Ravenous gods, thirsty for idolatry in an unbelieving America ruled by their own contemporary idols. The tumultuous and disruptive journey of these folk mythological figures of American gods found its way into more battles than its own fictional journey, with the Starz and Amazon Prime Video series facing a succession of keys that almost cost it a tragic end. . But as stubborn as his own characters, Neil Gaiman clings tooth and nail to his adaptation and takes everyone by the hand (public and technical team), in a 3rd season which much more than correcting the mistakes of the past, returns to walk vigorously with rhythm, dynamism and concentration.
American Gods had a few good ones. With a visceral and haunting inaugural season, the production won us over for its narrative timing, which saves the acclaimed work launched in 2001, with a new freshness that clinically portrays the contemporary society of vices and idolatry we live with. But drastically lost in its second year, following the change of showrunners and the departure of standout actresses Kristin Chenoweth and Gillian Anderson, the production has landed in a lost and cyclical epiphany. With its paralyzed and confused plot, its last eight episodes are drowned in beautiful photography and authorial direction, in an exhaustive, repetitive and endless plot. Never have gods so full of “wanting to be” had so little to offer the public.
But even after setbacks that even involved stern accusations of racism, the production which mixes drama, science fiction and fable has not given up and, knowing its enormous potential, returns to project itself on Gaiman’s work, in the bringing next. Charles “Chic” Eglee (Dexter, The Walking Dead), the new name behind the series. And in this 3rd season, we quickly signaled a change in tone. Dismemberment of the other characters also left behind (New Media – Kahyun Kim; the Djinn – Mousa Kraish; Mad Sweeney – Pablo Schreiber; and Mr. Nancy – Orlando Jones), the new cycle goes back to Shadow Moon and Mr. Wednesday, as it covers its other support actors, guaranteeing them the amount that had been withdrawn from them the previous year.
Acknowledging structural mistakes that cost a lot of money and a bad second season, Eglee and Gaiman take responsibility for the dark past, with a commitment to building a brighter future for the series. Tying the new episodes back to a few of the events featured in 2019, the showrunner duo care about not being so attached to the Season 2 narrative, knowing that almost nothing can be enjoyed from there. And counting for the first four episodes already watched, it’s remarkable and safe to say that American Gods has changed course and is starting to walk with firmer, more consistent strides, giving its cast the chance to shine as much as their characters. did so even in 2001, at the height of the launch of the original work.
More electrifying and objective, the series returns with vigor, with the certainty that the hiatus of more than a year has done well. The American Gods can be adjusted in this aspect, with greater narrative dexterity, but they are already overcoming its past in a grand way, costing even more speed in the much-talked-about war between old and new gods. With Ian McShane doing a show in the first few episodes, the production shows early on that there is still a lot to say and share with audiences.
Beautifully produced and guided by the same poetic photography that abuses the slow motion effect, the 3rd season is bloodier, more diverse, and cut the bellies that made the plot so slow and tiring. Expanding its plot with the help of small new supporting characters, American Gods begins to bring more of the essence of Neil Gaiman to himself, reclaims our faith – in its first four episodes – and saves the enthusiasm for this war. much talked about which although difficult to come by now it’s worth it.
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