By Dave Barton
By LP Hastings
By Sarah Bennett
By LP Hastings
By Jena Ardell
By Steve Lowery
By R. Scott Moxley
By Joel Beers
"Wait . . . I just got it," Cross exclaimed. "That's why [the color scheme] is all orange!"
"For me, [the color] represents prison," de Rossi threw out.
"I thought it was all about the Cincinnati Bengals," Bateman shot back.
The questions went on, but I got the final one of the afternoon: What, if anything, does Arrested Development mean? How was it a commentary on Orange County or the United States?
"It's that we're all idiots," Bateman replied. "Nobody is perfect. It highlights this society, where we've become self-obsessed and greedy."
"This family is shot as a documentary," Cross added. "But we're so inured to" that style now, in this world of reality TV populating broadcast nearly nonstop, "that the idea of what's real and what's fiction is blurred." The society depicted in the original and coming Arrested Development, he concluded, "now even more so in 2013—that's the reality."
Quotes set, I let another Weekly writer get the exclusive with Cera and Cross. I went to the valet area, they radioed someone to get my beat-up Toyota pickup . . . and he emerged: the black valet.
Prophecy and pronouncement. I tipped him extra-well and drove off, laughing at the incredulity of the day. What did Michael Bluth do when confronted with the same scenario? You're going to have to watch Sunday night—and learn, America, learn.