no one from the family shows up to testify at her trial), Mexican immigration (George Sr. plans to build a wall on the border and then sell the land to the US government), the internet (Michael gives George Michael the stair car for college and trades up to a Google Maps car with a giant camera on top), modern warfare (Buster becomes a military drone pilot, thinking its only a video game), social technology (Maeby explodes George Michael's privacy software into an empty company for the world's first anti-social network), politics (Lindsay gets involved in an illicit affair with a Herman Cain-like politician named Herbert Love), and of course many many more. All of these new cultural parodies fit in perfectly with the ones from the original episodes and further demonstrate consistency throughout the series.

While all the gags, cameos, callbacks, and the elaborately intertwined plot help make Arrested Development Redux delightfully dense with the same brand of hilarity viewers have come to expect, what really clinches season 4 as a worthwhile extension of the show's legacy is the consistency in how the characters behave. Michael continues to smother his son and misread situations, succumbing to his pride by pouring money into his eventual ghost town Sudden Valley ("That's not a great sign" he declares when a vulture lands on the mailbox next to him). Meanwhile, George Michael has logically evolved into a true Bluth boy, carefully digging himself deeper and deeper with unnecessary lies despite his trepidation (he and Michael go back and forth in an elaborate session of voice mail tag about a fictional traffic jam disaster), while exploring his developing "overt sexuality" (he also reveals his own take on the Bluth chicken dance). Maeby still seeks her parent's attention with absurd scams no matter how detrimental it is to her own well-being, even though she seems to be following in their footsteps more than she would like, while the elder Funkes' dreams of Indian enlightenment and marital rejuvenation are pushed aside for new relationships. Lindsay's relationship with activist Marky Bark makes her feel like she's finally following her stated mission, but she can't seem to let go of her old lavish lifestyle and superficiality (Marky happens to be face blind, so she's forced to keep reminding him how beautiful she is) and literally goes back and forth between liberal and ultra-conservative movements. Tobias is as oblivious as ever, attending a methadone clinic (he think its a Method One improvisational acting class) where he falls for former actress and current junky DeBrie, attempting to reignite her passion by illegally using the likenesses of the Fantastic Four (and no one would be surprised in the least by his ill-conceived vanity license plates or his eventual appearance on To Catch a Predator). George Sr. is still colluding with Lucille on business schemes (such as a sweat lodge resort for corporate bigwigs that is essentially just a simple con selling lemonade to thirsty people in the desert), but can't seem to handle the pressure like he used to, as his stress grows and his testosterone decreases. Lucille is still upper-class entitled and prejudice towards everything, thriving in her country club prison while cutting people down and laughing at her own puns. GOB is still so un-self-aware that he continues to sabotage his own chances at happiness, after turning a Christian wedding into a stage for a wildly offensive and sacrilegious illusion and later getting caught in a "roofie circle" from taking too many "forget-me-nows," losing months of his life (his colony of bees--beads?, bees!, beads?!, bees!-- is in disarray as well), while new insight into his psyche is provided by Simon & Garfunkel's "Sounds of Silence" as GOB slips into his old friend, darkness. Finally, Buster reacts exactly how you would expect when Lucille is arrested, later seeking out new mother figures to take care of him, and his hook is eventually replaced by something so ridiculous its best to be completely surprised by it (and its not Franklin, who unfortunately does not appear in the new episodes).

So whether you're an original fan from the series' first airing on FOX, or a binge-watcher who hopped on to this gem well after its premature demise (well you are gonna get some hop-ons), all should agree that it was worthwhile to save our Bluths. There are a few minor shortcomings however, including the aforementioned potential for chronological confusion with all the flashbacks, some sub-par green screening (due to scheduling conflicts, there are also a few short scenes where an actor had to be green screened in, which is really only noticeable because the actors weren't able to play off each other as usual and some reactions aren't quite in sync), and many of the plotlines that take place in the flash-present are left very open-ended (which is actually pretty positive actually, since the goal is for it to continue anyway). Hopefully these episodes will prove once and for all how ahead of its time this show was, and demonstrate how it can continue to thrive, creatively and hilariously, in its new medium of internet streaming.

Shrew's News: New Show Pick Ups 2013

Its that time of year again, this week the broadcast networks (and a couple cable networks) revealed which pilots they are ordering to series along with their fall schedules. With so many cancellations this year, and only a handful of last year's new series returning, there were a large number of pick ups this year and many of them are following the cable model of shorter seasons (so there will be more shows than ever this year, some with fewer episodes, but fewer or no repeats throughout the season as a result). Below is a list of all the new shows, broken out by network, and their place on the schedule (if they have one yet), along with my own take on their quality (which is based on creator pedigree, premise/cast, and their brief trailers, which are linked to in the titles). Keep in mind though that with any new show it is difficult to make a final judgement until at least a few episodes have aired, as they can change significantly from their pilots and these trailers only provide a sample. **Upcoming new summer series aren't included here, but if you'd like me to add them post in the comments)

NBC:

The Blacklist (Mon at 10pm) - Stars James Spader as a notorious fugitive who turns himself in to the FBI, offering up the list of every criminal he has ever worked with one name at a time, including those they don't even know exist. The catch is that he will only speak to a rookie agent he seemingly has no connection to. Verdict: Apparently this was NBC's highest testing pilot ever, but that doesn't necessarily mean much. Spader oozes charisma, but it seems like this will largely be a procedural with a new criminal targeted each week. Future episodes will reveal if it can live up to its substantial hype.

Ironside (Wed at 10pm) - A remake of the 60s-70s procedural following a wheelchair-bound cop, this time starring Blair Underwood and Greek's Spencer Grammer. The trailer is filled with classic rule-breaking tough cop cliches (like dangling a guy from a roof) to such an eye-rolling degree that they might pop out of your head, so Underwood's appeal will have to carry the show. I predict it won't be enough to overcome the cynicism though.

The Michael J. Fox Show (Thu at 930pm) - Michael J. Fox returns to TV in a singe-camera (that means no live audience laugh track) family comedy which sets him as a former news anchor who was forced to take a leave of absence due to his Parkinson's diagnosis. There are a lot of light, easy jokes in the trailer, but Fox is still a delight and this one has a lot of potential to rise above its simple premise (and its already been picked up for a full 22-episode season).

Sean Saves the World (Thu at 9pm) - Sean Hayes (Will & Grace) stars in this multi-camera (that means yes laugh track) sitcom as a single gay dad who attempts to balance taking care of his teenage daughter and appeasing his demanding boss, played by Tom Lennon (Reno 911). The trailer makes this look largely like you would expect, obvious jokes an all, but there are a few glimmers of fresh comedy (the co-creator was behind the dearly departed Better Off Ted) so there may be hope, but I'm not too optimistic (though its broadness could keep it on the air).

Welcome to the Family (Thu at 830pm) - Focuses on a hispanic and caucasian family that are forced to come together as their teenage kids decide to get married after getting pregnant. Hilarious culture-clashing ensues! Or not, judging by the trailer. Of NBC's all new thursday night line-up (only Parks and Recreation remains of the old regime, airing at 8pm, though Community has been renewed as well), this seems to be the weakest link, with the most predictable and rehashed jokes. Don't get too attached.

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Retrospective: Fringe

Although Fringe (which aired on FOX) concluded its run in January, I have just completed my own binge-watching of the series which happened to begin then. Consisting of five seasons and exactly 100 episodes, Fringe was one of those rare shows that is able to fly under the radar in the face of low ratings and end on its own terms, thanks to its loyal cult following. Created by J.J Abrams and his Star Trek co-writers Roberto Orci and Alex Kurtzman (each of whom have created various cult sci-fi properties), Fringe was initially conceived as a new sort of X-Files, a procedural with a new case each week that involved an area of fringe science (things like mind-control, bio-engineering, etc.). However, Fringe also built up a heavy mythology, with some episodes more serialized than others and each season having a primary arc. While the cases of the week vary from serviceable to excellent, the serialized story is steadily compelling and it retains your interest with elaborate plots and twisty developments.

Of course, any show is only as good as its cast and Fringe is excellently served on that front. The series begins with a focus on steely FBI Agent Olivia Dunham (Anna Torv), as she is desperate to save her partner from an unknown flesh-melting biological weapon. This leads her to Dr. Walter Bishop (an absolutely incredible John Noble), who's research in the field of fringe science at Harvard in the '70s has suspicious similarities to the case (and most of the ones that follow as well). However, Walter has been in a mental institution since an accident in his lab 17 years ago and can only be signed out by his next of kin, his con-artist son Peter Bishop (Joshua Jackson). Olivia tracks down Peter in the Middle East and "convinces" him to return to Boston and his father, allowing Walter's lab at Harvard to be re-opened and the core Fringe team to be formed. Rounding out the team is Olivia's investigative research assistant, Junior Agent Astrid Farnsworth (Jasika Nicole), who's sweetness and patience are put to the ultimate test as she helps look after an uneven Walter (who can never seem to get her name right, referring to her as Astro or Asterisk, among other butcherings including my own favorite, Esther Figglesworth). Though he is still exceptionally brilliant, Walter's extensive time in an insane asylum has unsurprisingly left his mind quite scattered, as have his regular (scientific and recreational) experiments with LSD and other mind-altering drugs. While Walter provides most of the series' comic relief, with his hilarious non-sequiturs, TMI candidness, and daily specific food cravings, he also provides most of the show's heart as well. He is simultaneously simple offbeat comedy and complex dire tragedy, as his past scientific ambition is both directly and indirectly responsible for many of the catastrophic events the team investigates. Walter's heart and the development of his conscious is characterized by his relationship with Peter, as they make up for their previous distance (both physical and emotional) by working and living together, since Walter needs full-time care and supervision. Despite his wry skepticism and sarcastic one-liners, Peter's involvement with the Fringe team gives him a real purpose after years of being unattached. Similarly, he and Walter bring out a gentler, more playful, side of Olivia, especially as her and Peter's relationship develops into something deeper than merely being partners. Aside from the lab the team's assets include no-nonsense Fringe head Lt. Phillip Broyles (Lance Reddick) and Massive Dynamic COO Nina Sharp (Blair Brown), a company with its hand in nearly everything related to science and was founded by Walter's old lab partner, the now elusive William Bell (Leonard Nemoy).

Part of what keeps Fringe captivating episode by episode, is the way many of the cases relate to the series' overarching plots (slight season-to season general plot points follow, so potential spoiler heads up if you want to remain completely fresh). While cases are typically solved by the end of an episode, some remain largely open-ended as the culprit and/or the device involved carry over to other episodes and affect the overarching plot of the villains. Furthermore, these plots are typically shrouded in mystery as the team races to find and/or stop a suspect, while attempting to uncover their true intentions. Towards the end of the first season, the revelation of a parallel universe led by the team's malicious doppelgangers becomes the emphasis of seasons two and three (the best of the series), as there is a perpetuated notion that only one universe can survive an inevitable war between the two. To go further into the various twists and turns involving the parallel universe (bio-mechanical shape-shifters are involved), particularly as it relates to Walter and Peter, would be a disservice to the carefully constructed and thoroughly rewarding storylines that unfold with tense action and emotional depth. The series' fourth season goes in another direction as the universal conflict's resolution leads to a kind of alternate timeline (Fringe makes numerous episodic trips that reveal the past and foretell the future) where the main characters must reforge their connections to each other, an uneven season that does at least offer further insights into the show's prominent themes (including love, fatherhood, responsibility, and redeption) and an excitingly villainous plot to create a new universe. Meanwhile the final season focuses on a totalitarian and dystopian future involving the mysterious Observers, omniscient and hairless beings who wear suits and fedoras as they appear at important events throughout history (without aging), substantial Fringe events included.

Despite its shortcomings of some cases that underwhelm and plotlines that can sometimes feel convoluted, Fringe is still an engrossing tale when taken in its entirety (similar to other series that were able to finish their stories as they intended, such as Chuck and Lost, which will be discussed in future Retrospectives), with well crafted mythological episodes and some truly exceptional procedural episode as well. The numerous connections among various characters and events, such as Olivia's unique abilities (which proved helpful when dealing with the parallel universe and some select cases) that were a result of childhood experiments and William Bell's role in the overarching stories, are a constant source of intrigue. The fifth season in particular makes many references and callbacks to previous events in the series and some memorable cases. Even if you're not obsessive enough of a fan to decode each episodes secret theme word (each commercial break is marked by an image that represents a letter in the alphabet), the extensively rich mythology will maintain your focus while the fully developed characters ensure your investment. Thankfully, since Fringe was able to finish with a complete vision and story, that investment is ensured to be worthwhile.