Was it six years of anticipation for a fourth season of Arrested Development or was it desire? If it was the former, we saw possibilities beyond the show’s ending. If it was the latter, we simply didn’t want the show to end, and we would accept it any form. “Maybe a movie,” Ron Howard suggests at the close of the third season when Maeby (Alia Shawkat) pitches her family’s story as a TV series. Now the show has returned for a fourth season that is radically different from anything we’ve seen on television (perhaps the closest cousin being the time-travel season on Lost). What begins as a brilliant new approach to storytelling on television becomes a season that demands a chart to follow the crisscrossing plotlines that begin to get in the way of enjoying the show’s humor. Thankfully, despite the heavy weight of the show’s ambition, Arrested Development is as funny and clever as past seasons. But this time, it may be too clever for its own good.