![]() ![]() ![]() ![]() The consequence of the show taking its time in revealing exactly what’s happening is that the best parts of Gaiman’s book-which offers a crucial allegory about heritage, belief, and meaning in modern life-haven’t yet been fully mined. But to get there, you have to make it through three hours of introduction to a setup that nevertheless remains mostly opaque. ![]() The fourth, though, which focuses on a single character, offers some sense of what the show could be once it’s done with worldbuilding: a moody, noirish, eminently stylish drama. It also unfortunately falls sway to the worst, most self-indulgent excesses of prestige television, namely terrible pacing, prodigal violence, and a thuddingly unsubtle score that often feels better suited to a high-budget porn film.Īmerican Gods, which premieres Sunday, has a fiendish task when it comes to translating Gaiman’s 517-page novel to the screen-and in the first three episodes (four were made available to critics) the seams are showing. Adapted by Bryan Fuller ( Hannibal) and Michael Green ( Kings) from the 2001 novel by Neil Gaiman, the eight-episode show fantasia of ancient mythology and Americana is gorgeously conceived, vastly imaginative, and ludicrously over the top. It’s a shame the second season of True Detective snagged Leonard Cohen’s “ Nevermind” for its opening credits, because the song-menacing, omnipotent, maddeningly vague, and delivered in a husky, bourbon-soaked basso profundo-is downright perfect for the new Starz show American Gods. ![]()
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