Season 7 of Family Guy often marks a point of contention for long-time fans, particularly within the revival era of the show. While opinions on the seasons following its initial cancellation have always been varied, Season 7 seems to have garnered a consistently critical reception. For someone who has found fault with episodes across all seasons, approaching Family Guy Season 7 with caution is understandable. However, maintaining middling expectations might be the best approach, hoping for those signature Family Guy moments amidst the expected missteps. Let’s delve into a closer look at each episode to see if this season truly deserves its reputation.
Image depicting the Family Guy Season 7 title card, highlighting the mixed fan reactions and critical reception surrounding this season of the animated sitcom.
Episode Reviews: A Deep Dive into Family Guy Season 7
Love, Blactually (Season 7 Episode 1)
Season 7 starts off on shaky ground with “Love, Blactually.” This episode unfortunately doesn’t present the show’s strongest foot forward, especially when it comes to Brian’s romantic storylines, which have arguably declined in quality over time. The central romance feels forced and unbelievable. Brian’s character seems to lack agency, passively following romantic advice from Stewie, a baby with a complex personality. Adding a sequel plot to a storyline from three years prior without meaningfully developing it further weakens the episode. Furthermore, the humor in “Love, Blactually” falls flat, with few jokes landing effectively.
Rating: 3/10
I Dream of Jesus (Season 7 Episode 2)
“I Dream of Jesus” is notable for being the origin of the infamous “Surfin’ Bird” sequence, a recurring gag that unexpectedly dominates a significant portion of the episode. While the sheer absurdity of this running joke has a certain comedic charm, the rest of the episode struggles to keep pace. The portrayal of Jesus feels somewhat irreverent, treating him in a manner similar to Death – just another character Peter encounters. The episode’s attempts at celebrity satire come across as lazy, often resorting to simply telling the audience to dislike certain figures rather than crafting genuine humor from their personas. Interestingly, this episode was written by Brian Scully, a former Simpsons writer, and Peter’s characterization here does lean towards a Homer Simpson-esque portrayal more than usual.
Rating: 5/10
Road to Germany (Season 7 Episode 3)
The “Road To…” episodes are typically highlights of Family Guy, but “Road to Germany” diverges from the emotional depth and varied locales of its predecessors. This installment marks the beginning of Brian and Stewie’s sci-fi adventures, introducing the time machine as a regular plot device. Setting the episode in Europe, 1939, immediately raises questions about taste and sensitivity, a recurring concern for viewers who have followed the show’s six previous seasons. The humor is a mixed bag, with some jokes hitting the mark while others feel too obvious or insensitive. However, the action sequences provide some level of entertainment and elevate the episode slightly.
Rating: 6/10
Baby Not On Board (Season 7 Episode 4)
Following “Road to Germany,” “Baby Not On Board” is another travel-themed episode, but it unfortunately falls short of its predecessor. Despite a few chuckles, the episode is largely boring and feels carelessly constructed. As expected, some jokes push boundaries, but the central plot point is illogical. The premise of Peter and Lois being days away from home before realizing they left Stewie behind in New York, a short drive from Rhode Island, strains credibility. This plot hole, likely pointed out by many Family Guy viewers, contributes to the episode’s overall feeling of carelessness and lack of attention to detail.
Rating: 4/10
The Man With Two Brians (Season 7 Episode 5)
“The Man With Two Brians” stands out as a surprisingly enjoyable episode, despite its potentially unsettling premise. The writers effectively portray New Brian as cloyingly perfect, yet maintain an element of mystery regarding his true intentions within the Griffin family. The references to older Family Guy jokes feel natural within the narrative, a welcome change from forced callbacks. The episode flirts with meta-commentary on the show’s need to be edgy and dark but seems to temper this approach, reserving the darker elements for the beginning and end. The dark ending, in particular, offers a refreshing and unexpected conclusion.
Rating: 7/10
Tales of a Third Grade Nothing (Season 7 Episode 6)
“Tales of a Third Grade Nothing” feels like a case of too many ideas crammed into a single 22-minute episode. With renewed season orders, the show had the opportunity to develop its comedic concepts more fully. However, this episode suffers from underdeveloped storylines. Peter’s executive storyline, his return to third grade, and Brian and Stewie’s club adventure with Frank Sinatra Jr. all feel rushed and lacking in depth. While the episode doesn’t provoke anger, it lacks laugh-out-loud moments and settles into a mediocre rating.
Rating: 5/10
Ocean’s Three and a Half (Season 7 Episode 7)
“Ocean’s Three and a Half” presents a significant status quo change: Bonnie’s decade-long pregnancy finally concludes with the birth of Susie. However, the episode’s focus is strangely diverted to Joe’s need to take a part-time job at The Drunken Clam to cover a $20,000 hospital bill, despite his police officer salary. This plot point is illogical and detracts from the more compelling storyline of Bonnie’s childbirth. While the heist plot has potential, it’s introduced too late in the episode. Among the longer jokes, Stewie’s music video is a highlight, but the Christian Bale rant exemplifies the type of humor that likely drove viewers away during this era of Family Guy.
Rating: 5/10
Family Gay (Season 7 Episode 8)
“Family Gay” is a significant low point in Season 7. While the subject matter itself isn’t inherently offensive, the jokes surrounding it are lazy and unoriginal. Contextually, the episode feels caught between eras, too early to be genuinely progressive in its portrayal of LGBTQ+ themes and too late to rely on outdated gay stereotypes. The plot lacks focus and devolves into a series of groan-inducing jokes. Unless viewers are particularly invested in LGBTQ+ rights, it’s unlikely to even elicit strong negative reactions, instead simply embodying the kind of mindless pop culture Family Guy often satirizes.
Rating: 2/10
The Juice is Loose (Season 7 Episode 9)
Season 7’s pretentiousness becomes more pronounced in “The Juice is Loose.” The episode’s premise, centered around O.J. Simpson living with the Griffins, is awkward and uncomfortable. The writers fail to offer any clever or insightful commentary, instead creating a bizarre and unsettling narrative without considering its potential reception. Adding to the strangeness, the episode features the longest Conway Twitty cutaway gag to date, suggesting a lack of effort or focus on the main storyline, further puzzling the decision to pursue such a questionable concept.
Rating: 3/10
FOX-y Lady (Season 7 Episode 10)
“FOX-y Lady” represents a slight improvement over the preceding episodes but still feels underwhelming. While FOX News provides ample material for satire, the show’s approach feels surprisingly tame in retrospect. The bizarre ending involving Fred Savage offers a minor highlight. The subplot of Peter creating his own cartoon for FOX, satirizing the network’s tendency to greenlight any idea, falls flat. Compared to meta-episodes in other shows, “FOX-y Lady” lacks depth and comedic punch, with Peter’s cartoon being merely “crummy” as the extent of the joke.
Rating: 5/10
Not All Dogs Go to Heaven (Season 7 Episode 11)
“Not All Dogs Go to Heaven” is another example of on-the-nose social commentary, lacking genuine satire and instead functioning as a mouthpiece for the writers’ views. Brian’s atheism is presented through outrage at Meg’s conversion to Christianity by a celebrity. While Brian articulates his existential reasoning, it’s intertwined with insults directed at Meg’s appearance. The episode’s attempt to promote atheism feels hypocritical, especially within the context of a lowbrow animated sitcom. Even viewers who share Brian’s liberal atheist views might question the appropriateness of delivering political and religious messages in this manner. The Star Trek subplot offers some amusement, particularly for fans of the franchise.
Rating: 5/10
420 (Season 7 Episode 12)
“420” is yet another mouthpiece episode, contributing to a string of socially conscious but comedically lacking installments. Brian’s character increasingly resembles a caricature of a preachy activist. The episode’s opening scene, featuring Peter killing a cat, is jarring and unfunny, taking up a significant portion of the act to introduce a pro-marijuana social commentary. While the show’s attempt to address more serious topics is acknowledged, the execution feels heavy-handed and detracts from the humor.
Rating: 4/10
Stew-Roids (Season 7 Episode 13)
“Stew-Roids” highlights a growing issue in Family Guy where characters’ actions become increasingly detached from normal human behavior, yielding predictable negative results. The episode features more fourth-wall breaks than usual, and disturbing actions like Peter injecting Stewie with steroids and Chris throwing a spear at Meg are treated with increasing indifference. While both plots have conventional progressions, they lack meaningfulness. Many jokes are gratuitously cruel, with only occasional moments of humor. The episode feels like a low-effort production, which, in some ways, is a relief given the increasingly questionable content.
Rating: 4/10
We Love You, Conrad (Season 7 Episode 14)
“We Love You, Conrad” is a surprisingly positive entry in Season 7. The Jillian arc concludes on a positive note, and the humor and guest stars are effective. The concept of Lauren Conrad secretly being a genius provides comedic potential, and Stewie is more helpful and humorous than in previous Jillian-centric episodes. The episode avoids feeling lazy or pretentious, offering a fun and lighthearted experience reminiscent of Seasons 5 or 6 in tone. Despite technically being a holdover from Season 6 production, it captures a more classic Family Guy feel.
Rating: 7/10
Three Kings (Season 7 Episode 15)
“Three Kings,” an anthology episode centered around Stephen King’s works, may leave viewers unfamiliar with King’s oeuvre feeling confused and out of the loop. Similar to the show’s first anthology episode in Season 3, “Three Kings” relies on references that might not resonate with all viewers. While the jokes are arguably better than in the Season 3 anthology, the stories themselves are thinner, even by Family Guy standards. This could be attributed to time constraints or an intentional lampooning of King’s writing style. The episode may appeal to Stephen King fans but is otherwise inoffensive and unremarkable.
Rating: 5/10
Peter’s Progress (Season 7 Episode 16)
“Peter’s Progress” concludes Season 7 with a slightly more competent narrative. While the revelation of Peter’s ancestor founding Quahog is nonsensical, it aligns with the show’s disregard for consistent canon. The plot and jokes are adequate, with parodies of “Up Next banner” tropes being a highlight. The historical setting, while not particularly appealing, is serviceable. After a season of often miserable episodes, “Peter’s Progress” provides a relatively competent conclusion, ending with frivolous, non-canon humor.
Rating: 6/10
Overall Season 7 Assessment
Season 7 of Family Guy is a season of noticeable decline. The number of weak episodes increases significantly, and even the better episodes exhibit a sense of creative fatigue. The show seems to prioritize shock value and social commentary over genuine humor, resulting in episodes that feel forced and inconsistent. While there are still funny moments scattered throughout, Family Guy Season 7 largely feels tired and lacks the effortless comedic energy of earlier seasons. The growing cynicism behind the humor is particularly frustrating, as the show has demonstrated its capacity for both shock and meaningfulness when driven by genuine creative impulse rather than obligation.
Season Ranking (according to the original reviewer): 3 > 2 > 4 > 1 > 6 > 5 > 7
