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Seasons 1-3 – 85% – Almost over the line, potentially incomprehensible under greater viewer scrutiny, and increasingly original thanks to escalating plots and creative courage. Some, like myself, will fall in love with the pseudo-clever illusionist Gob, some with Lucille, the stiff neck of the family, and some perhaps with the perpetually uncertain George Michael. Nevertheless, it is a joy to watch a family where even the most ordinary member is extraordinary. Some of the scripted repartee of the Bluths are true diamonds (ongoing jokes, led by the chicken dance), and the only thing that spoils my pleasure are the entanglements with the imprisonment of George Sr. or Oscar and the related resolution of various family scams. However, these three unnecessarily short seasons are a true treasure for anyone looking for something previously unbeknownst to sitcoms. Season 4 – 70% – A long-awaited return that is definitely not for everyone. The concept of intertwining is pushed to the limit of viewer tolerance, some main characters seem more like secondary ones (which hurts my favorite Lindsay the most in later episodes), and Mitchell Hurwitz is setting up several tie-ins for future endeavors. The new season, therefore, lacks the coherence of the older episodes, but that doesn't mean there is no fun to be had with the Bluth family. It's just different and very, very specific – with the phenomenal Isla Fisher as a new, almost inseparable character. Season 5 – 60% – A swan song, where the funniest part was the anticipation and constant assurance that it would start filming soon. The same assurance that ultimately lasted several years. The way it was served in two parts turned out to be a somewhat cruel decision, but that's the least of its problems. The attempt to continuing the original poetics is full of cramps, largely owing to numerous problems behind the scenes in recent years, and cannot be completely filtered out even with the greatest effort (Jeffrey Tambor's behavior towards Jessica Walter, the racist David Cross, Will Arnett visibly more destroyed by alcohol). The long-term storylines are either too stretched (Fakeblock, the wall, Lucille Austero) or desperately boring, and I feel like fast-forwarding through them (unfortunately, mostly anything with Tobias). Fortunately, even this sad ordeal cannot kill the potential of good running jokes ("The Final Countdown" is perfect, even if it's used a hundred times) or the chemistry of the main ensemble. That's why I'm even more disappointed by the forced flashbacks or the absence of Lindsay and the glaring green screen. Arrested Development is saying goodbye in its definitely weakest period, but it cannot destroy the memories of the original concept – and it also makes the viewer mournfully reflect on how far the series could have grown if it had been given the chance it deserved at the beginning. (23.03.2014)