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Tag Archive: The Orville


Review by C.J. Bunce

First previewed here at borg back in March, the first comic book story from the universe of television’s The Orville reads in every way like a script that didn’t get produced–an episode that fits nicely into the timeline of the show but didn’t get filmed.  Dark Horse Comics is publishing four issues this summer, two two-part stories written by executive producer David A. Goodman with artwork by David Cabeza and colors by Michael Atiyeh.  Fans of the show who haven’t already picked them up will want to find the two issues already in comic shops and add the next two to their lists.  The feel of the characters is spot-on, every side glance among Ed, Kelly, and Gordon looks like actors Seth MacFarlane, Adrianne Palicki, and Scott Grimes–unusual when sci-fi adaptations these days often don’t feature the drawn characters looking like the actors behind them.

Both stories for Dark Horse’s first foray into The Orville take place between the first two seasons.  The first two-issue story, “New Beginnings,” presents some things not necessary for the TV show, but still interesting to see play out, including the rapid growth of Bortus and Klyden’s child Topa, and how that relates to Kelly encountering her new love interest, Cassius, after walking away from Ed at the end of Season One.  As fans know, Cassius took on a bigger role in the second season of the show.

  

Meanwhile Ed and Gordon take off in a shuttle to attend a conference.  Gordon is bored with mundane ship tasks, specifically investigating a Magnitar.  And Ed can’t get Kelly out of his thoughts.  As they learn, sometimes it’s better to be bored.  They end up crash landing on a primitive planet, providing readers the adventure and exploration the show really excels at.  All the while writer Goodman carefully picks up that banter between Ed and Gordon that provides the backbone of the humor for the show.  All told, “New Beginnings” is a great start that will hopefully mean many more years of tie-in comics.

Take a look at a preview of the story, plus a sneak peek at the cover art to Issues #3 and #4, courtesy of Dark Horse Comics:

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Happy April!

Planet Comicon Kansas City wrapped its 2019 convention yesterday, another great show this time highlighting the event’s 20th anniversary.  We snapped several photographs of sights we’re sharing today as we wind down our coverage of this year’s show.


I snapped some photographs of a family in front of this great fire-breathing dragon.  Whenever I see a person taking photos of their family I offer to step in so everyone can be included.  How many people have photos of everyone in them except their mom?  This was another success.

We also caught up with several authors at the show, including…

… our pal Jason Arnett, writing and signing his books Evolver and A Map of the Problem.

And we met up with Geoff Habiger and Coy Kissee, enjoying their second year at the event, highlighting their books Wrath of the Fury Blade and Unremarkable.

As usual, there were lots of cosplayers at the show, especially compared to the first years of the show back in the 1990s when cosplay was a rarity.


Hard to beat this great Darkwing Duck.


This was a fantastic, fully lit-up Ghost Rider.

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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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Look for a more cinematic, episodic second season of The Orville coming your way, beginning tonight on Fox.  All the crew members are back, Seth MacFarlane as Captain Ed Mercer, Adrianne Palicki as Commander Grayson, Penny Johnson Jerald as Doctor Claire Finn, Scott Grimes as Lieutenant Gordon Malloy, Peter Macon as Lieutenant Commander Bortus, Halston Sage as Lieutenant Alara Kitan, J. Lee as Lieutenant Commander John LaMarr, and Mark Jackson as Isaac.

These series was nominated for and won several awards for its first season, including Best Original Score for Television from the International Film Music Critics Association for the music by Bruce Broughton, John Debney, Joel McNeely, and Andrew Cottee, and a Saturn Award for Best Science Fiction Television Series.

You’re going to want to set your DVR to record the before and after shows tonight and throughout the season to avoid missing episodes getting bumped by football coverage.

Here is the latest preview for season two of The Orville:

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Our San Diego Comic-Con coverage continues with Fox’s television series The Orville, which had both a panel and signing this year, along with featuring The Orville shuttle-themed PediCabs to cart visitors around the Gaslamp District and waterfront.  We have the panel video below, as well as the preview shown at the panel for Season 2.  Series star and executive producer Seth MacFarlane said fans can look forward to a Season 2 where “Every episode feels like a movie.”

Thanks to The Orville concept artist Lex Cassar, we (I and my wife, author and borg.com TV reviewer Elizabeth C. Bunce) had one of our best experiences at meeting the crew of a show.  Seeing that the standby line for The Orville signing had no hope of making it to the Fox booth (events often can run long and subsequent events get behind at SDCC), Cassar came out to hand out some of the SDCC-exclusive Planetary Union pins to those at the back of the line–a very kind and classy gesture to those standing for an hour and half.  Seeing me and Elizabeth in the Orville uniforms she created for the Con, he came back with a screen-used resin phaser for us to pose with.  He went back to the booth and brought back Jason Roberts, unit production manager, who brought Bortus’s egg from the series, plus another hero resin light-up phaser and light-up scanners, and we were able to get more photos with the crew and these great props (gorgeously detailed, realistic, and heavy!).

The Orville production crew and borg.com staff with screen-used props at San Diego Comic-Con.

Despite not getting the lottery for the signing, we got up close and Seth MacFarlane (Capt. Ed Mercer) said we looked great, Scott Grimes (Lt. Gordon Malloy) gave me a fist bump and had a quick chat with Elizabeth regarding the comfort of the uniform, J. Lee (Lt. Cmdr. John LaMarr) gave us a thumbs-up, and Penny Johnson Jerald (Dr. Claire Finn) blew kisses from the balcony.  Peter Macon (Lt. Cmdr. Bortus) chatted it up with everyone at the Fox booth.

Seth MacFarlane and Adrianne Palicki signing at the Fox Booth at Comic-Con.

Emmy-winning producer and The Orville executive producer and director Jon Cassar (and 24 series executive producer and director of Continuum and The Dead Zone among other things) and producer and film editor Tom Costantino were especially gracious and gave us some of the Union logo pins and a Union hat after The Orville interview show.

C.J. Bunce and Elizabeth C. Bunce at San Diego Comic-Con (photo by SDCC official staff photographer).

All a great payoff for Elizabeth’s time in interpreting and deconstructing the costumes with only photographs in The World of the Orville book as a guide, sourcing fabrics, creating patterns and sewing the final uniforms!  Comic-Con cosplay is in part about feedback to the studios. It’s also about showing your support for what you like–the driving theme of borg.com, too.  We loved Season 1 and want to see more of it, and want these creators to know.

The real McCoy–an Orville screen-used resin phaser.

So check out the new trailer for Season 2, plus footage from The Orville panel, followed by the interview at the Fox booth at the show:

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Last night the Academy of Science Fiction, Fantasy and Horror Films held the 44th annual Saturn Awards, honoring the best in science fiction, fantasy, horror, and other genres, held in Burbank, California.  Coming into last night’s presentation, Black Panther was nominated in 14 categories, Star Wars: The Last Jedi was nominated in 13 categories, and Blade Runner 2049 and The Shape of Water were each nominated in nine categories.  In television, The Walking Dead led the nominations with seven, followed by Star Trek: Discovery with five.  You can never predict who and what will win at the Saturn Awards, but you can be sure they will be very fandom-centric picks.

Black Panther led the night with four wins, for Best Comic-to-Motion Picture Release, Best Director (Ryan Coogler), Best Supporting Actress (Danai Gurira), and Best Make-up.  Star Wars: The Last Jedi followed with three wins, for Best Actor (Mark Hamill), Best Writing, and Best Editing.  In television, because of the Awards’ split between traditional TV shows and streaming shows, the expected suspects came out on top: The Flash and Marvel’s The Punisher as best superhero shows, and The Orville and Star Trek: Discovery each winning awards.  But the most wins was a tie, with three awards each for Better Call Saul and Twin Peaks: The Return.

Here are all the winners and nominees:

Movie Awards

Best Comic-to-Motion Picture Release
Winner:  Black Panther
Nominees:
Guardians of the Galaxy Vol. 2
Logan
Spider-Man: Homecoming
Thor: Ragnarok
Wonder Woman

Best Science Fiction Film Release
Winner:  Blade Runner 2049
Nominees:
Alien: Covenant
Life
Star Wars: The Last Jedi
Valerian and the City of a Thousand Planets
War for the Planet of the Apes

Best Fantasy Film Release
Winner:  The Shape of Water
Nominees:
Beauty and the Beast
Downsizing
Jumanji: Welcome to the Jungle
Kong: Skull Island
Paddington 2

Best Horror Film Release
Winner: Get Out
Nominees:
47 Meters Down
Annabelle: Creation
Better Watch Out
It
Mother!

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After the 1998 attempt to adapt the 1960s sci-fi series Lost in Space into a theatrical version, hope for a successful reboot was pretty slim.  The Netflix teaser for a new Lost in Space series two weeks ago didn’t give audiences much to go on, but a full-length trailer released this week may reveal just enough to pique sci-fi fan interest.  Nicely creepy sci-fi thriller music from composer Christopher Lennertz (Galavant, Agent Carter, Supernatural), slick new spacesuits by Oscar-winning costume designer Angus Strathie (Moulin Rouge, Deadpool, Aliens vs. Predator: Requiem), sweeping cinematography by Sam McCurdy (Merlin) and Joel Ransom (The X-Files, Continuum, Band of Brothers), movie level special effects, and a robot–a completely different robot from the original–with a sleek futuristic design.  And he speaks some familiar dialogue.  And what’s it about the cold of space–namely, winter parkas–that just draws us in every time?  Ten episodes–it’s on Netflix, so that really means we’re looking at a ten-hour sci-fi movie heading our way next month.

As for the robot, unlike in the original series he’s not a member of the crew, but he appears to have more of the role taken on later in the old series by famous Forbidden Planet and The Twilight Zone “guest star” Robby the Robot, a new encounter young Will Robinson discovered later in the series.  Robby was a Robotoid, a robot with the additional faculty of independent decision-making, regardless of programming.  So he wasn’t a borg, but something more than a robot.  Did the new series writers decide to combine the two robots into one?  Robby the Robot was the most famous sci-fi creation for generations of fans, so it makes sense that the new series will try to tie him in somehow.  But the classic B-9-M-3 robot was also a sci-fi icon.  The more humanoid look of the new robot looks a bit familiar.  Maybe he is just an advanced cousin of the robot Isaac from The Orville.  Nah.  The relationships between Will and the robot, and Will and Dr. Smith, were key to the original story, and look to be important again here.

So who’s in?

Molly Parker (Dexter, Deadwood) plays mom Maureen Robinson, Toby Stephens (Die Another Day, Space Cowboys) is dad John, and the kids are played by Taylor Russell (Falling Skies), Minda Sundwall (Freeheld), and Max Jenkins (Sense8).  Engineer Don West will be played by Ignacio Serricchio (Bones, The Young and the Restless).  And Parker Posey (Superman Returns, Best in Show) is the notorious Dr. Smith.

Here’s a new, better look at Netflix’s Lost in Space:

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Review by C.J. Bunce

Last year Fox’s science fiction series The Orville provided what many fans of sci-fi TV had been missing for the past decade: a rejection of a dystopian model of the future and a return to an optimistic outlook, a future where Earthlings succeed in their exploration of the universe.  Hands-on creator Seth MacFarlane and sci-fi royalty Brannon Braga, Jonathan Frakes, Robert Duncan McNeill, and even Jon Favreau and many other genre veterans created a new world full of real people, believable aliens, exquisitely designed ships and sets, and a 75-piece orchestra with the best music you can find on television.  In the old days of Hollywood, studios tried to give fans what they wanted to see.  Distancing itself from the new trend of laying on viewers quirky visions and forced constructs, the show instead unapologetically serves up what is frequently disparagingly called “fan service.”  In other words, MacFarlane is giving sci-fi fans what they want.  Fans of The Orville can marvel at the details of the production in a newly-released chronicle of the series, The World of The Orville Readers will walk away with a better understanding of why the series works: It’s a show by fans for fans, created by some of the best artists, artisans, writers, and actors around.

It’s pretty rare that any television series releases a companion book, let alone one that is published before the second season airs.  The World of The Orville covers the series from idea through concept art design, casting, art direction, make-up, costumes, prop design, and sound, up through the end of the season this past December.  The book is not just a compilation of concept art or film images, it’s a good mix of both, complete with explanatory text from across the several production departments.  Insight is provided from execs Brannon Braga, David A. Goodman, and Jason Clark, production designer Stephen J. Lineweaver, supervising producer Andre Bormanis, master visual effects veteran Rob Legato, effects supervisors Luke McDonald and Natasha Francis, concept designer Brandon Fayette, prop master Bryan Rodgers, display designer David Watkinson, construction coordinator Tony Lattanzio, makeup artist Howard Berger, music composer Bruce Broughton, and creator and actor Seth MacFarlane.  The book’s author Jeff Bond incorporates a good mix of behind the scenes photographs and text to provide a solid overview of the story path of season one.

Significant coverage is given of the ship The Orville itself, inside and out, including early concept art and alternative styles considered in arriving at the giant yacht that would make it to the screen.  Readers will get a look at costume designer Joseph A. Porro’s rejected designs, and various makeup designs attempted for key alien characters.  Ship designs, alien worlds, costumes and weapons, as well as a look at each key character and production set can be found here.

Check out some preview pages from The World of The Orville, courtesy of the publisher:

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It’s been one long year of great entertainment.  Before we wrap our coverage of 2017, it’s time for the fifth annual round of new honorees for the borg Hall of Fame.  We have plenty of honorees from 2017 films, plus many from past years, and a peek at some from the future.  You can always check out the updated borg Hall of Fame on our home page under “Know your borg.”

In anticipation of the 2017 film Logan, last year we added Old Man Logan, Laura/X-23, and cyborg-armed mercenary Donald Pierce.  We also added Scarlet Johansson’s character The Major, previewing 2017’s live-action film The Ghost in the Shell.

We didn’t get the big ballroom at our venue reserved early enough for the induction ceremony this year, so it limited us to tapping only 24 named characters into the revered Hall of Fame this year.


As with last year, we’re granting a few early entrances this year, first to Simone Missick’s badass cop Misty Knight, who is getting a borg arm for season two of Luke Cage in 2018.


And here is an early look at Josh Brolin’s Cable, from 2018’s Deadpool sequel.  The borg comic book character Cable was a first round honoree to the Hall, so this is just another update to the character.


Onto this year… Kingsman’s almost-a-Kingsman Charlie was thought to have been killed off in the first film.  But he was back in the 2017 film Kingsman: The Golden Circle, sporting cyborg components.


A host of new borgs–Replicants in Philip K. Dick’s novel Do Androids Dream of Electric Sheep?–returned to the big screen in Blade Runner 2049, including some new names and faces, like Ryan Gosling’s K

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Our borg.com Best of 2017 list continues today with the best in television.  If you missed it, check out our review of the Best Movies of 2017 here and the Kick-Ass Heroines of 2017 yesterday here.

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

Best Borg TV Series, Best TV BorgHumans (AMC). From the awakenings in the first episode of season 2, AMC’s Humans kicked in full throttle as the borg show to watch this year.  Continuing to explore what it means to be real and addressing the desire and need to overcome oppression, the show took ideas from Frankenstein and THX-1138 and everything in between to show us realities of life as a borg as it took the world from robotic cyborgs to sentience.  And this year’s best borg goes to all the Synths on the series, as each showed a different side to what a world full of cyborgs might be like.

Best Sci-fi TV Series, Best Soundtrack for TVThe Orville (Fox).   The Orville expanded on elements from across all sci-fi, like space battle sequences and planet flyovers using Star Wars-inspired camera angles (including real model ships, not just CGI), completely new and unique aliens (the only thing close to these can be found in Doctor Who), and a fantastic, triumphant musical score from Bruce Broughton.  A visually gorgeous show that took itself seriously more than trying to mock anything that came before it.  The science fiction series we’ve been waiting for since Star Trek Voyager ended.

Best Fantasy TV SeriesWynonna Earp (Syfy).  Wynonna Earp’s second season proved the first wasn’t a fluke.  The sharp-tongued, swaggering, tough-as-nails gunfighter, her sister, the sheriff, and the ghost of Doc Holliday added some new team members and some great supernatural villains, providing a series we couldn’t wait to get back to each week.  Wynonna’s handling of the Revenants and a transport back in time was even more fun while she managed her pregnancy.

Best Retro TV SeriesStranger Things (Netflix).  The only question after binge-watching the second season of Stranger Things was struggling to decide whether it was better than the first.   It had the same look and feel of its first season, but somehow the characterization was really amped up, the action more exciting, and the tension pretty much perfect.  Stranger Things really had it all–stars of our favorite 1980s movies, throwback references to video games, music, fashions, and the obscure like no other show–and with a second season that eclipsed the first, it proved it is the real deal.

After the cut, come back for more of our Best in Television 2017, including our pick for Best TV Series:

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