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Road to the Multiverse

"Road to the Multiverse" is the first episode of the eighth season of the American Family Guy, which originally premiered on on September 27, 2009. Directed by Greg Colton and written by from a story by Andrew Goldberg and Alex Carter, the episode centers on infant genius , who invents a device enabling travel across parallel universes based on the , and embarks on an adventure with family dog through several alternate realities. In the story, Stewie and Brian first visit a universe where the absence of Christianity led to butterflies becoming a dominant cultural symbol, followed by a parody of The Flintstones where the Griffin family lives in a prehistoric stone-age setting, and a Disney-inspired world where Family Guy characters are rendered in classic 2D animation styles with musical numbers. They then explore a stop-motion universe mimicking Robot Chicken, a dystopian post-apocalyptic "Quahog 3000," and finally a reversed society where dogs are the dominant species and humans are pets, leading to their arrest and a daring escape with help from a human version of Brian. The duo ultimately returns to their original universe, highlighting the episode's blend of humor, visual innovation, and satirical takes on pop culture. The episode received widespread acclaim for its ambitious animation shifts across universes and creative storytelling, earning a 9.1/10 rating on from over 5,000 user votes, a 9.6/10 from , which praised its "great moments" and "breathtaking" visuals despite some pacing issues, and a Primetime Emmy Award for Outstanding Individual Achievement in Animation (storyboarding by Greg Colton) at the in . It marked a continuation of the show's "Road to..." adventure format featuring Stewie and .

Synopsis

Plot summary

In the episode, Stewie Griffin enters a genetically engineered pig in a contest at the Quahog Clam Day Fair and wins first prize, later revealing to Brian Griffin his latest invention: a handheld remote control device capable of transporting users between parallel universes in accordance with multiverse theory. Eager to test it, Stewie and Brian embark on an adventure, with their first destination being a highly advanced alternate Quahog where Christianity never emerged due to the absence of Jesus Christ, averting the Dark Ages and enabling a millennium of uninterrupted technological progress. This utopian society features flying cars, holographic displays, muscular farm animals, and a luxurious Griffin household; the alternate Meg possesses notably larger breasts, and public amenities include automated digital waste removal, all without religious influence. They continue visiting a variety of alternate universes, including a prehistoric parody of The Flintstones where the Griffins live in a stone-age Bedrock, a whimsical Disney-inspired world rendered in classic 2D animation with musical numbers and fairy-tale transformations—such as Lois as Snow White and Meg as Ursula—but they quickly depart upon discovering underlying antisemitic elements in the society, a stop-motion universe mimicking Robot Chicken with jerky puppet-like figures and rapid absurd sequences, a Japanese-dominated America, a world of two-headed people, an ice age version of Quahog, and a dystopian post-apocalyptic "Quahog 3000." Throughout these hops, Brian and Stewie encounter various alternate versions of themselves and the Griffins, highlighting the infinite variations across the multiverse. Their journey culminates in a dog-dominated universe parodying Planet of the Apes, where canines walk upright as the intelligent ruling species and humans are domesticated pets treated with leashes and affection. In this reversed dynamic, Stewie bites an alternate version of Peter Griffin after being taunted, leading to Stewie being sent to the dog pound, while Brian blends in as a "normal" dog and seeks a way to rescue him. While arguing over the remote's use, Brian accidentally shatters it, stranding them without a means to return home. Desperate, Brian enlists the aid of an alternate human Brian from a parallel world where roles are inverted—Brian as the articulate family member and Stewie as the pet dog—who possesses his own functioning multiverse device, along with an alternate dog Stewie. Human Brian and dog Stewie help break the original Stewie out of the pound; human Brian then activates his remote to transport Stewie and the original Brian back to their native universe, but he crosses over himself and is fatally struck by an oncoming car moments after arriving in the original Quahog. Reunited in their living room, Stewie and Brian verify their return when Chris farts characteristically, confirming they are home.

Themes and motifs

The episode "Road to the Multiverse" employs the multiverse theory as a central device to delve into "what if" scenarios, illustrating through historical divergences that reshape society and technology. For instance, one universe depicts a world without , where the absence of the religion averts the Dark Ages, fostering rapid scientific advancement and a utopian society with flying cars and eradicated disease. This motif underscores how small historical changes can cascade into profound global transformations, allowing the story to explore speculative alternate histories without altering the primary timeline. A key theme is and the reversal of power dynamics, particularly evident in the universe where dogs rule over humans as pets, serving as a commentary on human-animal relations and societal hierarchies. Here, Brian experiences the thrill of elevated status as a human counterpart, highlighting the arbitrary nature of dominance in interspecies interactions and critiquing humanity's assumed superiority. This inversion prompts reflection on and , using humor to expose the absurdities of . The episode weaves subtle critiques of , influence, and through its varied universes, contrasting a gritty, unfiltered reality with sanitized alternatives. The absence of yields a utopia, implicitly questioning the religion's historical impact on progress, while the Disney-fied universe parodies sanitization and corporate control over storytelling, portraying an overly wholesome world devoid of edge. Similarly, celebrity worship is lampooned in realms emphasizing superficial glamour over substance. Running throughout is the motif of sacrifice and friendship, exemplified by the human Brian's heroic death, which enables Stewie's return to their home universe and reinforces the bond between the duo. This act symbolizes selflessness in the face of multiversal chaos, elevating their companionship beyond comedic banter to a poignant exploration of loyalty.

Production

Development and conception

"Road to the Multiverse" was announced at the 2008 San Diego Comic-Con International as the next installment in Family Guy's "Road to" series of episodes, parodying the classic "Road to..." comedy films starring Bing Crosby and Bob Hope. The concept drew inspiration from the 1990s series Sliders, envisioning Stewie and Brian navigating parallel universes with distinct visual and thematic variations. It was the first episode produced and aired after the end of the 2007–2008 . Pitched amid the production of season 7, it received the green light as the season 8 premiere to leverage the series' return following the hiatus, capitalizing on renewed audience interest. This entry continued the "Road to" tradition established in earlier episodes like "," which first paired Stewie and Brian for buddy-comedy hijinks modeled on Crosby and Hope's dynamic. By expanding their travels to interdimensional realms, "Road to the Multiverse" amplified the format's adventurous scope while maintaining the core interplay between the characters.

Writing and animation

The episode "Road to the Multiverse" was written by from a story by Andrew Goldberg and Alex Carter. As a "Road to" installment in the series, the script followed the established buddy-adventure structure between Stewie and , with revisions to incorporate segments across multiple universes. It was directed by Greg Colton, with supervising directors James Purdum and , who focused on facilitating the episode's rapid shifts between visual styles to maintain narrative flow. The featured varied techniques to match each alternate , including traditional 2D cel-shaded mimicking classic aesthetics in the musical parody segment; stop-motion puppetry for the homage to , handled by to replicate the show's signature look; and integration of live-action footage in the where are pets, where Stewie appears as a baby and Brian as a . These changes presented logistical challenges during , requiring coordination across different pipelines within the episode's 22-minute runtime to ensure smooth transitions without disrupting the comedic timing. Voice performances were led by , who provided voices for Stewie, , , and numerous alternate-universe variants across multiple roles. reprised her role as and other female characters, including variants such as the beret-wearing French Lois, while minor guest stars provided specialized voicing for divergent character interpretations in certain universes, such as the segment.

Cultural references

Parodies of media and styles

The episode "Road to the Multiverse" incorporates numerous parodies of iconic styles and techniques across its alternate universes, using visual and stylistic shifts to homage various entertainment formats. One prominent example is the -inspired universe, where the appears as anthropomorphic animals rendered in classic hand-drawn 2D reminiscent of early Disney features like and the Seven Dwarfs (1937) and Fantasia (1940). This segment features fluid, whimsical character designs and exaggerated expressions typical of Disney's , culminating in the musical number "It's a Wonderful Day for Pie," a direct nod to the studio's tradition of elaborate song-and-dance sequences in films such as (1944). Another key parody targets Adult Swim's , depicted through a stop-motion claymation sequence that mimics the show's sketch-based format using action figures and crude, low-fi aesthetics. Here, Stewie and arrive in a meta universe where characters interact with -style elements, including a joke where Stewie mocks the characters about briefly being on a major . The segment emphasizes the jerky, handmade and rapid-cut sketches characteristic of Seth Green's series, blending crossover cameos with satirical jabs at rival animated comedy. The episode also homages Hanna-Barbera cartoons in a prehistoric alternate Quahog styled after The Flintstones (1960–1966), complete with stone-age vehicles, dinosaur appliances, and pun-heavy dialogue centered on rock puns (e.g., "rock and roll" as literal stone music). Accompanied by a canned laugh track, this universe reimagines the Griffins in flat, limited-animation techniques and vibrant, simplified backgrounds typical of Hanna-Barbera's cost-efficient style from the mid-20th century. Self-referential elements appear throughout, such as the Griffins recast in non-Family Guy aesthetics—like a utopian, Christianity-free Quahog where butterflies serve as a dominant cultural symbol in place of Christian iconography, such as butterflies on necklaces instead of crosses. Additionally, a dog-dominant universe with more realistic proportions and dynamics parodies live-action tropes in a world where humans are pampered pets and dogs rule society, akin to sci-fi reversals in Planet of the Apes (1968), though executed in stylized animation.

Allusions to history and culture

In "Road to the Multiverse," Brian and Stewie explore alternate universes that diverge from historical events, highlighting how small changes can profoundly alter societal development. One key universe depicts a world without , where the absence of Jesus Christ eliminates the Dark Ages and religious conflicts like the , fostering uninterrupted scientific advancement and resulting in a utopian society with technologies such as flying cars and handheld anti-gravity devices. This realm alludes to the cultural impact of on , portraying a conflict-free progression toward enlightenment and innovation. Cultural icons are reimagined in this universe to underscore the divergences; the Sistine Chapel, unburdened by religious patronage, is instead painted by John Hinckley Jr. as a tribute to Jodie Foster, transforming his real-world obsession into artistic legacy rather than the 1981 Reagan assassination attempt. Similarly, the episode nods to pivotal 20th-century events through altered outcomes, such as Lee Harvey Oswald assassinating Mayor McCheese instead of John F. Kennedy, implying a timeline where the butterfly effect from religious absence spares major political upheavals. Another universe reverses human-animal hierarchies, with dogs as the dominant species and humans relegated to pets, parodying historical themes of oppression and dominance akin to those in Planet of the Apes. This setup alludes to cultural norms around pet ownership and species superiority, exaggerating real-world power dynamics in a canine-led society complete with dog police and human leashes. The episode further employs the butterfly effect concept to illustrate historical contingencies, as seen in a post-apocalyptic universe triggered by Frank Sinatra's non-existence, which prevents his support for John F. Kennedy's 1960 election, leading to Richard Nixon's presidency, escalation of the Cold War into World War III, and global devastation. These allusions extend to broader societal progress, with the advanced universe implying earlier achievements like enhanced space exploration (evident in routine interstellar travel) and equitable civil advancements free from religious strife.

Broadcast and release

Premiere details

"Road to the Multiverse" premiered on September 27, 2009, on the as the first episode of the eighth season of . The episode aired following a standard production hiatus after the season 7 finale in May 2009. According to Nielsen ratings, the premiere drew 10.17 million viewers in the United States, achieving a 5.2 household rating and a 12 share in the key adults 18-49 demographic, which underscored a robust return for the series particularly among adult male audiences. Positioned as the season opener, the episode reintroduced the "Road to..." format with and as central characters, building on the franchise's tradition of such adventures. Promotional tie-ins included a dedicated panel at in July 2009, where trailers and sneak peeks were shared to generate buzz for the new .

Home media and distribution

"Road to the Multiverse" was released on DVD as part of Family Guy: Volume 8 on June 15, 2010, in Region 1, which includes the episode as the premiere of 8 along with seven episodes from 7. This three-disc set features special content such as two audio commentaries on the episode—one with creator , writers and , director Greg Colton, and producer , and another with Colton and animation artists Raul Guerra, Darlie Brewster, Chris Finnegan, and Mark Caballero—along with a 10-minute featurette titled "The Road to 'Road to the Multiverse'" detailing the episode's concept and the creation of its and parody universes. Deleted scenes and additional behind-the-scenes material focused on the multiverse animation are also included. The full season 8, encompassing "Road to the Multiverse," spans Volume 8 and Volume 9, with the latter released on December 13, 2011. By 2014, the episode was incorporated into larger DVD collections, such as the Family Guy: The Complete Seasons 1-14 box set released on November 10, 2014. Subsequent complete series DVD box sets through 2020, covering up to season 20 or more, continued to include it, though no official Blu-ray editions of full seasons exist, and 4K or HD remasters have not been issued as of 2025. In terms of digital distribution, following The Walt Disney Company's 2019 acquisition of , "Road to the Multiverse" became available for streaming on Disney+ and starting in 2020. It is also offered on for streaming or purchase and accessible via other platforms like and with add-ons. Internationally, the episode airs through syndicated reruns on networks such as those under or local broadcasters in regions like the and .

Reception and legacy

Critical response

"Road to the Multiverse" received widespread acclaim from critics, who praised its inventive use of the concept to deliver a series of humorous alternate realities and visual gags. reviewer Ahsan Haque awarded the a 9.6 out of 10, highlighting the "incredible voyage" of Stewie and through creative s, exceptional animation quality, and the seamless integration of the show's signature humor with the "Road to" adventure format. The 's bold , particularly in the without featuring a and other provocative depictions, was noted for its daring edge, while the variety of visual styles—from Disney-inspired musical sequences to political cartoons—earned commendations for keeping the pacing fresh and engaging. The A.V. Club's echoed this positivity, giving the a B+ grade and commending the density of parodies in the second act, along with the enduring charm of the Stewie- dynamic that defines the "Road to" s. Critics appreciated how the setup allowed for hyper-specific cultural references and visually striking designs, such as the dog versions of the Griffins and a human , which added layers to the comedy without relying solely on cutaway gags. However, some reviews pointed to shortcomings in structure and tone. critiqued the episode for its over-reliance on rapid-fire gags at the expense of a deeper plot, noting that the multiverse travels felt like a string of disconnected sketches rather than a cohesive , which occasionally disrupted the pacing. Minor criticisms also addressed potentially offensive elements, particularly the non-Christian universe's satirical portrayals, which some found excessively provocative despite the show's established irreverence. Overall, the episode achieved a strong consensus as an effective season starter for Family Guy's eighth season, revitalizing the series after a weaker previous year through its acclaimed Stewie-Brian partnership and innovative exploration.

Viewership, awards, and impact

The episode "Road to the Multiverse" premiered to strong viewership, drawing 10.11 million total viewers and a 5.2 rating in the 18-49 demographic, marking Family Guy's highest-rated episode since the 2007–08 season. This performance contributed to the overall success of season 8, which maintained strong ratings consistent with the show's post-revival trajectory and solidified the show's position as a top on . While specific rerun and streaming metrics for the episode are not publicly detailed, its enduring popularity on platforms like and Disney+ has sustained audience engagement, with the episode frequently cited among the series' most-watched installments. "Road to the Multiverse" received recognition at the in 2010, where director Greg Colton won for Outstanding Individual Achievement in for his work on the episode's "Pie Song" sequence. No additional Emmy nominations were recorded for the episode in categories such as or writing. The episode's concept influenced subsequent storytelling, inspiring later "Road to" installments that explored alternate realities, such as season 9's "" and beyond. It directly led to the 2012 video game : Back to the Multiverse, developed by and published by , which serves as a sequel adapting the episode's premise of Brian and Stewie navigating parallel universes. The episode also contributed to broader discussions on parallel universes in animated , highlighting innovative visual styles that impacted perceptions of tropes in television.

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