Narrator: And before long, things had gotten weird.
Buster: Put the olive on top and you set it down for Mother.
Narrator: To an uninformed observer, it looked a little like that Vince Vaughn movie, Psycho.

Narrator: And so Buster went back to the penthouse, feeling guilty and alone. And he couldn't bear to relive the time he was there without Lucille before.
Buster: I can't go through another two days like that.
Narrator: And that's how Buster decided to make another go at making another go at Lucille 2.

Narrator: Michael Bluth had been away from his family for two months, and his life had never seemed better. While at a tech company famous for providing access to any information, except for its own name.

Narrator: And soon, George Michael was acting like a well, a movie producer, too. She was raised by a different mother than Ron's other kids. It's just a whole different thing over there.

Narrator: Michael had decided to leave town, and needed to get out of his obligation to make a movie about his family.
Kitty: Michael! You had one job. You had to get your son to sign the releases! Ron Howard wants to make a heartfelt father-son drama that has a good clean message for his illegitimate daughter to star in. Don't pull this on me because we've already reserved the soundstages and he's already started paying off the Hollywood Foreign Press.
Narrator: No, they're great.

Narrator: Michael was ready to hit bottom and go off the map. But that's hard to do when you're driving a car that makes maps.
Michael: No pictures, thank you! Put your phones down. We take the pictures.
Narrator: But when the fleet of recovery vans arrived from the search engine Michael had been working for, he discovered that the car that takes the pictures was no longer under his control.

Narrator: George Michael's father had drifted farther south than he realized, despite swimming with a GPS system that cost roughly as much as Buster's left thumb.

Narrator: The so-called Guilty Guys were a law firm whose record was so unblemished they'd even been the subject of a reality show. The project, which was to show a single case over the span of a season was abandoned early on by Netflix as not being binge-worthy.

Narrator: Lucille could tell there was tension among her boyfriend's staff, and she felt compelled to say...
Lucille: How rich is this sand hobo?
Narrator: Well, yeah, she did say that. But about the staff, she also said...
Lucille: I'm going to [bleep] him.
Narrator: Oh, ap- apologies. I don't know why I thought she said something about the staff.

Narrator: Some months earlier, Lucille had enticed Warden Gentles to a private dinner in order to get her son Buster released for a Second of July parade. And through the course of a well-served meal, and even more frequently served bottles of wine, Lucille rekindled a friendship in order to ask for a favor. But as the afternoon turned into evening, intimate details issued forth from a now-drunken Lucille's mouth. Information extremely useful to a warden with ambitions of a screenwriting career, who had heard about an Imagine streaming series about this exact family. So, while Lucille got her son out for a parade, Warden Gentles got a lot more. In fact, the only thing guarded that evening was Warden Gentles' private trailer.
Lottie Dottie: And you shared these stories with Ron Howard?
Narrator: He did.
Warden Stefan Gentles: I did.
Lottie Dottie: Exhibit 3-A, Making of a Monster. I would like to play a clip of the season finale.
Narrator: And so, they played much of the Imagine Bluth project. Now, remember, this is really rough. And our location guy was only able to rent out the cottage for shooting for, like, two days. And it's all temp sound. We haven't licensed most of this music.