Written by: Kevin Berge
Looks exactly like the guy I'd want to work for. (Image Courtesy of: nerdist.com)
Quick Take: American Gods Season 1 has the stylized flair of Bryan Fuller backed by the deep mythology and careful storytelling of Neil Gaiman, brutal and irreverent while moving at a steady if too slow pace. Only those willing to be offended and even disturbed will be able to latch on, but the first season opens up a world worth watching.
***This is an opening season review of American Gods, introducing new readers to the series as well as giving an overview of how effective the opening season is. There will be no spoilers beyond the story details of the first episode. Those wanting to go in completely fresh should at least watch the first episode before reading, but otherwise there will be no spoilers.***
I was late to reading Neil Gaiman. It took me a while to even learn his name, let alone sit down and read his work, but it only took a few panels of The Sandman for me to be hooked. Gaiman is a writer with the rare ability to speak with ease on the page, making each page fly by.
American Gods though showcases another aspect of Gaiman's writing from the opening caveat. Naiman imagines then lives in worlds, proving by the final two lines before the novel begins, "Furthermore, it goes without saying that all the people, living, dead, and otherwise, are fictional or used in a fictional context. Only the gods are real."
This is a world unto itself, defined by gods both young and old, drenched in the grime of the United States of America. Few if any could capture such a world so eloquently and with such inherent darkness. The show that has come 16 years after the show's initial publishing can thank Naiman's words but is truly beholden to his world.
The first season of American Gods follows Shadow Moon (Ricky Whittle), a recently released convict, who is released a day early from prison due to the sudden death of his wife Laura (Emily Browning) and best friend in a car accident. On his morbid journey home, he is hired by the inscrutable Mr. Wednesday (Ian McShane) to a job unspecified though with quality pay.
In the hands of Bryan Fuller (Hannibal) and Michael Green (Logan), this series follows the novel at its opening only to quickly begin twisting and turning while making moves more compatible with TV, but this series is far from TV friendly. This is a series that does not pull punches and revels in its brutality and eroticism.
As you would expect especially from Fuller, this is a visual experience, using symbolic imagery at every turn. While it is not black and white, it is dominated by a fairly dark color palate that can at times feel painted in blood. Unfortunately, that visual emphasis can often be the only excitement for the opening of this series.
I was late to reading Neil Gaiman. It took me a while to even learn his name, let alone sit down and read his work, but it only took a few panels of The Sandman for me to be hooked. Gaiman is a writer with the rare ability to speak with ease on the page, making each page fly by.
American Gods though showcases another aspect of Gaiman's writing from the opening caveat. Naiman imagines then lives in worlds, proving by the final two lines before the novel begins, "Furthermore, it goes without saying that all the people, living, dead, and otherwise, are fictional or used in a fictional context. Only the gods are real."
This is a world unto itself, defined by gods both young and old, drenched in the grime of the United States of America. Few if any could capture such a world so eloquently and with such inherent darkness. The show that has come 16 years after the show's initial publishing can thank Naiman's words but is truly beholden to his world.
The first season of American Gods follows Shadow Moon (Ricky Whittle), a recently released convict, who is released a day early from prison due to the sudden death of his wife Laura (Emily Browning) and best friend in a car accident. On his morbid journey home, he is hired by the inscrutable Mr. Wednesday (Ian McShane) to a job unspecified though with quality pay.
In the hands of Bryan Fuller (Hannibal) and Michael Green (Logan), this series follows the novel at its opening only to quickly begin twisting and turning while making moves more compatible with TV, but this series is far from TV friendly. This is a series that does not pull punches and revels in its brutality and eroticism.
As you would expect especially from Fuller, this is a visual experience, using symbolic imagery at every turn. While it is not black and white, it is dominated by a fairly dark color palate that can at times feel painted in blood. Unfortunately, that visual emphasis can often be the only excitement for the opening of this series.
Oh man, Fuller's back at it with the repeated animal imagery. (Image Courtesy of: vulture.com)
This first season is a mere eight episodes in length, yet it still feels like the writers have padded the length. The novel is around 700 pages which might have been enough material with some additions for three seasons. At the pace of this season, it may get to five which honestly just feels like too much no matter how they adapt the material.
Clearly though, the series is driven by those with a great deal of love for what they are working with. Even though the story does not strictly follow the novel, much of the changes feel important, giving breadth and depth to characters and stories that deserve them.
The cast put together is also stellar. The dialogue sounds odd coming from Ricky Whittle (The 100) at first, but he has become the character in full by season's end even if the rest of the cast will always outshine him. Emily Browning (Sucker Punch) plays a fascinating role in proceedings and often steals the show especially in "Git Gone". Meanwhile, Ian McShane (Lovejoy) seems born for this role filled with secrecy and gravitas.
The series also includes fantastic turns from Gillian Anderson (The X-Files), Pablo Schreiber (The Manchurian Candidate), and Crispin Glover (Back to the Future) with cameos ranging from Peter Stormare (Fargo) to Kristen Chenoweth (Wicked). Everyone has fully committed to this insane and profane world.
This is a world though that won't be for everyone. Throughout the season, violence and sexuality are front and center, not in a mindless way but in an honest and focused upon manner. Most will only need the first episode to know if this is a series for them.
It is somewhat difficult to talk about the season in full without spoilers as this is a series drenched in spoilers. Spoken of simply, this is a series about gods, gods in peril and gods in conflict, while focusing on one man at the center of the madness for some discernible reason. There is fantasy and magic in every scene, and it is steeped in a near-real world.
The show focuses on religion in a frank manner, not affiliating itself with any one belief and poking at them all. The focus is not on the gods as ideas but as beings. What would happen if belief truly had created all gods? Where would they stand now in a world that has increasingly turned away from polytheism, often frankly to atheism?
Honestly, I wonder if the first season will be strongest when binge-watched with its followup. There is so much here to enjoy and appreciate, but the season ultimately feels like too much of a tease. By its close, I was intrigued but unsatisfied despite enjoying every episode, left hanging on barely developed threads until the second season comes.
Clearly though, the series is driven by those with a great deal of love for what they are working with. Even though the story does not strictly follow the novel, much of the changes feel important, giving breadth and depth to characters and stories that deserve them.
The cast put together is also stellar. The dialogue sounds odd coming from Ricky Whittle (The 100) at first, but he has become the character in full by season's end even if the rest of the cast will always outshine him. Emily Browning (Sucker Punch) plays a fascinating role in proceedings and often steals the show especially in "Git Gone". Meanwhile, Ian McShane (Lovejoy) seems born for this role filled with secrecy and gravitas.
The series also includes fantastic turns from Gillian Anderson (The X-Files), Pablo Schreiber (The Manchurian Candidate), and Crispin Glover (Back to the Future) with cameos ranging from Peter Stormare (Fargo) to Kristen Chenoweth (Wicked). Everyone has fully committed to this insane and profane world.
This is a world though that won't be for everyone. Throughout the season, violence and sexuality are front and center, not in a mindless way but in an honest and focused upon manner. Most will only need the first episode to know if this is a series for them.
It is somewhat difficult to talk about the season in full without spoilers as this is a series drenched in spoilers. Spoken of simply, this is a series about gods, gods in peril and gods in conflict, while focusing on one man at the center of the madness for some discernible reason. There is fantasy and magic in every scene, and it is steeped in a near-real world.
The show focuses on religion in a frank manner, not affiliating itself with any one belief and poking at them all. The focus is not on the gods as ideas but as beings. What would happen if belief truly had created all gods? Where would they stand now in a world that has increasingly turned away from polytheism, often frankly to atheism?
Honestly, I wonder if the first season will be strongest when binge-watched with its followup. There is so much here to enjoy and appreciate, but the season ultimately feels like too much of a tease. By its close, I was intrigued but unsatisfied despite enjoying every episode, left hanging on barely developed threads until the second season comes.