The genius of “Arrested Development”

The virtuoso of “Captured Advancement” is that instead of giving us kids who act like grown-ups, it offers grown-ups who act like youngsters. Constrained by their own lethargy and ineptitude to live respectively once more (in the model home no less), the Bluth kin reproduces the difficult elements of young life – the self-centeredness, the weakness, the opposition to a parent’s approval – however utilizing the weapons of adulthood: cash, sex, and scope of complex untruths and collusions. That the grown-ups’ contentions and misdirections happen before (and regularly include) their own kids just fix the screws. When, for instance, George-Michael sees his darling morals instructor going out one morning after a nighttime tryst with his dad, the last option benevolently attempts to safeguard his child’s sentiments with a lie: “Indeed, your uncle Gob laid down with her.”

Jason Bateman, who plays Michael, is impeccably projected for this universe of late pre-adulthood, with his innocent attitude and sitcom-kid past. (Some time ago he played parts in “Little House on the Grassland,” “Silver Spoons,” “Valerie,” and “The Hogan Family.”) Michael needs frantically to be a decent, mindful grown-up – and reigns over his kin that they’re way off the mark – yet some of the time it simply takes an excess of work. Examining with Lindsay whether he ought to attempt to take Gob’s undervalued sweetheart, he wails over: “I’m a holy person, you know, a living holy person. Also, I receive literally nothing in return.”

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