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The new season is, like a Bluth-constructed house, built on a shaky and unsuitable foundation.

Maureen Ryan takes on “Arrested Development.”

After more than a week of pondering, I think I’ve finally figured out the point of Season 4 of “Arrested Development”: I can only assume the goal was to cure TV aficionados of wanting to revive any classic show, ever.

Much of the fourth season serves as an equivalent to the kind of scary warning the Bluth kids used to get from J. Walter Weatherman, the one-armed man who menaced them as kids. But instead of instilling terror as to what might happen if we put an empty milk container back in the fridge, Season 4 stands as a warning to anyone who’s advocating for the return of a show for which they had great affection: Be careful what you wish for, because the results can be deeply misguided.

There is a lot to like about Zombie “Arrested Development.” Each cast member is still at the top of their respective game (or better, as in the cases of Alia Shawkat, Will Arnett and Season 4 MVP Michael Cera); the jokes, when they land, are funnier than they have any right to be; the world-building is impressively Simpsonian. Everything presented in this resurrected version of “Arrested Development” points to a show that still very clearly has gas left in the tank. Further adventures of the Bluth family — whether on Netflix or the big screen — are more than welcome. Which doesn’t make Season 4 any less disappointing.

Were you disappointed by the new “Arrested Development”?