Martin Carr reviews the first episode of The Orville season 2…
Few writers can imbue the puerile with pathos, make micturition both emotive yet amusing and create forty minutes of engaging drama using bodily functions as their inspiration. Few that is apart from Seth MacFarlane who uses nothing more substantial to give us an opening episode which is all character based, intimately drawn and rife with empathy. There is a real sense of confidence coming through in the writing here as everything from marriage break ups to parental growth are addressed in tangible situations.
There are no stand outs amongst this supremely talented ensemble cast as each is given their own time and space to shine. Whether those moments come through character moments between Kelly and her new beau, Alara and her blind date or Dr Claire Finn and her son Marcus MacFarlane is self-assured enough to let things happen. It is a sign of quality when an episode like Ja’loja can engage so completely yet your connection remain unwavering. There is a sense of familiarity which MacFarlane established so well in season one which carries on through into this season premiere, which only underpins this feeling further.
Chemistry between everyone is evident and you get the impression that they had fun making it. Rather than detracting from the drama on screen MacFarlane is also careful to use jokes sparingly and for emphasis, therefore making punchlines subtle and contextual. Couple this with the meticulous writing which transcends gender, ethnicity or racial background allowing universal concerns to be addressed and you begin to understand what makes The Orville tick.
Scott Grimes and J Lee continue giving John LaMarr and Gordon Mallory a believability, enabling both to sell lighter moments with ease. Similarly Isaac and Dr Finn continue on from last season by broadening their bond and strengthening the former’s role as surrogate father. Under the guise of behavioural observation Isaac is slowly gaining his humanity whilst giving Claire parenting advice from a non-biased perspective. Between those scenes and others shared with Ed Mercer and Alara, MacFarlane touches on human drama without labouring the point. At once subtly incisive yet indelibly marked by an all too human touch, this opening episode reacquaints us with a family dramedy which just happens to be in space.
Martin Carr
