Arrested Development is a cult favorite. It shows a totally dysfunctional Bluth family dealing with wild situations and money messes. Known for sharp writing and unique stories, it has memorable characters that stick with you. It’s comedy gold and fans just can’t get enough of it.

Meet the characters from Arrested Development

Maeby Fünke

Maeby is the kid who always has a scheme half-baked and somehow three steps ahead of everyone — clever, sarcastic, and too cool to care, except when she secretly does. She forges consent and networks and identities like they’re hobbies (also might actually be lazy about homework, or maybe that was a cover, who knows). She’s basically the family’s unofficial con artist but with a weird soft spot for art and bad TV — very dramatic about nothing and then unexpectedly tender. Loves pretending to be adult but still steals snacks from the fridge at midnight, which is peak Maeby.

Lindsay Bluth Fünke

Lindsay is the glamorous, runway-ready activist who talks about causes like a hobby and will definitely pose for a charity selfie before she remembers to actually care. She’s painfully self-absorbed and yet genuinely surprised when people don’t adore her, which is part of the charm (and the tragedy?). She flits from trend to trend — yoga, rehab, political fundraising — with half the follow-through but full enthusiasm. She’s married-ish to Tobias and simultaneously terrible at consistency; thinks of herself as worldly but forgot to pack patience, apparently.

George Michael Bluth

George Michael is adorably awkward and sweet in that crushingly earnest way — like a walking notebook of family rules and secret crush strategies. He’s nerdy, moral, and sometimes surprisingly bold when his heart’s involved (which, yes, tends to get him into the messiest cousin-situations). He’s competent at little projects (model planes? spreadsheets?) and terrible at life hacks, but you can tell he’s trying to be a better human even when he’s making the wrong choices. Quietly heroic, emotionally stunted, and honestly kind of a cinnamon roll with an internal monologue.

George Bluth Sr.

George Sr. is the slippery, charmingly villainous patriarch who can sell you a fake company, a joke, and a sob story all before breakfast. He’s endlessly scheming, flagrantly selfish, and yet somehow contains a weird paternal pride that sneaks out at inconvenient times (like when he chooses the worst possible moment to be sentimental). He’s been in and out of trouble more times than you can count and treats every legal issue like a minor speed bump. Loves disguises, aliases, and the sound of his own cleverness — also might have a soft spot for cooking, or did I imagine that?

Gob Bluth

Gob is all showbiz and smoke — loud, flashy, emotionally immature, and absolutely convinced he’s the world’s greatest magician despite what the record shows. He performs illusions with the confidence of a saint and the skill of someone who watched one YouTube tutorial (seriously, a walking disaster, but watch him bounce back like a tragic hero). Deep down he’s insecure and wants to be respected (and loved), which is why every stunt is also a cry for validation; he cries sometimes, yes, while on fire. He’s loud, dramatic, calls himself “Gob” like it’s a title, and will definitely try to recruit you for a failing magic act.

Michael Bluth

Michael is the family’s exasperated glue — pragmatic, chronically responsible, and irritated a lot of the time (to say the least). He tries desperately to be the grown-up in a household that treats maturity as optional, which makes him both noble and, occasionally, petty or controlling. He cares deeply about doing the right thing even when he compromises (hypocrisy included) and is weirdly attached to logistics — frozen banana stand brain, basically. He wants harmony, but his competence is also what keeps the chaos amusing and combustible.

Byron “Buster” Bluth

Buster is the child trapped in an adult’s body — anxious, clingy, weirdly brave in tiny pockets, and completely unprepared for the world (seal incident included, yes, that one). He adores his mother like oxygen and simultaneously tries to join the army or run away — you never know which impulse will win. He’s awkwardly resourceful (proves himself in strange ways) and has the vocabulary of someone who reads older encyclopedias for fun. Equal parts terrified and tenacious, with an obsession for uniforms and a tendency to say things like “mother!” with absolute conviction.

Lucille Bluth

Lucille is the queen of cutting remarks, dry martinis, and emotional blackmail — elegant, cruel, and endlessly entertaining in the way only a high-functioning stranger of a mother can be. She manipulates people like chess pieces but will defend her children with a criticism so sharp it doubles as a hug (sort of). She drinks, she smokes, she collects grudges and expensive knick-knacks, and somehow manages to be both hilariously vicious and occasionally sentimental (a sock, a half-guilty compliment). She’s the reason therapy exists and also the reason any of the Bluths are human at all, which is deliciously complicated.

Tobias Fünke

Tobias is painfully sincere, gloriously oblivious, and about 60% accidental double-entendre, 40% desperate artist (and yes, he is also never-nude, don’t forget that). He thinks of himself as an acting professor-slash-therapist and mostly succeeds at being unintentionally hilarious and deeply earnest at the same time. He paints, he auditions, he becomes blue for reasons that make his neighbors uncomfortable, and somehow remains utterly convinced he’s on the cusp of a breakthrough. A walking non-sequitur with fringe-believable confidence and terrible timing — you can’t help but root for him, even when you shouldn’t.