![]() Wednesday’s head.įirst, the crew of Gods and Shadow ride a carousel, which speeds up to the point that they enter Wednesday’s dreamscape, which looks a lot like the Viking origins of Odin (and recalls the opening scene of the series). Where “House on the Rock” really goes off the rails is in the centerpiece “meeting” scene, which takes place in Mr. Fans often expect a bit of retread in a season premiere, especially when it’s coming almost two years after the previous season. Things are moving along more or less as expected at this point in “House on the Rock,” even if the destruction of the opening sequence is disappointing and some of the dialogue is flat. It’s kind of sad to see Bilquis reduced from a mysterious, ultrasexual, man-eating God to the flat character in this scene, even if Badaki remains one of the most interesting actors on the show. Wednesday has a brief encounter with Bilquis, who was not invited, but he allows her in. Wednesday’s favorite gal, Zorya Vechernyaya (Cloris Leachman). Laura and Mad aren’t allowed in, as they’re not Gods, and Easter is basically written off the show with a weird line about bunnies - Kristen Chenoweth won’t be returning either.Ī dozen Gods make it to the House, including the hammer-wielding Czernobog (Peter Stormare) and Mr. The “God Scoobs” gain another member when the quartet picks up Anansi (Orlando Jones) and arrives at the House. We do get a little of a narrated story on the history of the House on the Rock as Bilquis arrives to find Salim (Omid Abtahi) and Jinn (Mousa Kraish) already there. Wednesday has been trying to coordinate will go down. They’re headed to the House on the Rock in Wisconsin, where we saw Bilquis (Yetide Badaki) headed in the finale. ![]() Wednesday (Ian McShane), Laura Moon, and Mad Sweeney - all on the run from the events of the season-one finale. Meanwhile, we return to our protagonists - Shadow Moon (Ricky Whittle), Mr. World needs to find a new New Media, and he needs the tools of the underground secret ops location known as Black Briar to find them. With New Goddess Media gone - as Gillian Anderson has left the show - Mr. World (Crispin Glover) and Technical Boy (Bruce Langley) racing from the scene of the Easter Event that ended season one. Gone is the structure in which Fuller and Green would open with parables of Gods, as happened throughout season one. Even Mad Sweeney (Pablo Schreiber) looks bored.įrom the very first scene, it’s easy to tell that this is more Heroes than Hannibal, now. It’s cold and over-expository, lacking the hypnotic tone of the first season and even undermining some of the character development from last season. ![]() Yes, the cast is still great, and they are the main reason we’re all going to keep watching, with the hope that this show finds its footing again, but “House on the Rock” often feels as dead as Laura Moon (Emily Browning). There’s something depressingly hollow about the new American Gods. Both come from the same source material and feature the same characters and plot points. Watching “House on the Rock” is not unlike watching Brett Ratner’s Red Dragon right after watching Michael Mann’s Manhunter. What’s the lesson everyone should have learned, especially now that we’ve seen the season-two premiere? They should have just paid Fuller and Green. The show still went massively over budget, and the cast and Starz were so dissatisfied with Alexander’s work that he didn’t finish the season. The story went that Fuller and Green wanted more money for an already expensive show, and that Neil Gaiman wanted a little more control. Such has been the case with Starz’s American Gods, a show that had a critically successful first season but was derailed when showrunners Bryan Fuller and Michael Green were let go and replaced by one of Fuller’s collaborators, Jesse Alexander. It’s never a good sign for a show when more of the buzz between seasons has been about its tumultuous production and behind-the-scenes drama than about its plot or characters. ![]()
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