When seeking reasons why the Golden Age of Television has surpassed Hollywood’s cinematic output in quality, one might point to the fact that the television series, as a medium, far better satisfies an audience more invested in substantive content than in glossy visuals and sound. Upon reflection, the most popular TV series of our time have generally not appeared, nor do they appear, significantly more visually striking than the low-budget existential dramas that win awards at independent film festivals. However, given the hyper-production of scripted television content, it was only a matter of time before someone sought to defy this notion by attempting to create a series as spectacular as the most ambitious summer blockbuster. Naturally, such an endeavour would be—or at least appear—justified if the work in question belonged to the science fiction or fantasy genres, where even the most fantastical worlds must seem somewhat plausible. Ironically, it is the television series American Gods that has come closest to this ideal, despite its core concept being rooted in an ostensibly mundane reality that viewers—particularly those living in America—encounter the moment they step away from their television sets.
The series is based on American Gods, a novel by British author Neil Gaiman, one of fantasy literature’s most esteemed figures, whose children’s book Stardust served as the basis for a successful film in 2007. American Gods, his most renowned work, explores a fascinating premise: what would happen to the deities of the Old World—figures from Norse, Slavic, Greco-Roman, Egyptian, Arabic, and African mythology—if they found themselves in the New World, and how they might adapt or clash with the new gods born of modern society’s obsessions. Produced by Starz, a channel known for its insistence on edgy content, the series was executive-produced by Bryan Fuller, creator of Star Trek: Discovery, and Michael Green, a screenwriter behind several notable films in the late 2010s.
The protagonist, Shadow Moon—played by English actor Ricky Whittle—is a petty criminal released from prison several days early following the tragic death of his wife, Laura (Emily Browning), in a car accident. The devastated and bewildered Shadow is approached by the enigmatic Mr. Wednesday (Ian McShane), who offers him a job as a bodyguard. The pair travel across the American Midwest, visiting bizarre locations and encountering strange characters, witnessing a series of morbid, fantastical events Shadow struggles to comprehend, while Wednesday makes little effort to explain them. Meanwhile, in the background, even more extraordinary events unfold, culminating in an impending clash between the old gods and the new gods born of faith in American technological omnipotence.
From the outset, American Gods strives to convince viewers it is not a typical television series but something exceptional. This uniqueness is reflected primarily in the vast sums of money expended per episode, much of which funds lavish vignettes—typically at the start of each episode—that depict individual deities and their journeys to America. No expense is spared on special effects or techniques used to reconstruct different continents and historical eras, resulting in a series punctuated by striking scenes. Some sequences adopt a cinematic, larger-than-life quality, even utilising the 2:35 aspect ratio. However, what will likely strike viewers most is Starz’s revival of a formula tested at the start of the decade in Spartacus: copious amounts of extremely explicit violence, gore, nudity, and, of course, sex. While audiences have grown somewhat desensitised to TV series attempting to “push boundaries” in this regard, American Gods attempts to do so with a scene in which Djinn, an Arabic demon portrayed by Mousa Kraish, despite claiming not to grant wishes, provides an Arab merchant traveller (Omid Abtahi) with a rather explicit sodomy experience. The creators are also careful not to neglect conventional sexual orientations, featuring several scenes where the goddess of love Bilquis (played by Nigerian actress Yetide Badaki) participates in mass orgies. And those curious about Emily Browning’s appearance in the “birthday suit” will not be left wanting.
All these details, including the exceptionally appealing soundtrack by Brian Reitzell (featuring standout tracks like “Media Bowie” and “Tehran 1979”), cannot conceal the series’ serious, perhaps even fatal flaw. Although the first season is relatively short, comprising eight hour-long episodes, it will feel significantly longer to viewers for a simple reason: very little actually happens. The epic clash between old and new gods is only hinted at in the cliffhanger finale, suggesting a second season, while events are largely followed from the protagonist’s perspective, who neither understands nor seems to care about what is truly unfolding. Fuller and Green were so playful that they allowed themselves entire episodes devoted to quite explicit commentary on current political events, naturally from Hollywood’s limousine left posturing—as most explicitly seen in a scene where advocates of gun rights are almost literally portrayed as Nazis. While the cast was up to the task, lesser roles appeared less like fully fleshed-out characters and more like stylistic exercises. The most characteristic example was Gillian Anderson, who, without particular reason, delivered impersonations of several 20th-century pop icons. Perhaps the higher-ups at Starz were aware of these issues; their insistence on reining in expenditure and bringing production under control ultimately forced Fuller and Green to abandon the project. The second season needed to take a different approach. Gods ultimately reached twilight with third season in 2021.
RATING: 5/10 (++)
(Note: The text in the original Croatian version was posted here.)
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woman whose soul isn't light as a feather. At first I had some deep self reflection and considerations of my actions. But I was curious to know what the movie talks about. 
Quando nel 2017 Bryan Fuller portò sul piccolo schermo l'adattamento di American Gods, graphic novel esiziale per chi ama quel mondo lì, l'unica paura era che Fuller si sarebbe potuto perdere in orpelli visivi sacrificando il nocciolo della filosofia che animava American Gods.
ENG
When in 2017 Bryan Fuller brought to the small screen the adaptation of American Gods, graphic novel exhilarating for those who love that world there, the only fear was that Fuller could get lost in visual trappings sacrificing the core of the philosophy that animated American Gods.
Tanto deludente quanto impossibile da criticare.
La stagione 3 di #AmericanGods è arrivata al suo giro di boa oramai ed è tempo di fare qualche bilancio.
Molto semplicemente potremmo definire questo inizio un clamoroso buco nell'acqua.
Storia che non avanza, personaggi abbastanza fermi rispetto al solito, caos sempre più ingombrante.
E' difficile continuare a seguire la serie senza restare basiti rispetto alle difficoltà emerse in questa prima fase della terza stagione.
#serie compassata e senza idee ma con la solita capacità di regalare immagini e visioni di altissimo livello.
Sarà capace di rialzarsi?
Qui la mia analisi: 
