This genre-defying series based on a Neil Gaiman novel follows a convict (Ricky Whittle) who is released from prison early after his wife dies.
That tragedy soon becomes the least of his worries when he meets a mysterious stranger (Ian McShane) on the flight home who offers him a job as a bodyguard.
Shadow Moon (yes, that’s the convict’s actual name but bear with me) is then drawn into a world he doesn’t understand, a world where old gods that came to America centuries ago, brought into the country by immigrants who believed in them, now wander around lost and bored and far from the height of their powers.
In the meantime, humanity has channelled its belief into man-made concepts like media, technology and globalisation, creating new gods that are quickly becoming unstoppable.
The show explores old myths from foreign lands and creates new ones right in the middle of 21st-century America: a fateful game of checkers against the god of war, a meeting between a salesman and a djinn that gives both of them new purpose, and a mortal’s chance encounter with a love goddess which ends with her swallowing him whole.
Before working on this, the series’ co-creator Bryan Fuller had just finished turning a crime thriller about a cannibal into a grandiose, mythical confrontation between good and evil and now he’s turned his eye towards adapting a book about an epic confrontation between actual, honest-to-god Gods, which is the sort of subject matter that fits perfectly with his love of the melodramatic, stylish and surreal. Everything is turned up to 12, because 11 just isn’t enough.
Despite having a rock-solid suspension of disbelief that has withstood all sorts of high-concept nonsense over the years and remained intact – six increasingly-insane seasons of Lost, dozens of dumb Doctor Who storylines, the arty-farty third season of Hannibal – I found it difficult to get on board with American Gods at first. As the credits rolled on episode one, I stared at the screen speechless and baffled, but not in a good way.
It was the two mid-season episodes “A Head Full of Snow” and “Git Gone” which fully sold me on it.
The former went from a touching exploration of death to a rooftop conversation that’s filmed like a fairytale to a tense high-stakes rematch to an unexpected love story between two strangers to a comical heist to a moment of pure wonder, all without skipping a beat. It was a seriously impressive and seamless series of scenes that fully displayed the show’s high ambitions and abilities.
Then “Git Gone” resolved the moment from episode one that had caused my previously-mentioned bafflement in a way that was unexpected, satisfying, and absolutely hilarious.
There are a lot of things about American Gods that viewers may find difficult to accept, but belief is a central theme of the show and this disbelief, if anything, helps us relate to the show’s protagonist, who is just as bewildered and overwhelmed by what he’s witnessing as we are.
He is the stoic centre around which the crazy and colourful cast of characters revolve and though he’s perhaps the least interesting character, he is the most important.
Shadow’s endless road trip around America with his eccentric employer makes up the fairly-thin plot of the show, which often prefers to leave the pair entirely and show us little unconnected vignettes about the old gods’ journeys to the country and what they’re getting up to these days.
This is why, after eight lengthy episodes, it still feels like the story’s barely getting started and we’ve only gone a few chapters into the 600-page book that the show’s based on, but it’s hard to complain when the performances are this good and it’s so easy to be enchanted by American Gods‘ dreamlike visuals.
It’s happy to leave us wanting more, and I’m happy to wait as long as Michael Green and Bryan Fuller don’t stretch this out for too long – oh, they’ve left the show.
Yes, as 2017 began to draw to a close, the pair abruptly exited after creative differences with the show’s network. Apparently, the budget was ballooning into the tens of millions without attracting the audience that would make that expenditure worthwhile
It remains to be seen how this will affect the show – most of season two’s scripts have already been written and it still has the same talented cast and crew, but it won’t quite be the same without Green and Fuller’s style and sensibilities.