The Orville

Discovery isn't the only Star Trek show on TV this fall -- at least, in spirit anyway. September saw the premiere of Seth McFarlane's Trek-clone The Orville. Orville stumbled out of the gates at first with a premiere episode that I really didn't like. But it's been slowly getting better -- or at least, less bad, with each of the first few episodes being substantially better (though still not entirely effective) than the premiere.

A lot of this has to do with a shift in the show's tone. The show was advertised and marketed as a comedy (basically, a televised version of Galaxy Quest), and I went into the first episode with a comedic mindset, and that premiere episode definitely went out of its way to try to tell jokes. That was a problem because the jokes (and by extension the show) just wasn't funny. The focus on comedy and gags also detracted from the serious drama, which was poorly-written, sloppily-executed, and which revolved around a dumb sci-fi MacGuffin. Further, much of the comedy involved stupid pop culture references which are going to quickly become dated; thus, hurting the show's lasting re-watchability if it ever becomes good enough to warrant rewatching.

If you think Star Trek needs more dick and fart jokes --
or more dogs licking their balls in the background, then The Orville is for you.

The problem is that MacFarlane just isn't that good at writing jokes. It pains me to say this because I was a huge fan of Family Guy when it first premiered, and I'll still defend the quality of those first two seasons. But MacFarlane seems to be completely arrogant in his own joke-writing ability, while simultaneously completely dismissive of the audience's ability to grasp the jokes that he seems to think are much more complex and clever than they actually are. Most of these jokes boil down to being fart or sex jokes, and very few work on more than the most juvenile and immature of levels. Perhaps the best example of this is a joke in which the Captain Mercer puts a distress call on the viewscreen. The distressed scientist has a dog in the background who spends the entire conversation licking his balls. It was mildly funny due to its relative subtlety. Yeah, I guess that probably happened occasionally to Captain Archer in Enterprise. Ha ha. But then as soon as the conversation was over, the viewscreen flicks off, and the navigator and helmsman say "Hey, did you see that dog licking his balls?" What little subtlety is gone; joke ruined!

It's like McFarlane thinks he has to remind the audience that there was a joke, and that you should have been laughing, even though the joke wasn't that funny to begin with. This is the same problem that I've always had with laugh tracks in sitcoms: all they do is remind me that the jokes aren't funny. Except McFarlane doesn't use a laugh track, he writes the "hey, there was a joke here. Did you get the joke?" into the script!

"Command Performance" had humor more appropriate for its sci-fi set-up and relationship drama.

The next two episodes, however, seemed to plant their feet more firmly in the territory of genuine sci-fi concepts and character drama, and the show was stronger for it. The execution, however, is kind of hit-or-miss...

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Moana movie poster

I saw Moana in theaters back in December. My girlfriend and I took our six-year-old to see it. I had meant to review it at the time, but it sort of slipped through the cracks of a busy holiday schedule. Well, now the movie is available for digital viewing and is going to be released on home video on March 7th. I'm already having to sit through it again, and will probably have to sit through it some more, and the six-year-old has been insisting on listening to the soundtrack in the car whenever we've driven anywhere over the past month or two. And you know what? I don't have a problem with it, because I really like this movie (and its soundtrack).

In the meantime, I've talked about this movie a lot. Everyone seems to like it, but I've found that I seem to like it for reasons other than the people who I've spoken to, which is why I decided to go ahead and write the review.

Most people seem to enjoy Moana for its progressive feminist messages. This is certainly true. She is the heir to her village's chiefdom, and this fact is taken completely for granted by the community. No one seems to question her ability to lead or her claim to authority based on her gender. Her ascendancy to authority (or a villain trying to prevent that ascendancy) isn't the central conflict of the movie. She isn't looking to marry in order to legitimize her claim, nor is anybody trying to marry her in order to usurp her throne. The idea of a woman being chief seems completely normalized in this society. There's no reason to believe that this village hasn't already had female chiefs (perhaps Moana's grandmother was a chief?), nor does anyone seem to think it would be unusual for the village to have a female chief in the future. The dispute between herself and her father are more ideological and practical, as she's drawn to the ocean by her desire to explore, while her father is committed to remaining on the island where it is presumably safe.

Moana - convincing Maui
Moana is an excellent female role model, though at the cost of Maui being reduced to a narcissistic jerk.

There's also no silly or forced romance subplot, which is a huge deviation from the norm for the Disney princess archetype (and Maui even jokes that Moana is a princess). There's no romantic or sexual tension between Moana and Maui, nor does Moana feel any pressure to find love in order to make herself whole or validate her authority as village chief. She is a completely independent person. It is a shame that her strength as a character has to come at the expense of Maui (a beloved figure in the mythology of Polynesia) being portrayed as narcissistic jerk for most of the movie. But he does redeem himself at the end and is still a likable character.

The feminist and female empowerment messages are all well and good. But I think that my favorite element of the movie is that there's no traditional villain. There's a few incidental antagonists, but no central villain who directly opposes the heroes throughout the movie. There's no Maleficent, no Scar, no Jafaar, no Prince Hans. The big bad monster at the end of the movie is the closest thing the film has to an overarching villain, but even that isn't so much a genuine villain, as it is simply a misunderstood force of nature (and a rather obvious metaphor for human-induced climate change and ecological destruction).

Moana - Te Ka
There is no true, singular villain. The big, bad monster at the end is more a misunderstood force of nature.

Moana's central conflicts are person versus self and person versus nature...

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Welcome to Mega Bears Fan's blog, and thanks for visiting! This blog is mostly dedicated to game reviews, strategies, and analysis of my favorite games. I also talk about my other interests, like football, science and technology, movies, and so on. Feel free to read more about the blog.

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