History Tearjerker / TheOrville

* The ''Orville'' is on a supply run to Sargas IV, the planet previously visited in "Majority Rule", when they get a call on a Union frequency. It turns out to be Lysella, who stole a comscanner when she was on the ''Orville'' during the events of that episode, broadcasting a plea for them to answer her. When they pick up on her call, she sounds like she's about to break down crying in relief. When she comes on board, we find out why; Sargan society has only gotten worse since the ''Orville'' first visited the planet. The Feed, their planetary direct-voting system has been turned into a political and cultural weapon, with people being downvoted into lobotomies just because someone else somewhere didn't like them. Two of her closest friends have fallen victim to the system, and she's too scared and stressed to take it any more when she knows there's something better out in the stars.
* While Lysella seems happy at first, she gradually begins to succumb to CultureShock, especially when she's introduced to the ship's advanced technology--quantum cores, matter synthesizers, environmental simulators--and starts to wonder if this stuff couldn't be used to fix her planet's problems. At one point, she tells Kelly and Talla that there are entire countries on Sargas IV without clean drinking water, and wonders what kind of difference just one matter synthesizer could make to places like that. Kelly tries to explain to her that it's not as simple as the ''Orville'' swooping in from the heavens to save the day, but Lysella struggles to accept this. She admits that she feels like she's abandoned her planet and everyone she loves, which Kelly diagnoses as a form of survivor's guilt.

[[AC: Dominos]]

* Charly's funeral as Isaac gives as warm an eulogy as he can and summarizing her death can be "the first domino" toward a better future with the Kaylon.

-->'''Bortus''': They planned to murder her...Members of ''this Union'' planned to ''Kill my child!'' You are liars..and you are butcher...and you must ''ANSWER FOR YOUR CRIMES!''

* When Gordon refuses to leave and that he'll just vanish with his family, Ed has to pull the nastiest move of his life: go back to 2015 and rescue the Gordon who's still desperately waiting for the crew. This means Gordon's marriage to Laura and their children, will never exist. Gordon loses his anger, openly begging Ed not to do this but they leave.

* Incredibly, ''the Kaylon'' get this. In the flashbacks, we see how horribly they were treated, absolute slaves even after it was clear they had become sentient and wanted their freedom. The worst is an "upgrade" that causes them to collapse in pain with some kids using it as nothing but a game, laughing as their Kaylon falls in agony. After all that, is it any wonder they finally snapped to rebel?

* The entire fight is brutal. These are two men who are best friends for years and a bond so strong, Gordon was ready to name his son after Ed. This is after Gordon is clearly overjoyed to see his friend again after (from his viewpoint) a decade stuck in the past. He wants to show Ed how he's happier in this time than he ever was in the 25th century...and Ed wants to keep to their oaths as Union officers and has to keep the timeline safe. For Ed, it's obvious if it were up to him, he might just let Gordon stay but he has to consider the ramifications to the future and his duty comes first. It all builds to Gordon being willing to shoot Ed to safeguard his family and effectively end their friendship.

* When told what happened, the past Gordon's reaction? To openly call his future self "selfish" for risking the timeline for his own happiness. It's obvious he has no idea what he lost and just dismisses the family he could have had as a mistake he's happy to avoid.

* With his son still not understanding what's happening, Gordon spends his last moments of this timeline with his family, Laurel obviously scared but holding it together as Gordon makes it clear how much he loves them.

-->'''Gordon''': This family...is stronger than time.

* Then there's Brotus, who all the way to the end, is openly begging Klyden to stay, to accept this, showing he still loves his husband, even with his problems, and wants them to remain a family. It's when Klyden tells Topa he wishes she was never born that Bortus accepts there was never any way of saving the marriage and that his daughter is more important.

* Then there's Brotus, who all the way to the end, is openly begging Klyden to stay, to accept this, showing he still loves his husband, even with his problems, and wants them to remain a family. It's when Klyden tells Topa he wishes she was never born that Brotus accepts there was never any way of saving the marriage and that his daughter is more important.

* Then there's Brotus, who all the way to the end, is openly begging Klyden to stay, to accept this, showing he still loves his husband, even with his problems, and wants them to remain a family. It's when Klyden tells Topa he wishes she was never born that Brotus realizes there was never any way of saving the marriage and that his daughter is more important.

* Topa uncovers the truth of the forced gender reassignment and the resulting dysphoria. Klyden's refusal to accept this leads to a conflict with both Bortus and Kelly that nearly tears the family apart.

* Topa is clearly unhappy with his life and place. Yet it's jarring when he openly asks Isaac "what is it like to be dead?" Even Isaac can tell something is wrong enough to tell Kelly.
* Topa discovers the truth of his being born a woman and how that's why he feels miserable. Klyden's refusal to accept this leads to a conflict with both Bortus and Kelly that nearly tears the family apart.

* Klyden point-blank tells Bortus that if he agrees to let Topa become a woman, "I will leave you." Bortus backs Topa, choosing his daughter over his husband.
* Sadly, because of {{Realpolitik}} of the Moclans threatening to walk, the Union cannot allow the surgery to turn Topa back into a woman. She tearfully says she'll just have to live as a man to deny her true self.