Thank goodness American Gods doesn’t deem it necessary for the rabbits’ killing to be given its usual graphic treatment. Their attempts to drive Wednesday off the road, like one did with Laura, don’t work, as he knows what they represent, and instead just floors the accelerator. The bunnies from the previous episode make a return, except there’s a colony of them this time around. He wakes up in a shock to find himself on the passenger seat, with Wednesday driving the Cadillac. In a short dream soon after, Shadow climbs a mountain of skulls to come across a buffalo with fire in its eyes. He then berates Shadow for not understanding “the concept of pissed off”, and the latter eventually accepts that he’s very confused. After killing Vulcan, who was part of the New Gods’ team, Wednesday needs a queen of his own. Shadow doesn’t have a clue – “Did you get this one off the discount rack?” Nancy jokingly asks of Wednesday – but the old man knows what he’s referring to. Nancy, of course, is more interested in the moral of the story.
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It’s a different arc for the character from the book, but it makes a lot more sense since dating apps weren’t exactly around in the same fashion when Gaiman wrote American Gods, which was published in 2001. And going by what we saw of Bilquis in the season’s beginning, it's safe to say she readily accepted the deal handed to her by the New Gods. It’s a Tinder-like app called Sheba, which gives her unrestricted access to a bigger pool. Or more accurately, a gift of what's on the phone. With her best days behind her, she is paid a visit by none other than Technical Boy, who offers her the gift of an iPhone. Through it all, the show hints at her identity, with her ability to make people disappear with sex.īruce Langley as Technical Boy, and Yetide Badaki as Bilquis in a still from American Gods The story is also constructed as an attack on all women by the world of men, in his own words, which serves as an allegory for the rise of sexism over time. You’re hooked.” It helps that Orlando Jones is a fascinating orator, from his enunciation to his mannerisms, but the story is equally fascinating.įrom the Bar’an temple in 9th-century BCE Yemen, where a queen participates in an orgy, and a nightclub in 1979 Tehran, which is stormed by Shi’a revolutionists, to her turn as a homeless person in the land of Hollywood, Nancy describes the fall of a goddess who had it all. He’s a storyteller by nature, and he starts off with the most traditional of openings: “Once upon a time… See? It sounds good already. Nancy, the alter ego of the African spider god Anansi, whom we first met in the second episode.
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The bigger reveal in the season finale was the story delivered by Mr. Sure, Wednesday finally uttered his real name upon Shadow’s insistence, but since the audience has always been so far ahead of our "hero", it didn’t come as a surprise to anyone. It manages to bring together the disparate and separated cast together for a spring outing, but the show meets none of the usual expectations from a finale: there's no big revelation, nor a setup for the next season, nor even an offer of some closure. The eighth episode, “Come to Jesus”, is far from an ideal season finale. During the first season, which ended this week, that has resulted in some fascinatingly unique episodes on television (“ A Prayer for Mad Sweeney”) and others that tended to meander for no obvious reason (“ A Murder of Gods”).
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From its start, American Gods – from creators Bryan Fuller and Michael Green, with the author Neil Gaiman as an executive producer – has been unafraid to alter its written source, to either update it for our times, place a bigger emphasis on the book’s minor characters, or set things on a course that takes longer to come to fruition.