![]() As old gods wandered the country trying to enlist others of their kind in a coming war against the new gods, Fuller and Green and their collaborators served up a series of voluptuous tableaus that owed as much to music videos and modernist painting as they did to ancient folktales and adult-oriented superhero films. Each episode started with a parable of sorts, establishing the importance of a particular god in his or her culture. ![]() While Fuller and Green’s version was deliberately molasses-slow and brazenly self-indulgent - and leaned a bit too hard on quasi-Tarantino tough-guy sass for this viewer’s taste - it was resolute in its determination to not follow the premium-cable drama playbook. But watchable is a far cry from thrilling. Given all this, it’s a minor miracle that American Gods is watchable at all. According to The Hollywood Reporter, “Fremantle, the show’s producing studio, would rather exile Alexander than endure the negative attention that would come with dismissing a second showrunner in two seasons.” There were reports of extensive reshoots designed to fix story problems, as well as actors rewriting dialogue on set. Jesse Alexander, a writer-producer on Fuller’s Hannibal, took over as showrunner but was relieved of duty late during the production of season two: not officially fired, but not allowed to oversee the show anymore. ![]() ![]() Bryan Fuller ( Hannibal, Pushing Daisies) and Michael Green ( Kings) oversaw the R-rated, philosophically minded fantasy-drama during its first go-round, but left after creative disputes, including a rejected request for a larger per-episode budget (it already cost a reported $10 million per episode) and disagreements with co-executive producer Neil Gaiman, author of the same-titled source novel. It’s an imposing ruin.įirst, the background. Unfortunately what’s onscreen shows evidence of struggle. It seems only fitting that American Gods season two on Starz was born in the battle between two sets of creators. ![]()
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