Complex TVMain MenuIntroductionVideos for IntroductionComplexity in ContextBeginningsVideos for Chapter 2AuthorshipCharactersComprehensionEvaluationSerial MelodramaOrienting ParatextsTransmedia StorytellingEndsVideo GalleryTable of ContentsJason Mittell06e96b1b57c0e09d70492af49d984ee2f68945deNew York University Press
p. 184-185: ARRESTED DEVELOPMENT
12015-03-13T13:41:46-07:00Jason Mittell06e96b1b57c0e09d70492af49d984ee2f68945de13501plain2015-03-13T13:41:46-07:00Jason Mittell06e96b1b57c0e09d70492af49d984ee2f68945deLater in the same episode, Michael and his son are talking about how Michael is no longer in charge of the family company. Howard’s narration reminds us of another event from the previous episode: “In fact, since Michael’s father escaped from prison, his brother G.O.B. had been made president.” The visuals cut to a shot of a newspaper reporting both the prison escape (complete with still photo taken from the previous episode) and the leadership succession. The scene then shifts to a conversation between Michael and G.O.B., in which they recount the events that led to G.O.B.’s presidency and the accompanying criminal investigation, all framed with the running gag of Michael disingenuously saying, “I have no problem with that,” which is even quoted in the newspaper. Such an array of storytelling strategies prompt viewer recall while providing a comedic toolbox to create running gags and self-conscious style.
12015-03-13T13:39:08-07:00ARRESTED DEVELOPMENT uses voiceover and cutaways to both manage memory and create humor1Few series rely on triggering memories more explicitly than ARRESTED DEVELOPMENT, which allows for both convoluted plotting and moments of humor.plain2015-03-13T13:39:08-07:00Critical Commons2004VideoArrested Development season 2Fox2015-03-13T20:07:48Z