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American Gods Season 2 Premiere Review: "House on the Rock"




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We need a miracle.

This review contains spoilers for American Gods Season 2, Episode 1, titled "House on the Rock."

It was a long rocky road for American God's Season 2; The ambitious Neil Gaiman adaptation radiated 201

7 finale of the first season. Since then, the show split from their original showrunners Bryan Fuller and Michael Green. Subsequently, she had to cancel her successor Jesse Alexander, and the production was plagued by rumors Behind the scenes turmoil and delay in filming.

But many projects have to deal with the backstage drama – all that matters is the finished product. After all, the premiere of American Gods in season two … is fine.

She does not have the poetry of the first season, which benefited immensely from Fuller's aesthetic flair and Green's eye for details, and there's a somewhat pervasive feeling about the happenings. The script adequately recalls who all the big players are and where their loyalty lies, but it also tends to confuse style with substance, with the scenes going far beyond what is necessary to keep the narrative moving. (We definitely did not need long sequences on the inner workings of fortune-telling – and although the show was often accused of falling into similar self-indulgent traps under Fuller and Green, it somehow always felt like a method behind its baroque Impulses.)

Although the Season 2 of the American Gods comes from completely different networks and teams, it feels reminiscent of the later (Scott Gimple-driven) squadrons of The Walking Dead, with characters that talk in vain riddles without much of all things – though both Emily Browning's Laura Moon and Pablo Schreibers Mad Sweeney offer a welcome break from all the harbingers with their bitter delivery and the general contempt for the pomp and circumstances of what Mr. Wednesday peddling does.

When the tempo slows down, the star cast of the show remains magnetic – in addition to Browning and Schreiber's delicious performances Orlando Jones & # 39; Mr. Nancy gives the episode an adrenaline rush the moment he appears on the screen, reliving the scenery with relish. Likewise, Yetide Badakis Bilquis is effortlessly enticing and gives her scenes a regal gravitas, even if she is double and plays as a double agent for Mr. World. Ricky Whittle continues to endow Shadow with a convincing sense of wonder and growing faith, after being cleared up at least a little of what is planned for Wednesday. However, it is clear that our protagonist is still a plaything in a much larger game, rather than operating with him. Each agency.

The premiere also benefits tremendously from the visit to the real Wisconsin House of the Rock, which is more bizarre and intriguing than it could be with any carefully designed set – and that provides a compelling backdrop for the rendezvous on Wednesday with his old gods. Unfortunately, after the long-awaited ride on the carousel, the gods' backstage journey is no longer quite the hype, thanks to the lightly striped, CGI-heavy visuals that seem unimpressive (and somewhat cheap)

But fans of Gaimans Roman (the author is blamed for writing the episode along with Alexander) may be pleased that the show seems a lot to beat closer to the author's version in season 2, rather than taking the detours, the Fuller and Green in their first Shadow and the explorations of House on the Rock on Wednesday have been heavily influenced by the structure of the book. But just like the first season, when the action shifts to the sinister machinations of Mr. World, the narrative comes to a standstill. The New Gods do not really interest us, and without Gillian Anderson's hypnotic turn as the media, we have even less reason to invest in their plans. So it's hard not to upset the show by focusing on Mr. World and Technical Boy, who's wasted in the premiere as an angry chauffeur in the world.

The Verdict

American Gods is still visually caught (though not quite as creative), but in the second season you can definitely feel it, but you definitely feel that the original showrunners are vain Bryan Fuller and Michael Green have gone when it comes to ambition and readiness of the show to take creative risk. The premiere serves as a viable production designer, reminding us of the players and loyalties of the coming war (which still seems frustratingly wide on the horizon), while the talented cast helps to raise an often-flowing screenplay. We pray that future episodes will be able to regain the original magic that made Season 1 appear so timely.


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