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"The Bone Orchard" represents a strong opening salvo for American Gods, thanks in part to the strong dramatic interplay between Ian McShane and Ricky Whittle.
I should've known to trust Bryan Fuller.
American Gods is liable to be the best urban fantasy series since, well, Buffy the Vampire Slayer
To say that American Gods hit the ground running is to understate things to the point of meaninglessness. It hit the ground, the sea, the sky and the universe running - at top speed.
American Gods sets up a world in this first episode that is fascinating and confounding in the best possible way, but also in ways that are infuriating and obtuse.
American Gods manages to feel real and makes fantasy almost relatable...before slapping you across the face with a big dose of man-eating goddesses and angry hammer wielding eastern European boogeymen.
If Fuller and company can combine that emotional tone with the rich, ultraviolent surrealism of the imagery on a regular basis, the way they did on Hannibal, American Gods will be something worth worshipping.
With both a plot and cast this commanding already, episode two can't come soon enough. We've got a feeling we ain't seen nothing yet.
Then there's the cinematography. The wacky, colorful, contrasting, and completely insane-in-all-the-best-ways cinematography. American Gods looks stunning.
"The Bone Orchard" bears more than whiff of formal masturbation, though it reminds me of how much I missed Fuller's flamboyantly decadent sensibility
Bryan Fuller and Michael Green's adaptation of Neil Gaiman is stunning, challenging and culturally relevant.
If you were confused and frustrated by the first episode by American Gods, that's OK. You can trust this story.
Despite only encroaching a few pages into the novel's narrative, The Bone Orchard feels like an epic start. We're spoiled for great US imports these days, but American Gods keeps the faith in grand style.