Family Guy’s third season often lands in discussions about the show’s golden age, nestled between its initial run and its triumphant return. Aired after the first cancellation, yet before the show’s true resurgence, Season 3 holds a unique spot. Many fans consider the first three seasons to represent peak Family Guy, a period of sharp wit and boundary-pushing humor. But does Season 3 truly live up to this “classic era” reputation, or are there signs of inconsistency? Let’s delve into a detailed look at each episode to determine if Season 3 maintains the show’s early brilliance.
Opening the season is “The Thin Blue Line,” an episode that sets a slightly darker tone compared to the season premieres prior. Brian’s storyline takes a surprising turn as he grapples with coke addiction, reflecting a move towards more adult themes typical of comedy at the time. While the narrative unfolds through a series of shorter plot points, lacking some of the depth of previous episodes, it establishes a clear character arc across a two-part story. The humor lands, but the episodic nature feels a bit less impactful overall, making it a decent but not standout start.
The two-part structure continues immediately with “Brian Does Hollywood,” effectively concluding the storyline begun in the premiere. Brian’s foray into adult films provides a risqué backdrop for the humor, and this episode feels more developed and funnier than its predecessor. While Jasper’s character feels somewhat disposable, and Stewie’s subplot could benefit from more development, the “travel episode” format allows for the surreal humor Family Guy excels at to shine. It’s a step up in quality and entertainment.
“Mr. Griffin Goes to Washington” shifts focus to Peter’s antics and brings a mixed bag of reactions. The premise of Peter inadvertently becoming a lobbyist against the tobacco industry is somewhat strained, particularly for those accustomed to Peter’s usual lack of awareness. While there are memorable jokes and moments of classic Family Guy tastelessness, the episode feels uneven. Peter’s delayed concern about the cigarette company’s influence seems out of character, making it less cohesive despite some comedic highlights.
Returning to form, “One if By Clam, Two if By Sea” is a strong episode that heavily relies on British humor, which proves to be a comedic goldmine for many. The humor is sharp and quick-paced, regardless of how off-color the jokes might be. This episode also presents a more serious plotline, seeing Peter in jail for the first time since the pilot, but the prison jokes are handled with amusing absurdity rather than grimness. Stewie’s subplot adds another layer of enjoyment, sparking hope for the return of characters like Eliza in future narratives.
“And the Wiener Is…” follows the familiar pattern of strong jokes but a weaker overall story. The central theme of a son surpassing his father in a skill is present, but the narrative feels scattered and struggles to reach a satisfying conclusion. However, the B-plot, where Lois encourages Meg to retaliate after being pranked, takes a surprisingly dark turn. It’s a moment that pushes beyond typical Family Guy boundaries, creating a sense of unease that stands out even within the show’s often edgy humor.
“Death Lives” marks a welcome return for Death, now voiced by Adam Carolla, who brings a distinct, yet fitting, interpretation to the character. This episode shines by adding depth to Peter’s relationship with Lois, showcasing his past love and current complacency. Through flashbacks, it also explores the origins of Peter’s friendships with Quagmire and Cleveland, humanizing him in ways that are genuinely engaging. While these deeper character moments might be fleeting in the grand scheme of Family Guy, they are appreciated when they appear.
However, not all episodes hit the mark. “Lethal Weapons” is a significant low point. The humor largely misses, with only a brief moment about budget cuts eliciting a laugh. The core plot, involving New Yorkers invading Quahog and causing Lois to become violent, leading to a chaotic domestic situation, is simply unpleasant. Even the fight choreography, typically not a focus in Family Guy, is notably poor, making the episode a generally unenjoyable experience.
Following the low, “The Kiss Seen Around the World” is a moderate improvement. The jokes are decent, and the story, while touching on the serious topic of teenage self-harm, serves as a cautionary tale about media influence. Its message about not letting media dictate emotions remains relevant, particularly in the digital age. This episode is also notable for a minor animation change: Peter is drawn without eyebrows for the first time, signaling subtle shifts in the show’s visual style.
“Mr. Saturday Knight” showcases Family Guy’s ability to transition from serious to absurd, moving from Mr. Weed’s death to a renaissance fair joust. The show acknowledges the abruptness of the plot shift with a self-aware joke, but the fact that Family Guy is willing to kill off a character who impacts the status quo is noteworthy. While Mr. Weed isn’t particularly missed, the episode dedicates effort to his send-off. The renaissance fair subplot provides enough humor to balance the heavier plot element, even if the two storylines are loosely connected.
“A Fish Out of Water” is another enjoyable episode, although less memorable in specific details. Both the main plot and subplot offer sufficient stakes and character engagement, making it one of the funnier episodes of the season. The Tom Green cutaway gag is particularly well-executed, and Stewie’s Pictionary scene with new homeowners is amusing. The episode also demonstrates Family Guy’s capacity for dark humor, often catching viewers off guard with unexpected punchlines.
“Emission Impossible” takes a bizarre turn with a “Fantastic Voyage” parody within a family sitcom context. This episode is notably crude, especially concerning Stewie’s destination. The labor scene is particularly intense, amplified by Peter’s involvement. It also introduces Bertram, Stewie’s half-brother and nemesis, voiced memorably by Wallace Shawn, making a strong first impression even before his birth.
“To Love and Die in Dixie” is an episode of fluctuating quality. While the first and third acts are solid, the second act feels like a collection of rural jokes, some falling flat. However, a running gag involving a raccoon surprisingly becomes increasingly funny. The FBI odd couple subplot is intriguing but feels underdeveloped, suggesting the episode juggled too many ideas.
“Screwed the Pooch” is less favored, particularly for its focus on Carter Pewterschmidt and his predictable dynamic with Peter. The attempts at lampooning Michael Eisner and Bill Gates fall short of comedic impact. The concept of Brian succumbing to animal instincts while maintaining human thought is interesting but lacks tactful execution. The plot attempts a complex web of consequences towards the end but feels unprepared for its own complexity.
“Peter Griffin: Husband, Father… Brother?” introduces a significant and somewhat controversial plot point: Peter’s discovery of Black ancestry. This revelation becomes a vehicle for both insightful commentary and stereotypical humor, often within the same scene. However, it does raise thought-provoking questions beyond simple jokes. Stewie’s subplot involving cheerleading elicits humor, though some jokes lean towards the creepy side. This episode suggests Family Guy is evolving, though still far from its modern form, the pieces of its later identity are beginning to emerge.
“Ready, Willing and Disabled” is a highlight, despite some potentially insensitive jokes about the Special Olympics. Joe Swanson’s character arc is surprisingly relatable and engaging, and Peter’s actions, while rash, are somewhat understandable within his character. The episode is genuinely funny, with more layered jokes than usual. The subplot about the children fighting over money could have had a stronger resolution, but the humor derived from it is still effective.
“A Very Special Family Guy Freakin’ Christmas” demonstrates Family Guy’s early talent for holiday specials. It effectively captures the frustrations of parents during Christmas, dealing with vices and financial pressures to create a happy holiday. It leans more into “Christmas fear” than cheer, and benefits from Stewie still being portrayed as an evil baby, allowing for dark and witty holiday humor.
“Brian Wallows and Peter’s Swallows” stands out as a season highlight and a fan favorite. Showcasing Seth MacFarlane’s appreciation for mid-20th-century radio plays and musicals, it extracts genuine emotion and nuance from Brian’s relationship with Pearl. Pearl’s fate is genuinely moving, and the accompanying song is exceptional. Peter’s subplot, dealing with letting go of newfound friends, is equally well-crafted. This episode serves as a strong counter-argument to anyone dismissing Family Guy’s early quality.
“From Method to Madness” presents two decent scenarios handled adequately, but not exceptionally. Brian’s initial storyline abruptly fades, which is unusual. However, jokes about nudists push the boundaries of TV-14 ratings. Stewie and Olivia’s subplot features a memorable song, though some gags run slightly too long. While not a standout episode, it has its moments.
“Stuck Together, Torn Apart” uses the cliché of being handcuffed together, but Family Guy’s take, focusing on Brian and Stewie, delivers rapid-fire jokes, eliciting reactions if not always outright laughter. The main plot, while also cliché, is made forgivable by the Family Guy spin. The police van subplot, though brief, contains some of the episode’s best humor, making the final resolution slightly less impactful in comparison.
“Road to Europe” isn’t quite as strong as “Road to Rhode Island,” but still has merit. Stewie’s storyline is surprisingly poignant, depicting a sad aspect of childhood in a shocking yet humorous way. It could even offer a relatable moment for some viewers, if not for the typically edgy Family Guy elements. The subplot involving Peter and Lois at a Kiss concert offers enjoyable moments, though some reliance on stereotype humor is present, it doesn’t significantly detract from the episode.
“Family Guy Viewer Mail No. 1” is a mixed-bag anthology episode. It lacks a cohesive theme, feeling more like a collection of fan-submitted ideas. “No Bones About It” is the weakest segment, lacking sense and humor. “Supergriffins,” deconstructing superhero responsibility, is a highlight. “Lil’ Griffins” falls in the middle, relying on parody that may not resonate with all viewers but is understandable in its comedic intent.
Concluding the season, “When You Wish Upon a Weinstein” is notable for its initial controversy and delayed airing. While it does contain jokes about Jewish stereotypes, it mostly portrays Peter’s misguided perceptions rather than endorsing harmful stereotypes. Viewed through this lens, the humor becomes more palatable. The episode is generally well-received, though the plot becomes somewhat scattered in its final act. It served as the sole new episode for a period, which might have frustrated dedicated fans at the time.
Overall Season 3 Assessment:
Season 3 emerges as a strong contender for the best season of early Family Guy. While it might not consistently reach the heights of its absolute best episodes, the season demonstrates a willingness to push boundaries and embrace its cartoonish nature. The cutaway gags are less frequent, but the increasingly bizarre plots compensate for this shift. Family Guy in Season 3 confidently explores how far it can go, setting the stage for its successful revival in 2005. While perhaps not flawless, Season 3 solidifies Family Guy’s classic era status and remains highly entertaining.
