Season two of Family Guy marked a significant step forward for the animated sitcom, expanding upon the foundations laid in its initial run. While maintaining the show’s signature cutaway gags and irreverent humor, this season delivered more episodes and arguably funnier moments than its predecessor. Let’s delve into a retrospective look at Family Guy Season 2, examining each episode and reflecting on what made this season a memorable chapter in the Griffin family saga.
Peter Griffin looking directly at the viewer with a slightly confused expression, text overlay “Quick Thoughts on Family Guy Season 2 (1999-2000)”
Episode Reviews: A Journey Through Season 2
“Peter, Peter, Caviar Eater”: A Classy Start (7/10)
The season premiere, “Peter, Peter, Caviar Eater,” kicks things off with Peter attempting to embrace a more sophisticated lifestyle. This episode is arguably stronger than the Season 1 openers, featuring a catchy musical number and a plot that unfolds naturally within a confined setting. Exploring Peter and Lois’s backstory adds depth, although the storyline occasionally leans into clichés, and Brian’s methods to “class up” Peter are somewhat extreme. The resolution feels a bit abrupt, but overall, it’s an enjoyable and funnier start compared to the first season’s offerings.
“Holy Crud”: Faith and Fatherhood (5/10)
“Holy Crud” introduces Peter’s father, a character who, despite being intended as a commentary on religious extremism, doesn’t quite resonate. While the episode touches on themes of faith and difficult personalities, Peter’s dad isn’t particularly engaging. The Pope’s appearance towards the end attempts to provide closure, but it feels rushed. Despite some redeeming aspects like the parody of father-son TV tropes and Stewie’s morbid fascination with the Bible, this episode falls somewhat flat.
“Da Boom”: Y2K Apocalypse in Quahog (8/10)
“Da Boom” embodies the quirky and often unpredictable nature that Family Guy is known for. While the Y2K scare plotline firmly dates the episode, and some pop culture references may not have aged well, the sheer absurdity of the Griffin family’s apocalyptic survival plan makes it memorable. The infamous chicken fight, consuming a significant portion of the runtime, is a hallmark of the show’s over-the-top humor. This episode stands out for its bizarre premise and speculative farce, a testament to the show’s willingness to venture into strange territory.
“Brian in Love”: Canine Affection (7/10)
Entering the 2000s, “Brian in Love” continues the trend of Brian-centric episodes, exploring the humorous absurdity of a dog’s romantic inclinations. This episode marks the beginning of Brian’s recurring infatuation with Lois, a joke that, while brief here, sets a precedent for future storylines. The humor is consistently strong, with cutaway gags delivering the expected laughs, even if they don’t directly advance the plot.
“Love Thy Trophy”: Community and Creepiness (6/10)
“Love Thy Trophy” attempts a feel-good narrative about community unity on Spooner Street, albeit after the residents have already collaborated on a parade float. The characters’ inherent flaws sometimes make it difficult to fully embrace the unity theme. Quagmire’s behavior starts to veer into unsettling territory. The Meg subplot is less engaging until Stewie’s antics in foster care inject some much-needed humor, reinforcing his status as a breakout character.
“Death is a Female Dog”: Mortality and Mayhem (6/10)
Despite its popularity among fans, “Death is a Female Dog” doesn’t quite reach extraordinary heights. Norm MacDonald’s portrayal of Death is commendable, but the episode’s exploration of a world without mortality in Quahog feels somewhat underdeveloped. The concept has potential for deeper exploration, but the episode only touches on the surface of the consequences.
“The King is Dead”: Stage Fright and Marital Discord (5/10)
“The King is Dead” takes a turn towards the unpleasant, with Lois’s attempt to direct “The King and I” being constantly sabotaged by Peter. The episode highlights the strained dynamic between Peter and Lois, making their supposed marital happiness questionable. While Peter’s eventual play provides some comedic relief, the overall narrative is not particularly enjoyable.
“I Am Peter, Hear Me Roar”: Gender and Gags (7/10)
“I Am Peter, Hear Me Roar” delves into potentially sensitive territory with Peter’s sexist behavior leading him to a women’s retreat and a temporary belief that he is a woman at heart. Despite the potentially charged subject matter, the episode delivers its share of outlandish jokes. While one particular gag in Act 3 might be jarring, the episode ultimately provides a satisfying payoff. The episode’s portrayal of gender dynamics might elicit mixed reactions, but hopefully, not all negative.
“If I’m Dyin’, I’m Lyin'”: Faith-Based Foolishness (4/10)
Chris-centric episodes in Season 2 haven’t been particularly strong, and “If I’m Dyin’, I’m Lyin'” continues this trend. The episode focuses on Peter’s unlikeable actions and undeserved rewards, culminating in a cult following. While the plagues of Exodus bring about a change of heart, Peter avoids any real comeuppance. Furthermore, intrusive TV parodies detract from the episode’s pacing and potential for a stronger ending.
“Running Mates”: Politics and Pet Peeves (6/10)
“Running Mates” is a more cohesive episode, weaving together various plot points, although it revisits the strained Peter and Lois marriage trope. While the marital conflict is becoming repetitive, the episode, viewed in isolation, is reasonably funny. As a possible Season 1 holdover, the animation might appear slightly rougher, and the focus on the A-plot is less engaging compared to Stewie’s brief but enjoyable subplot.
“A Picture is Worth 1000 Bucks”: New York City Shenanigans (8/10)
“A Picture is Worth 1000 Bucks” is arguably the strongest Chris episode to date and a highlight of Season 2. Setting the Griffins in New York City seems to have unleashed the writers’ creativity, resulting in a joke-dense episode. The plot, while humorous, has a clear edge, with Peter exploiting his children for personal gain in the Big Apple. While the episode features a great musical number, it also marks a turning point in Meg’s increasingly unfortunate treatment within the show.
“Fifteen Minutes of Shame”: Trends and Tribulations (6/10)
“Fifteen Minutes of Shame” reflects emerging trends in the show, including disposable one-off character deaths and cringe-inducing Meg humiliation. However, it also introduces Mayor Adam West and Stewie’s more flamboyant side, presenting a mixed bag of elements. The episode’s story has potential, but the humor doesn’t fully capitalize on it. Recycling a cutaway gag from the pilot suggests a slight dip in creative freshness.
“Road to Rhode Island”: A Canine and Baby Adventure (9/10)
“Road to Rhode Island” marks the beginning of the beloved “Road to” episode series and sets a high standard. The episode delves into Brian’s backstory, exploring his origins and how they influence his personality. While Family Guy‘s attempts at emotional moments can be hit-or-miss, Brian and Stewie’s journey home to Rhode Island feels genuinely heartwarming. The episode is consistently funny and features a surprisingly dark and shocking subplot.
“Let’s Go to the Hop”: Frogs and Teenage Disguises (7/10)
“Let’s Go to the Hop” is defined by its two main plotlines: the infamous frog-licking incident and Peter’s undercover stint at Meg’s high school. Both plots, while distinct, weave in and out of each other, maintaining an entertaining pace. Despite Peter’s increasingly bizarre behavior in his teenage persona, the episode manages to end on a positive note, a quality that Family Guy sometimes overlooks, but crucial for audience satisfaction.
“Dangit Janet”: Romance and Retail (5/10)
“Dangit Janet” is an overall average episode. The subplot, potentially controversial in its twists and turns when viewed through a 2000s lens, doesn’t particularly resonate. A joke about a black market supermarket is a highlight. The main plot involving Stewie’s romantic pursuits feels somewhat uninspired. While the featured song is pleasant, the romance itself is not particularly engaging.
“There’s Something About Paulie”: Mafia Matters (6/10)
“There’s Something About Paulie” deviates from typical Family Guy fare, offering a surprisingly serious narrative. While not as overtly comedic, the story about the mafia is well-executed. The toned-down humor is perhaps fitting for the subject matter. There are still humorous moments, such as the shady car salesman and Peter’s singular favor from the Don, but the episode leans towards a more serious tone for the show.
“He’s Too Sexy For His Fat”: Body Image and “Normies” (7/10)
“He’s Too Sexy For His Fat” tackles the sensitive topic of obesity with entertaining and relatively gentle humor. Chris’s weight loss struggles are portrayed with understanding, not condemnation. Peter’s plastic surgery storyline, while outlandish, leads to a humorous resolution. Stewie’s jokes are characteristically amusing. This episode also notably popularized the term “normies,” adding a cultural touchstone to its legacy.
“E. Peterbus Unnum”: A Nation of Peter (7/10)
“E. Peterbus Unnum” foreshadows the later Kickassia project with its satirical premise. Peter discovers his house is not officially part of the US and subsequently creates his own micronation, navigating the absurdities of governance. The episode features a “U Can’t Touch This” parody and maintains a consistent sense of humor throughout, with the exception of a slightly off-key taffy gag. It’s one of Family Guy‘s closest forays into genuine satire, showcasing Peter’s rapid descent into power-hungry leadership, albeit predictably.
“The Story on Page One”: Gossip and Guest Stars (6/10)
“The Story on Page One” features a guest appearance by the late Luke Perry in an episode centered around rumors of his character being gay. Like many older Family Guy episodes, the narrative operates in an exaggerated reality, but the jokes could be sharper, and the logic slightly tighter. Stewie’s subplot, involving him manipulating Chris to acquire weaponry, is once again a highlight, culminating in an entertaining rant.
“Wasted Talent”: Piano Prowess and Leg Humor (7/10)
“Wasted Talent” blends a Willy Wonka parody with a plot about piano playing, resulting in a less overtly outrageous episode compared to the show’s usual standards. However, both storylines possess an unpredictable edge. While the plot might be comparable to a Simpsons episode in its mildness, the jokes retain an adult sensibility. The infamous leg scene, often memed, is arguably well-timed, lasting just long enough to be genuinely funny without overstaying its welcome.
“Fore, Father”: Golf and Family Friction (5/10)
“Fore, Father” stands out as one of the weaker episodes of the season, not due to offensiveness, but rather a lack of consistent humor. While more story-driven than usual, two of the three storylines feel underdeveloped and anticlimactic. Quagmire’s characterization becomes increasingly off-putting. The main plot involving Chris feels overshadowed by other characters. Despite its shortcomings, it’s far from Chris’s worst episode.
Final Thoughts on Family Guy Season 2
Season 2 of Family Guy represents a step towards a genuinely strong season of television. While the animation style in the second production block becomes more sterile, a stylistic shift that would become more pronounced in later seasons, and the characters begin their evolution into arguably less likable versions of themselves, the storylines exhibit greater potential and are more effectively realized. The jokes are consistently funnier than in Season 1. While perhaps not as boundary-pushing as it would later become, Season 2 still delivers moments of dark humor, offering enough edge to keep viewers engaged.
Overall Season Rating: 6.4/10
