What the critics think of the new Arrested Development season

ArrestedDevelopmentCritics have had a mainly positive reaction to the brand new Arrested Development episodes released this week on Netflix.

The 15 new instalments come six years after the series last graced the screen and while most are impressed with what they saw, a few believe you can have too much of a good thing.

All 15 of the episodes were released in one go, with the choice up to the viewer as to which order they watch them in.

Chief Hollywood Reporter TV critic Tim Goodman says that after a slow start, the series “snowballs into seven-and-a-half hours of hilarity just waiting for a movie to follow it up”.

Los Angeles Times TV critic Robert Lloyd states that the new season is “not merely a continuation of the show, but a celebration of it, from the way it quotes earlier seasons, down to repeating whole lines of dialogue.”

David Wiegand of the San Francisco Chronicle was full of praise, saying: “With expectations as high as they are among AD fans, do the new episodes live up to those of the first three seasons which ended in 2006? Yes, and then some: The new season is not only as smart and absurdly funny as ever, but also reflects the rapid changes in how we watch television.”

Hadley Freeman of The Guardian writes: “Sometimes it feels breathtakingly brilliant and other times it just feels confusing. It takes some getting used to, but by the fifth episode, the patience begins to pay off. I didn’t adore the show in the way I instantly adored the first three series, but I was admiring it, and even enjoying it in a new way. So far, I’m keeping the faith.”

USA Today’s Robert Bianco was less taken by the new episodes, stating: “Yet what bingers and non-bingers alike will discover, particularly those drawn by curiosity and hype rather than by devotion, is exactly why the show was beloved by some and ignored by most: Arrestedremains a bracingly clever but emotionally cold intellectual exercise of a comedy, one that revels in puns, double entendres, intricately structured set pieces, astonishingly inappropriate jokes, asides, callbacks, flashbacks and, less propitiously, its own inaccessibility.”

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