Given the task definition and input, reply with output. In this task, you are given a text of many news articles seperated by special token "|||||". Your task is to summarize them.

The long-awaited fourth season of the highly regarded cult TV series “Arrested Development” is out now, coming online at midnight Pacific time Sunday on Netflix. 
  
 If you wanted, you could have stayed up all night “binge viewing” all 15 episodes over approximately eight hours and then gone for breakfast Sunday morning. 
  
 If Netflix’s /quotes/zigman/87598 /quotes/nls/nflx NFLX 36 million worldwide subscribers did such a thing, well, there’s no way of knowing for sure. 
  
 The company isn’t saying anything yet about viewership hours spent on “Arrested Development” over the Memorial Day weekend in the U.S. There also were no reports about Netflix’s service crashing or being unavailable due to “AD” viewers clogging up the Internet with millions of streams of the show. 
  
 However, the way investors on Tuesday reacted to “AD,” one would think that every Netflix server exploded because of overuse by rabid fans looking to catch up on the shenanigans of the Bluth family after seven years in the wilderness. That’s because Netflix’s shares fell as much as 5%, to around $217. 
  
 Fox, Netflix 
  
 No, it’s not who was watching “AD,” but what they were watching and how a possible influx of new subscribers, lured to Netflix by the opportunity to watch the show with a free trial of the service, might not stick around to become payers of the monthly $7.99 fee to watch content online. Read: Netflix bets big on “Arrested Development” 
  
 “[There were] mixed reviews on AD, and the audience, while likely sizeable, is probably pretty fickle,” said Michael Pachter, an analyst who covers Netflix for Wedbush Securities. “So [there’s] maybe some concern that a subscription boost will be short lived.” 
  
 Those reviews Pachter mentioned have been the definition of “mixed.” 
  
 One of the issues facing “AD” this time was getting its main cast members to record the series together. That shouldn’t have come as a surprise to anyone; remember, it has been seven years since “AD” last aired on the Fox television network. “AD” cast members such as Jason Bateman, Jessica Walter, Jeffrey Tambor and Will Arnett have all moved on to other TV shows or movies, and it was impossible to do “AD” with the entire cast involved at all times for every episode. 
  
 Which is why each new episode of “AD” centers around one of the show’s nine main characters. 
  
 Oh, there are other cast members involved in each episode, but if you go into the new season expecting to see every character in every episode, you will be highly disappointed. 
  
 This way of producing the season is just one reason why reviews of the Netflix “AD” have been mixed. The general consensus is that there is some good stuff here, and show creator Mitchell Hurwitz has to be commended for taking some chances with how he and his crew put this fourth season of “AD” together. But in the words of reviewer Todd VanDerWerff of The A.V. Club: 
  
 “It’s an occasionally hilarious, sometimes boring, always bloated boondoggle of a project, and it’s the sort of thing that’s at once staggering in its ambition and hard to approach with anything like real affection. It is, in places, masterful. It is also, in other places, at once weirdly pleased with itself and too ready to hold the audience’s hand where that hand needn’t be held.” 
  
 Wedbush’s Pachter, for one, believes that even though Netflix isn’t saying anything about “AD” viewership metrics, yet, it will hold our hand and lead us where it wants to very soon. 
  
 “I’m sure Netflix will put out PR later in the week,” Pachter said. “ Maybe a blog on Facebook, saying how well the show did.” 
  
 – Rex Crum 
  
 Follow The Tell on Twitter @thetellblog 
  
 Follow The Tell on Twitter @mktwcrum 
  
 @mktwcrum ||||| There are two questions regarding “Arrested Development,” which returned this weekend via Netflix: Is it good — or as good as it was — and does that really matter? Regarding the second, probably not. That’s because Netflix is emulating HBO by playing the attention-getting game, and as with “House of Cards,” reviving this Emmy-winning comedy has brought the service ample media coverage, reinforcing the perceived value of its original-programming efforts. So a vacillating answer to the first part is virtually irrelevant, especially since Netflix opted not to make episodes available in advance, allowing die-hards and critics (in this case, a group with considerable overlap) to weigh in simultaneously. 
  
 Unlike “House of Cards” — a fine if hardly groundbreaking serialized drama — the prospect of binge viewing (Netflix’s main distribution innovation) this new 15-episode batch of “Arrested Development” feels less like a treat than a rather numbing burden. The program’s arched eyebrows, rapid-fire gags and snark actually play better when spread out, and trying to power through multiple episodes felt exactly like that — a bit like cramming for a test the night before. 
  
 That’s not to say the cast and series creator Mitchell Hurwitz (who directed with Troy Miller) don’t deliver their share of moments, although the format has a way of blunting them. Each episode essentially focuses on one of the characters, but they frequently intersect — an ambitious narrative approach, if one also seemingly designed to narrow the program’s appeal even further. Inasmuch as the show was canceled for precisely that niche quality despite all its accolades, it’s perhaps advantageous Netflix has resisted releasing user data, allowing the media to create its own echo chamber amplifying the show’s impact, irrespective of the reality. 
  
 Ultimately, this “Arrested” revival plays a bit like a reunion special, where the individual cast members come out and take their curtain calls. After the warmth of seeing them reunited (or semi-reunited, given how rarely more than one or two are featured in a scene together), there’s a sort of awkwardness to it, as if nobody really has much to say. We’re meant to bask in the nostalgia, while the particulars are of relatively little consequence. 
  
 Beyond Jason Bateman — who has established a busy film resume since the show — the producers have also stocked these episodes with plenty of celebrity cameos, which are alternatively amusing and distracting. Chalk that up, perhaps, to the “Arrested Development” movie that was discussed before the producers settled on this long-delayed “fourth season,” which, given the cultish limits, probably made more sense. 
  
 All told, it’s hard to fault anyone involved for making this happen — from Netflix for cashing in on the name to Hurwitz for revisiting the best gig he’s likely to ever have to the cast, who have almost uniformly stayed busy since the show ended but clearly appear to relish re-inhabiting these roles. 
  
 Still, wading through the episodes themselves, it’s hard to enthusiastically applaud them for it either. From that perspective, “Arrested Development’s” long-awaited encore is like a lot of TV development — namely, an interesting idea that was more exciting on paper. |||||

Arrested Development diehards have finished their binging, and the first reviewers have finished their pontificating, so how has the Netflix experiment fared? By one measure, not so hot. Shares were down about 6% to $214 today, reports MarketWatch and CNNMoney. The reason, apparently, is that while the show got decent reviews, it also got some clunkers—or at least some that could most charitably be described as "mixed." Investors seem fearful that all those people who signed up for a free trial just to watch the show might not stick around for the long term. Expect Netflix to put out specifics on viewership later in the week as a way to trumpet its success.