![]() ![]() ![]() This new lease of life given to Arrested Development meant that it could take its more complex and longer-term payoff jokes to a new level – often postponing entertainment indefinitely in favour of a ‘wait until episode seven where you’ll finally get this and have a mild chuckle about it’ approach. While this does eventually pay off, it is nowhere near as satisfying as its Fox broadcast counterpart. The show lost sight of what made it funny in the first place – bouncing its crazy ensemble cast off one another. It got too cocky, basically. The show already had a rabid fanbase both from those who had seen it as it aired on television, and those who had discovered it post-cancellation. So basically… the show already had a guaranteed audience. However, there is, in my opinion, a definitive downside. As we enter the age of the revolutionary, we also stumble into that of the revival. This new trend was kicked off by Netflix’s revival of 2003 critic’s (and a personal) favourite, Arrested Development. Fans of the show were frantic with support. Online streaming offers something else – a window into the stories that are barely ever told in visual media, a window into the lives we barely ever get to see. There are numerous examples of the benefits of online streaming as a vehicle for storytelling – what network would green-light a show revolving around the story of a trans-woman realising their true gender identity in middle age ( Transparent)? Or even the often light-hearted but still hard-hitting Master of None, a show about an Indian-American actor’s life day-to-day? Around 70-90% of shows on network television have white male showrunners. The medium lends itself so to world building and the telling of complex, intricate stories, there’s no denying that. The wide use of online streaming has changed the face of television. ![]()
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January 2023
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