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American Gods Recap Season 1, Episode 8, “Come to Jesus”

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American Gods Recap: Season 1, Episode 8, “Come to Jesus”

Starz

American Gods Recap: Season 1, Episode 8, “Come to Jesus”

“Come to Jesus” ends the first season of American Gods on an awkward and anticlimactic note. Creators and co-screenwriters Bryan Fuller and Michael Green seem to be aware of their own perversity, cracking a joke about it early in the episode. Mr. Wednesday (Ian McShane) and Shadow Moon (Ricky Whittle) are at the office of Mr. Nancy (Orlando Jones), the present incarnation of the god Anansi, who’s tailoring suits for the next leg of their journey. For a moment, it seems that we’ve dodged the obligation of sitting through a deity origin tale that typically opens each episode, until Mr. Nancy announces that he has a story, which Wednesday greets with comic frustration while nursing a tall whiskey. Wednesday is clearly speaking for the audience here, who may be understandably weary of yet another damn flashback.

American Gods Recap Season 1, Episode 7, “A Prayer for Mad Sweeney”

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American Gods Recap: Season 1, Episode 7, “A Prayer for Mad Sweeney”

Starz

American Gods Recap: Season 1, Episode 7, “A Prayer for Mad Sweeney”

Tonight’s episode of American Gods, “A Prayer for Mad Sweeney,” pivots on another extended flashback, illustrating once again that the series is concerned less with tending to a singular narrative than with offering riffs on a theme. The show’s first season is nearly over, and we’re nowhere near the end of the story told by Neil Gaiman’s source novel, which also allowed for thematically intertwined tangents. The loose structure works better in the series than the book though, as the former has a decadent and melodramatic style that renders the plot nearly beside the point.

American Gods Recap Season 1, Episode 6, “A Murder of Gods” 

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American Gods Recap: Season 1, Episode 6, “A Murder of Gods”

Starz

American Gods Recap: Season 1, Episode 6, “A Murder of Gods”

Tonight’s episode of American Gods, “A Murder of Gods,” has a central image that’s particularly resonant when seen a few days after Donald Trump announced that the United States would be pulling out of the Paris Agreement, fueling bipartisan exasperation. The image is a master shot of a fictional Virginian town called Vulcan, which offers a parodic microcosm of the issues of pollution and gun lust that grip this country. White townspeople stroll the streets with rifles and red armbands, while a great plant operates in the background, dwarfing the foreground and pumping vast and supernaturally dark plumes of smoke into the sky.

American Gods Recap Season 1, Episode 4, "Git Gone"

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American Gods Recap: Season 1, Episode 4, “Git Gone”

Starz

American Gods Recap: Season 1, Episode 4, “Git Gone”

“Git Gone” playfully refutes our expectations of American Gods, opening on Egyptian wall paintings and leading one to assume that the show’s traditional god-centric prologue will be set in Egypt, perhaps as a complement to the introduction of Anubis (Chris Obi) in “Head Full of Snow.” But these paintings are revealed to be fake, existing as part of a backdrop of a gaudy casino where Laura Moon (Emily Browning) once worked. There’s no supernatural prologue in this episode, which is concerned with sadder and more trivially human affairs, offering a series of flashbacks that recount the meeting of Laura and Shadow (Ricky Whittle). “Git Gone” recalibrates portions of the series, so far, from Laura’s point of view, telling a story of a relationship tragically governed by imbalance of power.

American Gods Recap Season 1, Episode 3, "Head Full of Snow"

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American Gods Recap: Season 1, Episode 3, “Head Full of Snow”

Starz

American Gods Recap: Season 1, Episode 3, “Head Full of Snow”

After the enraged and despairing racial-religious politics of “The Secret of Spoon,” “Head Full of Snow” serves as a tonal palette cleanser for American Gods, reveling in the solace of belief during times of loneliness and despair. The episode is appealingly scruffy around the edges, as television isn’t usually allowed to roam this freely. At times, “Head Full of Snow” suggests that creators and screenwriters Bryan Fuller and Michael Green and director David Slade are getting high on the existentialist fumes of Mad Men. And this episode also once again recalls certain portions of Fuller’s Hannibal, notably the first half of the third season, in which the characters wandered the Italy of our opera- and horror-film-fed imaginations.

American Gods Recap Season 1, Episode 2, "The Secret of Spoon"

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American Gods Recap: Season 1, Episode 2, “The Secret of Spoon”

Starz

American Gods Recap: Season 1, Episode 2, “The Secret of Spoon”

Starz’s American Gods comes into its own with “The Secret of Spoon,” achieving a free-associative emotional ferocity that wasn’t fully present in last week’s “The Bone Orchard.” While the phrase “free-associative” feels right as a descriptor of this episode’s wandering, hallucinatory emotional texture, “The Secret of Spoon” is actually quite tightly structured and governed by rhyming symbols, in a manner that recalls co-creator Bryan Fuller’s Hannibal.

American Gods Recap Season 1, Episode 1, "The Bone Orchard"

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American Gods Recap: Season 1, Episode 1, “The Bone Orchard”

Starz

American Gods Recap: Season 1, Episode 1, “The Bone Orchard”

While reading Neil Gaiman’s American Gods, I was often stopped in the street by people who saw it in my hands and wanted to have an impromptu pow-wow about its greatness. I often have a book in my hands, and I’ve never before encountered such reactions, which I enjoyed more than the novel. Gaiman’s narrative is imaginatively conceived, but it’s composed of hundreds of pages of exposition preceding a battle that never commences. Gaiman tells a long shaggy-dog joke, in which humankind’s various gods across the ages are revealed to be as gullible as their worshipers, subject to the manipulations of a rigged society that distracts us from our subservience with a trumped war between cultural factions that serve the same leader. It’s quite resonant politically, but the novel is all theme. There’s barely a plot, the characters are ciphers, and Gaiman’s prose is lean and studiously workmanlike. The notion of gods as scared and foolish projections of their scared and foolish creators (for we are their gods) is poignant though, and it’s this idea that’s ostensibly captured readers’ imaginations.