Posts Tagged ‘Will Arnett’

“Now the story…”: Brief Reviews of Arrested Development

The original plan — like four years ago — was for John S and Tim to barrel through the 53 original episodes of Arrested Development and cooperatively rank them best to worst, with an in-depth review of each. Circumstances intervened with the thoroughness of that project, and egos intervened with the idea of two people “cooperatively” ranking all 53 episodes. (Ranking Game isn’t as effective with just two people.)

So here’s the result of all that labor: Shorter reviews of all 53 original episodes, presented in chronological fashion (albeit with a good deal of ranking going on within them).

Arrested Development is our favorite show, and this, in 53 different ways, shows why.

(Extended) Pilot

John once made a point — I think it was in here — about how dramas are most perfectly conceived in their first seasons. (He’s taken a step back, btw.) Comedies have always been driven differently. It takes time for the characters to evolve and develop the right way, for the proper interactions to take hold.

Which makes watching Arrested Development’s extended pilot so remarkable. The characters are properly and almost comprehensively established right away. “This is Michael Bluth. He’s a good man” is the first line of the series, and it foregrounds everything that is to come after it.* Lucille is overdramatic and quick-witted, Lindsay is hypocritical, Tobias is oblivious, Gob is creepy, Buster is incompetent, George Sr. is going through one of his phases (a cowboy one to be exact). None of these characterizations ring untrue.

*The “He’s a good man” is actually cut from the pilot that aired. Seems like it shouldn’t have been.

This isn’t the funniest episode of the series by any stretch of the imagination, but it’s one of the funnier pilots you’ll ever see, especially considering the amount of expository work that has to be done. The series lays its extensive deck of cards on the table right away, complete with the eccentricities of its characters and absurd plot developments (i.e. incest in the first episode). It’s a nearly flawless pilot. —Tim

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Top Ten Things To Be Excited About In The Fall TV Season

It’s time for my third annual installment of this laboriously titled NPI feature! And, man, was compiling this year’s list difficult. Not only is this fall season following an unusually impressive summer in TV, with Breaking Bad, Louie, Curb Your Enthusiasm, Pretty Little Liars, and Rivals all airing solid to great seasons, but the shows premiering over the next few weeks do not look especially promising. After all, does Whitney Cummings really need two new shows? As usual, some old favorites are off the list, either due to a decline in quality (Dexter) or senescence (Friday Night Lights). In their place, though, are shows I am not at all confident in labeling “exciting.” Anyway, with all that hedging out of the way, on with the list:

10) Hope Solo on Dancing With The Stars Premiered September 19 on ABC

For normal people, who don’t have the same crush on Hope Solo that I do, this probably isn’t that exciting. And while I won’t be watching DWTS, I will be looking up Hope’s performances on YouTube… Continue reading

Top Ten Things To Be Excited About In The Fall TV Season

As I noted one year ago today, I get more excited than most people by the start of a new television season. While Louie, Mad Men, and Pretty Little Liars have done a decent job of satisfying my TV-fix over the summer, I’m ready for a full slate of new shows. Of course, some of these will disappoint: My list from 2009 included such letdowns as FlashForward, Bored to Death, and the most recent seasons of How I Met Your Mother and The Hills. At the same time, though, shows I hadn’t expected to like, like Modern Family and Parks and Recreation, made up for it with great seasons. So even though this list will probably look equally stupid a year from now, here are the 10 things I’m most excited about this fall on TV:

10. The Event Premieres Monday September 20 on NBC

Now, I know this show is probably not going to be good. It seems like a show constructed around a marketing premise (“What is the event?”) and cribbing from the likes of 24 and Lost. Basically, it’s this year’s FlashForward. As with all of these shows, there is a very low probability of success—but if it does turn out to be good, it could possibly fill the void left by the end of Lost last May.*  Continue reading

Recapturing Greatness

With news that Fox is close to greenlighting a pilot that would team Will Arnett up with former Arrested Development co-creator and executive producer Mitch Hurwitz (as well as AD co-executive producer Jim Vallely, who wrote the scripts for some great episodes, including “Pier Pressure,” “Righteous Brothers,” and “S.O.B.s”), the big (and sometimes insularly arrogant) Arrested Development fans here at NPI couldn’t help but get a bit excited. After all, the news that Arnett will be playing “a rich Beverly Hills jackass” sounds more than a little Gob Bluth-esque.

At the same time, we’d probably be better off to cool our expectations. The post-Arrested Development career of Will Arnett has been filled with plenty of flops (The Brothers Solomon, Let’s Go to Prison) and only a few mild successes (his guest appearance on Parks & Recreation, Blades of Glory). Even his previous reunion with Hurwitz, the animated series Sit Down, Shut Up (which included fellow AD alums Jason Bateman and Henry Winkler) was a mild disaster, lasting only 13 episodes. Continue reading

Aught Lang Syne: The Funniest Comedians of the Decade

Comedy is a broad subject. It’s not confined to any one medium, genre, style, or format. It’s hard to define and almost impossible to quantify. But here at NPI, we take comedy very seriously. The comedy of the Aughts in particular will always have an important role in shaping our senses of humor. So today we present a list, in no particular order, of people who helped to truly shape the comedy of the decade. This is not a list of people who were funny once or twice, but people with a body of work that is both rich and impressive. This means that a lot of people had to be cut. Great stand-up comics (Louis C.K., Aziz Ansari), some hilarious supporting comic actors (Paul Rudd, Jason Schwartzman), and even some groundbreaking comic teams (Flight of the Conchords, Stella), couldn’t make the list. And that’s because the following individuals/groups reached a level of success, both in terms of popularity and quality, that helped define the comedy of the decade.

The cast of Arrested Development

Arrested Development has the funniest ensemble cast in the history of comedic television, and it’s way ahead of whatever’s at #2. Tim has already extolled the virtues of Jason Bateman as Michael Bluth, but the fact is that the main character is about the sixth-funniest cast member on the show. Michael Cera gave a breakout performance for three years as George Michael, completely selling every awkward quirk of the character, including (and especially) his love for his cousin. David Cross played Tobias’ obliviousness and physical awkwardness to perfection, conveying every sexual inadequacy and illicit implication (“She said ‘single,’ right?”). Will Arnett made a magician named Gob come off as arrogant, creepy, and sympathetic. Portia Di Rossi played Lindsay’s self-righteousness and laziness as mutually coexisting. Jeffrey Tambor, as the family patriarch, managed to make the character so memorable that they had to keep him as a regular, even though he was supposed to remain a guest after the pilot. Tony Hale’s Buster, Jessica Walter’s Lucille, and Alia Shawkat’s Maeby, rounded out the cast, ensuring the show didn’t have a single weakness. Even guest stars, like Henry Winkler, Ed Begley, Jr., and John Michael Higgins, manage to turn their characters into memorable comic stars.

Most important, though, was the way the cast interacted. Plenty, if not all, great comedies have breakout characters and star performers, but few entire casts have had the chemistry that this cast had. Exchanges between Michael and his son, for example, are so great not just because of the dialogue and each character’s eccentricities, but because of the interplay between the two characters. Their ability to talk over each other, fill in each other’s awkward gaps, and respond nonverbally to the other’s lines are as funny as anything in the script. Continue reading