Tag Archive: The Orville Identity episodes


This year we found one series that could easily sweep most of the categories–a single television series that had everything: compelling story, a full range of emotions, great characters, tremendous action, a sharp use of humor, all kinds of genre elements that were satisfying and left viewers feeling inspired.  Richly detailed sets and costumes.  An impossible feat to replicate.  No drama came close.  No other visual effects spectacle could touch it.  And its audience is everyone.  A truly epic addition to television viewing, that series is The Dark Crystal: Age of Resistance, the greatest television series to come along in years.  If you love genre like we do, this was as good as it gets.  And like icing on the cake, along came The Mandalorian at year end.

But we’re not going to ignore the other good things that happened on the small screen this year.

Our borg Best of 2019 list continues today with the best in television.  If you missed it, check out our review of the Best Movies of 2019 here and the best Kick-Ass Heroines of 2019 here.

Without further ado, this year’s Best in Television:

Best Borg SeriesDoom Patrol (DC Universe).  With this year’s series Doom Patrol we got a look at two borgs, DC Comics’ Cyborg, an update to Martin Caidin’s original Bionic Man from the 1970s, and an older borg created before the word was even coined in the 1960s, Robotman.  Both characters revealed a glimpse at what life might be like with significant cybernetic enhancements (when brought together by a modern Dr. Frankenstein).  For 2019, it was the way to get your borg fix on the small screen.

Best TV Series, Best New Limited TV Series, Best TV Fantasy, Best Writing for TV, Best TV Costumes/Makeup, Best TV SoundtrackThe Dark Crystal: Age of Resistance (Netflix).  It was worth the wait.  Jim Henson’s seemingly impossible to replicate artistic vision was successfully achieved thanks to his daughters and the company he founded.  The kindest heroes, the darkest evil, a truly epic, legendary story for the ages.  Everybody is cranking out CGI extravaganzas, but how many are creating artistry so fundamentally real, with so many individual artists and artisans contributing and achieving so much?  Even that wouldn’t be enough if not for the layered mythology and epic adventure story.  Add great humor, high stakes, emotional impact, an all-star voice cast, Daniel Pemberton and Samuel Sim’s  imaginative musical score, and those puppets and all that go into them–it adds up to a rare thing–a Henson masterpiece.

Best TV Sci-fi Series, Best TV DramaThe Man in the High Castle (Amazon).  Amazon Studios could not have adapted a series more faithfully, making changes for the medium and the times, than its take on Philip K. Dick’s most celebrated novel.  The use of science fiction to tell a deep and twisty level of subplots and unique setting all came to a perfect conclusion in the series finale.  Exciting, intelligent, frightening, and the most thought-provoking series this year, it was also different from its sci-fi competition.  Honorable mention: The Mandalorian (Disney+)–but only if we allow space fantasy since the series is not true science fiction, The Orville (Fox)–for its two-part epic movie-worthy space story, “Identity.”

Best New Ongoing TV Series, Runner-up: Best TV Soundtrack, Runner-up: Best TV Costumes/Makeup The Mandalorian (Disney+).  Not a lot needs explaining with this series, which in only its first two hours we rated it closer to the original Star Wars and The Empire Strikes Back than anything with the Star Wars label on it since.  The Western motif is still alive, not all that hidden here in space fantasy garb.  And we won’t get started on the impact of The Child (aka Baby Yoda) on the genre-loving world and beyond.  Credit Jon Favreau’s visible enthusiasm and love for the original movies for the success of this surprisingly awesome arrival–the series is proof Star Wars is far from over.

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Fox’s television series The Orville gets to explore a new world as it comes to Dark Horse Comics this summer.  TV series executive producer/writer David A. Goodman (Futurama) will write the series, with artwork by David Cabeza and colorist Michael Atiyeh (Tomb Raider).  The four-part series The Orville Season 1.5 takes place between TV seasons one and two.  Dark Horse Comics has revealed the first cover by Cabeza (below).  Check out the details from the press release for the comic book series below.

As great as the first season of The Orville was, the three most-recent episodes of the series have met or surpassed the best science fiction episodes of any classic or modern science fiction television series.  The Orville has been serious science fiction since its inception, and many critics and new viewers are at last taking notice.  Beginning with the two-part episode “Identity,” viewers got to see the very best planetary environments and sequences of space battles in the history of sci-fi television.  That’s right, the effects are that good–detailed, realistic, sweeping, and all-out fun.  And forget about comparisons to television shows, the second part of the story arc displayed an exciting, epic space battle on par with the best galactic assaults and dogfights from the Star Wars universe, comparable to the final assault in Rogue One: A Star Wars Story Sci-fi fans can’t ask for anything better than that.  Thanks to executive producer and episode director Jon Cassar, The Orville reset the bar for compelling television sci-fi in this two-parter.  From story and surprises to production design and execution, the often lighthearted series drops plenty of drama on viewers–gut punches in contrast to the laughs–proving The Orville is the real deal.

Taking the journey forward immediately after the effects of the battle with the Kaylons, in last night’s episode “Blood of Patriots,” Norm MacDonald’s marvelously realized gelatinous Kaylon battle hero Yaphit is celebrated by the crew, and we meet genre-favorite actor Mackenzie Astin giving a compelling performance as a gritty warrior-soldier, the kind you’re not likely to soon forget.  The balance of the science fiction concept of reflecting the present with fictional stories of the future takes on new meaning with The Orville, as the writers deftly weave not just a single issue, but more than a half a dozen into each new episode.  The result is much-watch television that surpasses decades of programming that preceded the show.  From a character standpoint, it’s great fun to see Scott Grimes’ Lt. Gordon Malloy put forward as the ship’s hero-to-turn-to this season, a flawed man whose quirks and foibles reflect the kind of human you’d find today and in the future as part of any kind of actual fighting force.

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