projects hardly seem the effort. Even so, with 412 scripted series
on the air last year, the revivals, reboots, and continuations do not
seem too overwhelming (Malone 11). At least, not yet.
The environment of television is changing rapidly, and we
are able to see a marked transition starting with Arrested
Development’s fourth season on Netflix. Many of the series being
written about in this volume exist due to the expansion of
streaming services and the power those platforms have to bring
the dead back to life (or to the air/web in this case). Cancellations
no longer mean the death of a series, but revivals do not promise
the same show will return. The increase in the amount of television
produced has led to this ever-growing subset of revivals and
reboots, many using the pull of nostalgia to draw in viewers. The
impact of these series and their deep-pocketed streaming homes
has already been felt, but it has only been three years since Arrested
Development returned to the small screen. Who knows what the
medium we still call television will be by the time the fifth season
is released?
1.2 Will Arnett as GOB Bluth in Arrested Development, "Colony
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