TV Reviews

Was “About a Girl” Orville’s Best Episode? No, Worst Episode! No, I, Um, Don’t Know

I had to roll my eyes when I read this quote from Seth MacFarlane about The Orville in EW’s Fall TV Preview issue: “Good science fiction doesn’t ignore current events and sociopolitics. The Orville doesn’t go about it as directly as a comedy like Family Guy – it goes about it in a more allegorical way. I always feel that’s the duty of science fiction.”

It’s not that he’s wrong about the role of science fiction; it’s more I don’t really trust him to be able to usher in such allegorical commentaries with a requisite amount of nuance. The guy responsible for “We Saw Your Boobs” and “The Mustache Song” is now going to tackle the intricacies of discrimination? Seriously? If you say so. I applaud your intentions, but there’s a real credibility gap here.

So punchable.

At the time I came across that quote, though, I hadn’t seen “About a Girl,” Orville’s first full blown very special episode in the grand tradition of Gene Roddenberry’s Trek commentaries on race, gender, identity, hate and society in general. Orville’s first two episodes weren’t exactly commentary-free, with last weekend’s reality TV parable being especially obvious. But they were a far cry from “Measure of a Man,” “Let That Be Your Last Battlefield” or any of Star Trek’s other celebrated ruminations on tolerance and the pressing issues of the day.

“About a Girl” is MacFarlane putting his money where his mouth is. He wrote the show’s first three episodes, and “About a Girl” is him following through on his promise to honor the spirit of Star Trek by using Orville’s sci-fi trappings to speak to more important issues than just traveling through space and learning to cope with suddenly having to work with your ex-wife. Thus, the jokes in “About a Girl” are notably more infrequent than in prior episodes and even more tamed down than usual. Instead, this allegorical reflection on gender identity and discrimination is played as seriously and sincerely as anything MacFarlane’s ever done.

This allegory thing, though, is harder than it seems, and going this route so early in the season, before we’ve spent a little more time with these characters and in this world, is a mistake. However, there’s enough here to wipe that snarky grin off of my face, and cause me to sit up and pay closer attention to what MacFarlane is really trying to do here.



As per last week’s cliffhanger, Bortus and Klyden, they of the single-gender, forehead-ridged aliens known as Moclans, hatched an egg and were stunned to see a female baby come out of it. Moclan females are only born once every 75 years, or so we’d been told. So, it’s not so much the Moclans are exclusively male-only; it’s more that female Moclans are so rare and inessential to the proliferation of the species that they have no place in Moclan society. However, here’s an adorable little girl baby. What are Bortus and Klyden to do?

Opt for gender-reassignment surgery immediately, of course. Why not? To them, such a procedure is no different than a human baby correcting for a cleft palate. No one else on the Orville sees it that way though, and thus mobilize to convince Bortus to leave the decision to his child whenever she is old enough to do so. Of course, at this point we have little to no sense of Bortus’ relationship with any of these people, meaning Alara’s attempt to persuade him through boxing and Malloy and LaMarr’s attempt through beers and Rudolph the Red-Nosed Reindeer lacks a fair bit of weight. However, the tale of Rudolph and his abnormality proving so crucial to Santa’s quest is enough to convince Bortus – it’s, um, an awkward character turn – but his effort to also convince Klyden results in the cliffhanger reveal that Klyden was born female.

The episode doesn’t do nearly as much with that reveal as you’d expect, mostly because this allegory is less concerned with Klyden’s personal identification or potential for conflicted feelings over his parents reassigning his gender without his input and more concerned with simply establishing that in the argument over what to do with this baby the parents are in complete disagreement. This folds the brewing controversy over whether or not to circumcise male babies into the allegory, since in that case the consensus seems to be that the correct decision is simply the one both parents agree on.

In classic Trek fashion, this all leads to a tribunal on the Moclan homeworld where one of our humans, a reluctant Kelly, attempts to convince a bunch of aliens (by using mostly human examples) that how they view the world is entirely wrong, but in a slightly non-Trek conclusion the aliens remain unconvinced, despite a last-minute appearance from a female Moclan who turns out to have ghost written the works of their most famous author. They approve the gender-reassignment surgery anyway, and Bortus and Klyden are left pledging to care for their baby even though the damage done to their relationship is crystal clear. Thus, the side the episode seems to be taking on the issue is directly rebuked by a downer ending.

Welcome to Star Trek in 2017, I guess, a time where science rarely actually seems to win anymore.


Predictably, in taking on such larger issues than itself “About a Girl” has inspired mother!-like polarization, with AVClub running a headline (“In its best episode yet, The Orville goes to trial for a baby’s happiness”) directly contradicting IndieWire’s headline (“The Orville Episode 3: Why Its Poor Understanding of Gender Makes ‘About a Girl’ The Worst Episode Yet”). IndieWire’s general argument is that in defining the gender argument in binary, male/female terms “About a Girl” fails to grasp the true complexity of gender identity and thus does a disservice to its subject matter. AVClub, in a somewhat more literal reading, questions the logic of an alien race that would self-identify as male if there are no females, but champions the episode’s treatment of the feuding same-sex couple: “It’s welcome to see how the partners maintain, even as they fundamentally disagree, their love for each other and their dedication to doing the best they can to raise a happy child.“

I lean more toward the AVClub’s side in this argument. Heck, I, at times, was even sympathetic toward the Moclan side, not in the sense that I support the elimination of choice. But everything they said about the life of ridicule and social stigmatization awaiting Bortus’ daughter was accurate, pitting the idealism of choice versus the realism of extreme social backlash.

Not helping matters is the way “About a Girl” seems to mix its metaphors, framing a trans argument in circumcision terms. However, the episode ultimately succeeds in its treatment of what such a divide can do to the parents, and is at least brave enough to not pretend as if the world’s problems can really be solved in the course of a single episode of TV. This is Seth MacFarlane trying to do a little morality play and sci-fi allegory, and the result is, as expected, a bit messy. But it’s a better attempt than I ever would have expected.



  1. Kudos to MacFarlane for having enough awareness to realize Kelly and Alara should be given prominent roles in the debate.
  2. I completely forgot the Norm MacDonald-voiced alien is a character on this show until that scene in sick bay.
  3. This show still hasn’t quite nailed the right tone for all of its soap opera/Star Trek-esque cliffhanger act breaks.
  4. Who in the world approved all of those cheap ass-looking plastic wood tables in the mess hall?
  5. If you haven’t yet, check out THR”s profile of J. Lee, who is making his on-screen debut as LaMarr in Orville after first starting out in Hollywood as a receptionist in the Family Guy offices in 2005.
  6. Favorite Line: Kelly: “‘Condition?’ So, to you people being a woman is like having chronic diarrhea. Hey, Doc, I’m not feeling well. I’ve had the tits all day.”

Where do you fall on “About a Girl”? Worst episode? Best? Or just kind of a boring ethics seminar that could have actually used way more humor? Let me know in the comments.


  1. I had that same thought about those tables. I thought they must have got them from IKEA.

    I agree there were plenty of missteps but I was impressed that the arguments on both sides were reasonably fair and balanced. No one side was painted as clueless jerks.

    I kept expecting the Moclan Arbitrator to say something like, “Wanting to raise a girl. Not Cool!”

    Can you figure out why?

    Pretty funny how Bordus was so moved by Rudolph as if he took it for a true story. And his facial expressions while watching it were precious — like a little child seeing it for the first time.

    I do think his massive conversion based on that movie was supposed to be a bit of humor. But, I also think Bortus was already leaning towards wanting to keep her as a girl and the movie gave him an allegory he could grab onto. For evidence, I’d suggest his reactions to the various crew trying to change his his mind veered a bit into “he doth protest too much”.

    I was actually pretty impressed that when Bortus didn’t win the court case, he was still very committed to loving the sex-altered child and giving him the best life he possibly can.

    I have mixed feelings about the fact that all of their cultural references are from our era — songs, tv shows, celebrities. It’s as if they have no culture of their own and no nothing about history other than roughly our time.

    While touching, I thought the big “save” of bringing in a female to advocate for the baby staying a girl was way too contrived. The Captain seems to have this very clever idea and keeps the details from the audience. And out of the entire planet, they find ONE female? Okay, that fits. But all their hopes depend on her being intelligent, articulate, and happy that she lived life as a female. AND was willing to come out of seclusion. That’s a LOT of IFs for what what supposed to be a very “clever” idea.

    I did like the bit where she turned out to be their most revered author.

    1. I would have preferred it if he had found a whole society of secret females who hadn’t had the surgery, I would’ve bought that easier than the idea of the lone female on a plant full of men .

      1. I was thinking either that or one or two somewhat hidden in each city or maybe smaller town, but they gather them all to bring in hundreds and show them as happy, productive members of their society, though hidden from public view.

    2. -It is nice (I guess) to see that IKEA has clearly survived into whatever century this show takes place else in, for I can think of no other explanation for the furniture on display.

      -“Can you figure out why?” Actually, no. I’m guessing it has something to do with the actor who played the character, but I didn’t recognize him, not under the mountain of make-up and prosthetics.

      -The acting with Bortus and Rudolph was so crucial because that really is the quickest point they could think of from one act break to the next. He had to fully sell that this goofy old Earth cartoon could inspire such a profound change, and he sold the hell out of it, making it kinda adorable.

      -It feels very 2017 ‘Trek of them to have Bortus lose the case. This is Roddenberry’s vision as remembered by Seth MacFarlane but filtered through his modern day liberal leanings, which means the occasional dose of cynicism over the direction of the world (I’m going off of Family Guy and his own social media usage to deduce his state of mind, an admittedly dicey proposition).

      1. -“Can you figure out why?” Actually, no. I’m guessing it has something to do with the actor who played the character, but I didn’t recognize him, not under the mountain of make-up and prosthetics.

        Yeah, he played a neighbor / frienemy on Tim Allen’s Last Man Standing. His catch phrase was describing what someone said or did followed by, “Not cool!”.

        I first recognized the voice and mannerisms and then barely could see his features through the prosthetics. And had to go to IMDB to be sure of it.

  2. I was dissatisfied with the outcome but I applaud the writer’s efforts at aping a classic trek episode. I found myself yelling at my TV, which is how I know I’m really getting into a show. It wasn’t a great episode but it kept me interested and I’ll be back for more next week, because it shows some promise, which I hope isn’t squandered.

    You’re right, that it is a little too early in the season for a very special episode, but if he’d waited to air it, than those people who are interested in such things might have wandered off to watch something else by the time it did air.

    I thought some of it was predictable but that’s okay. I still like a lot of the humor in the show, so far (the funniest moment is the unrequited love of the blob character for his doctor), but I’m still having trouble not rolling my eyes whenever the show blatantly apes Trek, as it did at the end of this episode. (I still maintain in my head, that is not their child, but a replacement baby, and that their little girl is now living with that planet’s only female. Am I wrong on that?)
    I think the show works best when its trying to be funny, but I get that McFarlane seems to have greater concerns.

    1. As I said in the review, this is clearly a divisive episode. I totally get why you’d hate it and want to quit the show now. I stuck with the whole season and there’s a date rape allegory episode a little later that’s even worse. The show, as a whole, gets a lot better, but some of the episodes are about as questionable as you’d expect from the Family Guy, um, guy trying his hand at high-minded, Star Trek-style social commentary.

  3. How can anyone enjoy such an ending? It seemed to be saying that we may as well just give up, – that men will always win and women have no hope! It was a ghastly ending and I will not be able to ever watch that show again. That is a pity as I would have enjoyed finding a new comedy to watch. But a little bit of ‘political correctness’ about sexual equality, and then going with the predominantly male flow is just ghastly.

    1. I don’t enjoy the ending, but I appreciate its cynicism. That’s not the Roddenberry, classic Star Trek way to finish a storyline like this, and as such it’s interesting to see The Orwell depart from its clear cinematic inspiration. It would obviously be more hopeful for the women to win, yet I find the ending in which an entire society is not in fact changed by idealism and basic facts, choosing instead to stick to its traditions, far more believable. Given what just happened with Brett Kavanaugh in the U.S. – at least until Jeff Flake made his grandstand – this storyline certainly rings more honest to me. I don’t feel as if the show’s writers or producers are endorsing the episode’s finale as the proper way things should be, but instead closer to the way things actually are. Maybe they should revisit that planet next season and chart how things are changing in that society since the revelations of this episode – it just took time for the revolution to form, so to speak.

      But, I get why the ending would completely repulse you and turn you off the show. As I’ve said elsewhere in the comments, The Orville as a whole is a wildly mixed bag, and if you keep watching after “About a Girl” you’re likely to feel encouraged by the show’s progress one work, discouraged by it stepping back the next.

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