A more plausible temptation, though, is to watch the show in sequence and then watch it again. (Like Spencer, my wife and I had no sooner completed Episode 15 than we went back and re-watched Episode One.) Indeed, the show is engineered to reward exactly such mania. It's not merely the solution to the central mystery of the plot that becomes clearer in rewatching; there were at least a half-dozen gags in the first episode that I didn't get—couldn't get—the first time around. (Michael to GOB: "Is that who you were with? I knew it! I always knew it!")
Nor is this the only sense in which the show virtually mandates multiple viewings. The very structure doubles back on itself like a televisual Mobius strip, a narrative Ouroboros swallowing its own tail. The story begins with the show's central relationship between Michael Bluth and his son George-Michael (two of the first four episodes are from Michael's perspective), veers outward to encompass the rest of clan Bluth, and then returns to where it began, with two of the final three episodes shown from George-Michael's perspective. It's the Cloud Atlas of TV comedy.