American Gods Season Two: Finale

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This season simply wasn’t as strong In its narrative as the first season, but the first season had the benefit of a single creator with a vision. This season there are two or more creators, so the fact that we had some kind of narrative cohesion is pretty good. It wasn’t a bad season though. I liked the character development, and the visuals are always strong, although, once again, this wasn’t as strong as the last season, which had the benefit of novelty. It also seemed like the writers didn’t know what to do with some character, like Bilquis and Anansi, but their presence was not undesired either..

I’m not going to talk about the plot as much as I’m going to discuss characters and their development. We lost two of the gods, or four, depending on how one sees it. The first god to die was the eldest Zoraya sister. Her brother explained that there is a resurrection ritual for her, but without any believers, the ritual wouldn’t work, so currently there are only two sisters left. i’m a big fan of Cloris Leachman, and I hope she makes her way back to the show. She as great as the eldest sister.

We also lost Old Media and the old version of Technical Boy (whose origin we also got to see). Media, which was first played by Gillian Anderson, was resurrected and is now played by Kahyun Kim. I have tried really hard to like New Media, but I don’t, and I think that’s a very interesting point. She exists as a form of Media that I’m mostly bored and exasperated by.. Her general  demeanor is annoying, and after I gave it some thought, I figured out why. She is every bit as annoying to me as actual new media. She prances around as a sexy anime chanteuse, squeaking, and breathless, in that way that I hate in actual  anime, so I think she’s meant to be annoying to people like me. I’m usually cringing when I see her on screen for any length of time, it also doesn’t help that she is hypersexualized and kind of useless, exactly like actual new media.

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Mr. World was starting to get a little bit frustrated because his gods (Argus, Technical Boy, and New Media) were not coming through in the pinch, and getting him the results he wants, which is to find, and kill, Shadow Moon, and capture Wednesday. However, in the season finale we see the final iteration of New Media, who has truly just come into her power, and it is scary as Hell.  I certainly fucking respect her now!

The old Technical Boy was destroyed this season, but he was resurrected by his original creator as a kind of God of Surveillance, taking the place of the Argus Array, and working once again, in tandem with New Media. The original  God of Surveillance was killed by Laura, and the new Technical Boy has much to do  with computer hacking, surveillance, and spying and also has a brand new, sleeker, look, and attitude. (Incidentally, the first God of Surveillance was an old god, named Argus, that had made a deal with Mr. World.)

Needless to say, almost none of the things that happened this season, took place in the book. There’s a broad correlation, but otherwise…Shadow gets kidnapped, gets free, meets Sam Black Crow, makes his way to Cairo, works at a funeral home, and then Mad Sweeney dies. Everything else in the season was an add on, but that doesn’t mean I didn’t like the add ons. I especially liked the episode where we got to see Shadow Moon’s and  Mad Sweeney’s real backstories, which I’ll get to soon enough. One of the side effects of this is that the series contrasts badly with the book. Gaiman may just be adding stuff to this show that he’d always wanted to add to the original story. There are a lot of things in the series that should have been in the original story, like Bilquis, and Mad Sweeney, and Laura’s activities.

I do want to talk about more of the mythology presented this season, and a few of my favorite character interactions, something with which this season excelled. From the beginning we met a lot of new /old gods, and caught up with Shadow’s backstory, and a little bit more of Wednesday’s past.

 

We get to see Shadow’s backstory, which answers a few questions about why he is the way he is, but also opens up more questions about exactly who his mother was. Was she the spirit of America, and did she die of cancer because of 9-1-1? We’re getting closer and closer to Shadow finding out he is Shadow Odinson, and we also met Odin’s other son, Thor, and saw their falling out with each other. Thor eventually commits suicide, and it becomes apparent, through his statements to Shadow, that Odin was devastated by that and still misses him. He often refers to Shadow as “Son”, or “My Boy” and at one point said Shadow reminded him of his son. Now in the mythology Odin has a lot of children but another of his most famous children was Baldur,

He’s loved by all the gods, goddesses, and beings of a more physical nature. So handsome, gracious, and cheerful is he that he actually gives off light.[1]

https://norse-mythology.org/gods-and-creatures/the-aesir-gods-and-goddesses/baldur/

…and there are a few things about Shadow that echo Baldur’s story,

https://norse-mythology.org/tales/the-death-of-baldur/

…right down to Baldur’s prophetic dreams about his death, as mentioned in the Prose Edda, and that he is seen as a being of light by everyone who encounters him. It is his death that precedes Ragnarok, the war of the gods. Shadow Moon is also another name for an eclipse, and he radiates light, which is how Laura sees him. In the book, Laura refers to him as a beacon of light in a dark world. In the series, his mother mentions that he is a being of light, too. Its my theory that Shadow is what was once mentioned by Wednesday, although he did it in jest, as The King of America. In the book, two of the powers, that Shadow possessed, was knowledge, and the ability to see truth.

We’ve been watching Wednesday’s machinations all season, but we have  also been witnessing Shadow’s journey to self. We watched his journey to knowledge of the gods in season one, and in this second season, we are witnessing Shadow’s journey to realizing who and what he may be.

If he believes.

In season one, he was constantly chided to Believe, because if he didn’t, he would not survive what was to come, his imminent death at Wednesdays machinations. Next season, his task is to believe in himself. There is a reason that Shadow was allowed to join in the congregation of the gods, at the beginning of the season, because he is a potential god himself, and a relatively new one that has been raised in ignorance of that life.

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Yes, Shadow!

The end of the season also leaves a lot of questions. We got to see the full unleashing of New Media who is kinda terrifying. She starts a fake news siege against Shadow, so that Mr. World not only doesn’t have to look for Shadow, but so that in all likelihood Shadow will be killed when he is found, since New Media tells several lies about him being a heavily armed terrorist, who has killed several cops. Shadow manages to elude capture at the end of the episode,which opens another mystery. Did that event happen, and Shadow removed the police from the premises in the same way he created snow in the first season? Or was it something he saw before it happened and he just moved out of its way?

Shadow gets snagged by the miniature Yggdrasil tree growing in Mr. Ibis greenhouse and pulled into it s branches, where he begins to have visions. During the entire raiding scene he has flashbacks of Shadow as a young boy playing with police action figures, and overhearing snippets of  conversations between him,  Wednesday,  and others. At one point the child sweeps his arm across the action figures, knocking them all down, and removing them as obstacles. At the same time, the police outside the funeral home all vanish, and so does the tree, taking Shadow with it. We then see Wednesday in a diner, smiling about how his boy is going to be okay.

The ending is quite surreal with Shadow having visions of being back in the Bone Orchard at the beginning of the series, because it always comes back to that initial vision. Its hard to say if these were prophetic visions , or actual events, as the rest of the gods on the premises seem unperturbed, and Anansi seems actually happy. Once again, Anansi seems to be the one character who know more than anyone what’s going on, including who Shadow is, Wednesday’s motivations, and even the final outcome.

People don’t understand why Anansi keeps being so mean to Shadow, but part of being a Trickster god is pushing on people, so as to engage them  into committing  some kind of action. His bullying of Shadow is meant to goad Shadow into doing something he is supposed to do, instead of being so passive about his circumstances. Notice how he is constantly attacking shadow’s intelligence. This is meant to anger Shadow, and goad his ego into trying to prove that he is not stupid. It will prompt Shadow to ACT, because Angry get shit done, and it is one of the few vulnerabilities Shadow has, because in  the other areas of his life, he is very competent. I think he is cheering for Shadow to be the Wild Card in Odin’s plans for the war, because Trickster’s love that kind of thing.

My one regret with Anansi is that we still have not gotten the story from him of The Tiger’s Balls, which is one of the best short stories in the main book, but otherwise this character has been good, but not great, this season.

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The reason why Anansi gets all of the best speeches on the show is because its part of his mythology. Almost all of his stories are part of the oral tradition in Africa, and he is the god of storytelling. When we first meet him he is goading a ship’s hold full of captured slaves into angrily rebelling against their captors. Anansi does not like passivity, which is why all his speeches are so incendiary. He is a fire being that prefers action, and that’s what almost all his speechifying is geared toward, because, “Angry gets shit done!”. And in his speeches to Ibis and Bilquis he tries to get them angry enough, about the plight of African Americans, to join in Wednesday’s war, but is unsuccessful. Ibis and Bilquis continue to keep their distance from Wednesday’s plans, and what’s interesting is that Anansi seems okay with that.

… Anansi was often celebrated as a symbol of slave resistance and survival, because Anansi is able to turn the tables on his powerful oppressors by using his cunning and trickery, a model of behaviour utilised by slaves to gain the upper hand within the confines of the plantation power structure. Anansi is also believed to have played a multifunctional role in the slaves’ lives; as well as inspiring strategies of resistance, the tales enabled enslaved Africans to establish a sense of continuity with their African past and offered them the means to transform and assert their identity within the boundaries of captivity.

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Bilquis has been something of a mystery this season She too is in the process of upgrading and adapting to  the modern world, by seeking worship from human beings, in some other manner besides sex, and I think she hopes to rid herself of her reliance on Technical Boy’s aid in the recovery of her godhood. If she becomes her own woman, she no longer needs to abide by any agreement she  with him, and can then do as she pleases. She attends one of the funeral services, where she gets the congregation all hot and bothered,  even though she says nothing that’s overtly sexual. At this point, she is just testing her new role and how to receive worship of some kind.

Bilquis is also playing both ends against the middle, but we don’t know if she’s there for Mr. World, there for herself, there to prevent the war, or there to serve Odin, who she also seems to hate as much as she does Mr. World. She approaches Shadow and gives him an apple, (I think it came from Yggdrasil), which is a callback to the story of Adam and Eve, but really it just represents the idea of  temptation, and knowledge. She is essentially offering him the temptation of knowledge, but of what is unclear. She tells Shadow that their futures and destinies are entwined. We do know that at the end of the episode, Shadow is sitting on  the knowledge that he is Wednesday’ s son. How clear on that he is, is a matter of some debate.

Laura’s actions are also another mystery. Sweeney died in the last episode, in his final fight with Shadow, echoing the very first fight the two of them had in the first season, but that was when  Sweeney had his gold coin, which he lost to Shadow. In their last fight, Shadow loses Gungnir, (Odin’s war spear), which he had been tasked to protect by Wednesday, to Sweeney who, with his dying breath, transfers Gungnir to the golden hoard, where his phantom coins come from. Laura finds Sweeney’s body laid out in the funeral home and steals it. What her plans are, are unclear, but its speculated that she is taking him to Louisiana to be resurrected, so he can help her kill Wednesday. She asked Bilquis for aid, but she turned Laura down, and Laura still has that vial of blood that was given to her by Baron Samedi, who told her that it can be activated to resurrect her full humanity, with an act of love.

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This is a callback to a conversation, earlier in the season, that Laura has with Mama Ji, who she tried to strong-arm her into helping her. Mama Ji will have none of her sass, and gently reminds Laura that she is also the Lord of War, as well as the Divine Mother, and she  is unimpressed by Laura’s zombie strength. Laura also receives advice from Bilquis, when she goes to her to request her aid in killing Wednesday. Bilquis denies her, but does admit to hating Wednesday.

The most charming character in the series is Salim, because he represents the every-man in this scenario. I’m glad he’s still around, and that he is still committed to his relationship with the Djinn, and what’s more, the Djinn is just as committed to him, although he has been questioned by the other gods about having a relationship with a mortal. As we get closer to the idea that Shadow is himself a god, we need a regular person, through whose eyes we can see the other characters, the one normal human being who can express the audience’s feelings about what’s happening, and with whom the audience can identify, now that we are moving to a place where we cannot identify with Shadow, the way we did in the first season.

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This is groundbreaking because not only is our every-man of Middle Eastern descent, and a devout Muslim, he is also a  gay man. Salim is essentially taking the space that I argued about Shadow, in the first season, before he became totally entrenched in Wednesday’s plans, and his scenes are utterly hilarious. His reaction to what’s happening, especially after he gets named as an enemy of the state by New Media is priceless, actually questioning whether or not he committed the crimes he’s been accused of, and being blandly reassured by Mr. Ibis that he’s been in the house watching television the entire time. I’m happy to see that nothing happens to either of them and the two of them manage to walk away unscathed.

At the end of the episode, we get some idea of the next chapter in Shadow’s life. When his bus is stopped by the police, as they are searching for him, he escapes their notice because the name on his ID card has been changed.  In season three, he will get a chance to ruminate on everything that just happened to him as he spends a quiet  interlude in the small town of Lakeview, where he’ll encounter a creature called a Kobold(?), that is feeding on the town’s young women. In the book, this is part of a long period where Shadow is hiding out at the behest of Wednesday. In the show it has been orchestrated that he is hiding out from the authorities.

It will be some time before we see a third season of the show, possibly as long as a year. In that time, I expect to have re-read the book, and probably will have some new insights into the characters by then. Until next time:

TTFN

 

 

 

 

 

 

 

American Gods Season Two: House on the Rock

American Gods began its second season last week.

Let’s talk about it!

But first we need to have some behind the scenes discussion, just like in the show itself. Bryan Fuller is no longer the show runner for this season. He was let go after writing a couple of this season’s episodes.

American Gods is taking new steps forward today, though; Jesse Alexander, who worked with Fuller on Hannibal and Star Trek: Discovery, has been officially named as its new showrunner. Meanwhile, the six scripts Green and Fuller had already written for the show’s second season are allegedly set to be tossed out, with Alexander and Gaiman returning to square one as they fight to get the series back up and running for its anticipated January 2019 return.

  ——  https://www.avclub.com/the-bryan-fuller-american-gods-breakup-was-apparently-e-1822682450

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The new show runners are the author of the book, Neil Gaiman, and Jessie Alexander (who is also now out). I’m not sure how I feel about that. I’ve never watched a show run by Gaiman before, but I am familiar with Fuller’s output. Those of you who watched last season are going to notice some differences in how the story gets told, and I am not confident that Gaiman will keep that same in your face attitude that was such a great part of the first season. Its possible the show may end up being little more than a lovely spectacle, but I’m not going to give up on the series just because Fuller isn’t on it. I’m really curious about what’s going to happen this season, and the show has already been renewed for a third, so even though I have some doubts that it won’t be as good as Fuller’s version, there might be other compensations. I’m sticking with it.

That Fuller is an openly gay man had a lot of influence on what was depicted on screen, most especially in the episode Head Full of Snow, where we met Salim and the Djinn. Fuller was also responsible for the many subtle layers throughout the season, as he is a master of subtext. There have already been some dramatic changes, because Kristen Chenoweth and Gillian Anderson left the show on Fuller’s heels, and the writers have had to accommodate that. So  we do not pick up where we left off at the end of season one, and Ostara’s actions at the end of that season seems to have had little effect on the world.

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Aside from a brief background news piece, this action has no clear impact on the world, and Easter has apparently turned her back on Wednesday because he ran over some of her bunnies.

And to explain Anderson’s absence from the show:

Meanwhile, the New God Media, who Anderson played with an overabundance of confidence as she threatened and cajoled heroes and villains alike, was apparently so shaken by Wednesday’s display of power that she’s gone into hiding to reinvent herself. 

——-   https://www.theverge.com/2019/3/10/18258816/american-gods-review-season-2-ian-macshane-gillian-anderson-kristin-chenoweth-starz

The story opens with Mr World bruised and battered, being ferried to a secret location by Technical Boy. Media has disappeared, after her run in with Easter, and TB is  tasked with finding her by Mr. World. Mr. World is in this secret location to visit Argus, a secret surveillance site (and an old god of some kind, which is the reason Technical Boy is not allowed to meet him. Mr. World can spy  on the old gods, thanks to the presence of Bilquis, and her tracking device.

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In the meantime, all the gods we saw from the first season make their way to the House on the Rock, along with a couple of hangers on. Sweeney, Laura, Wednesday, and Shadow all travel in the same car and their proximity to each other is not easy. Sweeney hates everyone, and Shadow and Laura are not comfortable with each other.There’s a lot more of the book dialogue in the episode, as Nancy ,and Wednesday talk about the history of the House on the Rock. Neil Gaiman wanted more of the book to be on the screen and he has somewhat got his wish.

We are  introduced to Kali, also known as Mama Ji who is one of my favorite characters from the book, even though she doesn’t get a lot to do beyond some ass kicking, and her speech in this episode.  I hope we get to see more of her this season. As a human, she works in a local hotel, in the humble position of a housemaid. She argues that she doesn’t need a war because her position as an Indian deity is pretty strong, due to the influx of Indian immigrants to America. As am extremely powerful True God, in her own right, she argues that she is in no danger of being forgotten. Whiskey Jack and John Henry also get name checked.

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Bilquis was sent by Mr. World to spy on the meeting of the old gods, and according to Mr. World, make her complicit in his act of betrayal later in the movie, which we’ll get to in a moment. Bilquis was chosen for this because she owes Technical Boy a favor for creating the dating app that has given her new worshipers, and she is definitely feeling her own power, (as we saw last season when she tried to seduce TB), and she is reluctant to do anything for the new gods. They need a way to keep her in line, and one their side, otherwise she is too powerful to control. So ironically, Bilquis ends up in exactly the situation that was talked about in the first season when she was exiled from her homeland, her sexuality now under the control of a men, to be unleashed when they only with their permission.

At the House, the Djinn, who is working security, is confronted by Salim, who tells him that he is following his heart and wants to stay with him. The Djinn wants him to go away because its too dangerous for him to get involved in this war. The Djinn issues everyone coins to a mechanical oracle as a kind of reverse entry fee to the meeting. Bilquis prophecy has something to do with Shadow because when she receives hers, she glances sharply in his direction. Notice the very warm greeting between her and Mr. Nancy vs. the one between her and Wednesday which is decidedly cooler, as she chastises  him that she is older than him, and he neglected to invite her.

Sweeney, Salim, and Laura are not invited to the meeting, and must wait outside, but Shadow gets a ticket and his prophecy is interesting:

Every ending is a new beginning
Your lucky number is none
Your lucky color is dead
Motto: Like father, like son”

If you’ve read the book, then YOU know what that prophecy means but Shadow is mystified.

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The gods all meet up just before the meeting which involves riding the Carousel. Bilquis expresses some interest in who Shadow is. Everyone is always curious about Shadow and what he’s doing hanging out with Wednesday. Bilquis and Nancy admire Shadow’s physique although of course Nancy takes every opportunity to belittle him. Nancy’s son gets a shout out, too. If you haven’t read Anansi Boys, then check it out. Its not directly related to American Gods,  but is related thematically for its theme of  relationships between fathers and sons.

Laura, even though she’s not invited, demands a coin for a prophecy too ,and the Djinn tries to refuse her but is warned away from making Laura angry by Salim and Sweeney. Her prophecy is blank, because she’s already dead. She has no future. Wednesday meets with the eldest Zoraya, The Evening Star, who looks lovely and is played by the magnificent Cloris Leachman, and her brother Czernobog, who is his usual profane self.

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The old gods all meet to ride the Carousel and invite Shadow to ride as well. As I mentioned last season, there are a lot of things the gods do that is related to their worship, like smoking, and prophecy. The act of or the idea of spinning is a theme across several religions, with the most famous being Sufi Whirling, or Whirling Dervishes of Turkey. Whirling in circles is a form of active meditation used  to touch the divine. Even some of the fundamentalist Christian regions mention spinning in circles as a way to connect with God, or a sign that one has connected with God.

This is the purpose of the carousel, as Shadow is connected to the gods by the whirl of the machine, he wakes up in a mental state in which he can see the gods true forms.  The old gods are reluctant to join Wednesday in his war against the new gods, but Shadow gives a rallying speech ,which Wednesday believes will sway some of them.

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After the meeting the old gods meet at a local diner where Shadow get gaslighted by the gods, who pretend the carousel event didn’t occur, and will not answer his question about whether or not they are all gods. Technically, some of the them are just Personages, not gods. I would call them Powers, like Mad Sweeney, and the Djinn. Shadow also  tries to ignore Laura exists, but she is somewhat compensated by Bilquis’ attention to her.

I have no idea if Bilquis has the ability to turn her seduction powers on and off, or if they are simply innate to her, or if they work, or don’t work, on some people. Certainly many of the gods, both old and new, seem able to resists her charms, but ordinary humans cannot. It’s hard to tell if her powers are working on them. First she tries to guess if Laura is some sort of god, because she recognizes that Laura is different from an ordinary human, and seems attracted to her, until she finds out that Laura is married to Shadow, and then kisses her. Beyond looking bashful Laura doesn’t really respond.

 

Bilquis leaves but has signaled the location to Mr. World , who has sent an assassin to take out as many of the old gods as possible. The primary casualty is Zoraya, The Evening Star, who dies in Wednesday arms. Her brother goes on a long rant about what he pans to do to the killer, and its an interesting speech. You  will recognize the prophetic content of it if you’ve read the book.

I really do hope we get to see the Zoraya sister again. Cloris Leachman is a favorite of mine, and her character was hilarious, and played to perfection.

Shadow runs outside to beat up the assassin, but gets abducted by what appears to be a UFO. This is the introduction of another character I do not remember from the book, Mr. Town. He works for the new gods and wants to get to the bottom of who Shadow is, and why he is with Wednesday.

So in the second episode we get to find out a lot about Shadow along with some new questions as well.

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*I am very late with these reviews, but life has a way of delaying one’s well laid out plans and that’s what happened this week.  So for the next couple of weeks, it’s just going to be reviews of shows I’ve been watching, rather than my usual essays. Next week is the premiere of the last episodes of the last season of Into the Badlands, and I’ll be focusing on those, and I have  reviews of Doom Patrol, Upgrade vs. Venom, and  Siren, coming soon.

American Gods Season One

The second season of American Gods airs this Sunday, and Starz has been showing season one non-stop since January. The show is available for streaming on Amazon Prime, Youtube, and Vudu, or the Starz app.

So here, for those of you who missed the first season, are all my reviews and recaps in one spot.

 

The Bone Orchard

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https://tvgeekingout.wordpress.com/2017/05/03/american-%EF%BB%BFgods-season-one-the-bone-orchard%EF%BB%BF/

 

The Secret of the Spoons

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https://tvgeekingout.wordpress.com/2017/05/12/american-gods-season-one-the-secret-of-spoons%EF%BB%BF/

Head Full of Snow

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https://tvgeekingout.wordpress.com/2017/05/19/american-gods-season-one-head-full-of-snow/

 

Git Gone

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https://tvgeekingout.wordpress.com/2017/05/27/american-gods-season-one-git-gone/

Lemon Scented You

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https://tvgeekingout.wordpress.com/2017/06/01/american-gods-season-one-lemon-scented-you/

A Murder of Gods

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https://tvgeekingout.wordpress.com/2017/06/07/american-gods-season-one-a-murder-of-gods/

A Prayer For Mad Sweeney

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https://tvgeekingout.wordpress.com/2017/06/13/a-prayer-for-mad-sweeney/

Come to Jesus

https://tvgeekingout.wordpress.com/2017/06/23/american-gods-season-one-come-to-jesus-part-one/

American Gods: Of Gods and Shadow Moon (Come To Jesus – Pt. 2)

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https://tvgeekingout.wordpress.com/2017/07/06/american-gods-of-gods-and-shadow-moon/

American Gods: Of Gods and Shadow Moon (Come To Jesus – Pt. 2)

 

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                   SPOILERSSPOILERSSPOILERSSPOILERSSPOILERSSPOILERSSPOILERS

 

 

I’m  going to maybe do a little spoiling ,so if you didn’t read the book….best check out now, although just because it’s in the book, doesn’t  mean it will play out on the show. However, the show is following the spirit of the book, and some of the major plot points  of the book have been struck.

At the end of this first season, it’s difficult to say where we are in the book because the series is showing events out of order. A significant middle portion of the book is taken up with Shadow, alone in a small town, waiting for Wednesday to contact him, as he goes about gathering together the various gods.

One of the major changes from the book is Shadow is with Wednesday, as he attempts to round up the various gods for his war. The end result of this decision by the show’s writers,  is that the focus is now on Shadow’s relationship with Wednesday. Their relationship was not something that was elaborated upon in the book, so by focusing on the closeness of Shadow’s friendship with Wednesday, we can better understand  at least one of the key decisions that Shadow will make in the next season.

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In the Bone Orchard, we’re introduced to Shadow while he’s in prison. The way we see him there, is how we’ll see him for most of the season, reacting to something that’s being done to him. He essentially moves from one kind of prison to another, where he is not in control of any of the events that are happening to him, from his wife’s death, to his early release from prison, to his meeting with Wednesday, and he spends almost all of his time being fought over by various gods, and  reacting, or not reacting, to someone, or something. From the disrespectful airport lady, to Audrey’s attempted rape, to Wednesday roping him into his deal as a bodyguard, to fighting with Mad Sweeney., Shadow spends the entire season reacting to things others are doing to him. (The most decisive things he did all season was to accept Wednesday’s job offer, and Believe.)

How Shadow reacts to the world around him in those first 30 minutes is key to realizing how shaken he is by the events of this season, and what a huge turnaround it is for him to say those words to Wednesday in the season finale. From his early reactions, we understand that Shadow is not a stupid man. He thinks about what’s happening to him, and how he should feel, or respond to it.

For example the airport scene where he thinks back on Lowkey’s warning not to piss off airport ladies, despite that woman’s blatant disrespect of him. He understands that the survival behavior he developed in prison is not going to work outside of it, and adapts his behavior accordingly. You can almost see the exact moment when he backs down from going off on the woman, realizing that more than a few ex-cons ended up right back in jail because they were unable to adapt their prison behavior to their new situations. It is his intelligence and adaptability that will stand him in good stead on his journey into the realm of the gods.

When Sweeney tries to provoke him in the bar, Shadow tries to stand down, because he wants to learn Sweeney’s coin trick, but after a moment, he figures out that Wednesday is testing him, and steps up. When Technical Boy threatens him, he remains calm and  unruffled by TB’s threats, mouthing off to TB as he would to any other convict who tried to scare him. Once again reading the situation correctly, and then adapting his behavior to suit it.

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I said in an earlier post that Shadow Moon is the show’s Everyman. Every fantastic, supernatural show, must have one. They function as a lens through which the fantastic is experienced by the audience. We’re meant to identify, and empathize with this character. Shadow is  remarkable  because the vast majority of such characters are often Average White Guys. It’s  extraordinary for us that a Black man has been cast in such a role because the audience is supposed to project themselves onto his character, and identify with him, and the decisions he makes.

This is only the first season, so much of our time has been spent establishing the world that Shadow has joined. A a result,  Shadow is often a passive, rather than a dynamic character, which I know sometimes frustrated some viewers, but this is quite common.  He’s done very little to move the plot forward, which is in keeping within the tenets of Joseph Campbell’s Hero’s Journey. Think of Luke Skywalker, who starts off Star Wars as a somewhat passive character, who is mostly reacting to things being done to him.

This season has been a journey to get Shadow to do one thing. Make one big decision of his own volition. Believe! After this, much like Luke, in The Empire Strikes Back, Shadow should become a much more active participant in the proceedings, and Bryan Fuller promises that he will.

Like Luke Skywalker, Shadow receives the call to adventure (from Wednesday). As soon as he agrees to it, he’s given supernatural aid, in the form of a magical coin by Sweeney, after his first challenge, which is besting Sweeney in a fight. (Giving the coin away is what actually aids him, at the end of The Bone Orchard. Had that coin never resurrected Laura, Shadow would have died on the tree.)

His second challenge is his checkers game with Czernobog, which he loses. He is then given a second gift in the form of a silver coin, that helps him best Czernobog, when he challenges him to another game. Technical Boy is the Guardian of the first threshold. Shadow has  fully committed to the adventure by the time they meet.  His lynching is his entrance into the Belly of the Whale. He couldn’t back out of the adventure now, even if he wanted to, because the new gods are aware of his presence. Shadow has to keep moving forward now, just like Luke had no choice but to keep moving forward after his first encounter with Darth Vader. Once you become known to the major players, its impossible to back out of  events, as they will keep drawing you back into the game, by coercion, or force, if necessary.

As Shadow moves forward, he is beset by  temptations and challenges, which occur in threes. The first temptation is in the cemetery with Audrey, while one of the challenges is his game of checkers with Czernobog.   Along the way, there are two other temptations: Laura’s return, and Media’s seduction to the dark side, both of which Shadow successfully withstands. Another of his three challenges is the  bank heist, which is successful, and Mr World makes, yet another, offering to him, of flesh and blood,  in the form of Technical Boy’s teeth. So Shadow withstands three temptations, overcomes three challenges, and receives three gifts. Along the way, he is aided by his assistant (Helper), Laura, and mentored by Wednesday.

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Shadow is also shown to have gifts of his own, an ability to prophecy, control of the weather, the ability to do coin tricks, to heal quickly, and to See. One of the  first things we know about Shadow is that he has prophetic/mystical dreams. He dreams about Laura’s death, telling her on the phone, and in his dream that he has a feeling of dread, that something bad is about to happen. The Bone Orchard is his dream about impending danger, of being attacked by Technical Boy’s white clad droogs, in a meadow, next to a tree. In the dream, Shadow stands in a blood covered orchard with bones, while he is attacked by white, bone-like hands reaching out of the trees. Shadow doesn’t know it, but the Bone Orchard represents the deaths of TB’s drones, at Laura’s hands. Later, he dreams about the same Buffalo God that denied entry into America to Nunyunnini, the forgotten god of Lemon Scented You. In his dreams this  god tells Shadow to “Believe.”

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During the scenes where Laura visited her family, Wednesday asks Shadow if he can see her, and Shadow, through glowing  eyelids, perfectly describes Laura, looking through her family’s front window, and deciding that she can’t join them. . So far, he has been shown as having the powers of many of the beings he has seen or met. His ability to prophesy mimics the Zorya Sisters powers. The coin tricks mimic Sweeney’s abilities with coins. Laura’s one heartbeat, when he kisses her, implies he has the powers of Anubis, or Easter, to resurrect the dead. (It is definitely Shadow who resurrects her because the power of  Sweeney’s  coin does not entail resurrection. )The trick with the snow is an echo of the powers of a certain storm god we all know, but who has, conspicuously,  never been mentioned.

We’ve also seen that Shadow is able to heal very quickly. When he was attacked by TB’s henchmen he suffered a stab wound in his side that needed to be stapled shut, but by the time we see Wednesday healing him in Murder of Gods, he only has the tree wound, which is healed by the time of Come to Jesus. Shadow doesn’t act, or move as if he’s in pain, or wounded, shortly after these events.

Not only do we know Shadow through his actions, but we also know him through his emotions. Ricky Whittle gives a beautiful performance  of a man who is hanging on to his sanity by his fingernails. Whittle’s portrayal is remarkable for the depth and breadth of emotions he brings to his character. He’s allowed to be tough and snarky, just like your typical hero character, but he’s also allowed to express vulnerability, without coming across as weak.

Not only is Shadow allowed to be tired, upset, angry, happy, hopeful, and even fearful, he is allowed to express these emotions without censure from the other characters. And even when he’s not openly expressing his emotions, in some of the first episodes we have some idea of what he’s feeling through the weather around him. Whenever we see Shadow trying to keep control of his emotions, the scene transitions indicate his inner turmoil, with shots of heavy clouds and storms. This is also indicated by followup shots that move from Shadows facial expressions to shots of the sky just above him.

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In one of the first scenes in The Bone Orchard, Shadow gives full vent to his emotions on a hilltop, which is followed by a shot of clouds clearing from a blue sky. When he vents, skies tend to be clear. When he tries to suppress or control his emotions, the weather is often an indicator of his inner turmoil. When he first meets Wednesday, their plane is flying through a storm, as he deals with the aftermath of Laura’s death, and this annoying stranger he’s trying not to snap at.

In Secret of the Spoons, we see clouds form, and a storm occurs, just after he is kissed by The Midnight Star, from a sky that was  clear a moment before. He must be feeling a great deal of fear, dread, and grief and guilt, after his wife dies, being threatened by Czernobog and his bleeding hammer, and having some strange girl kiss him. And there are other scenes where we are meant to directly attach the weather conditions to whatever Shadow is feeling at that moment.

In A Murder of Gods,  and The Bone Orchard, we get to see Shadow be scared, and apprehensive. We get to see him react in a realistic manner to the craziness, and potential danger around him. This is a man who, while always acutely aware of his Blackness, doesn’t let that define him, or limit his actions. Shadow is secure in who he is as a Black man, and doesn’t seem to care to engage in fake posturing, or in trying to convince everyone that he’s not weak. This is a man who simply knows he can handle himself. He is not at all intimidated by TB’s bluster, or Sweeney’s rants, and it’s that self-assurance that makes his vulnerable moments all the more touching.

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From  his guarded response to Czernobog’s questioning of his race in Secret of the Spoons, to his naked fear at being in a town with so many White people fondling guns, in A Murder of Gods, he doesn’t hold back from showing what he really feels when in Wednesday’s company. This emotional openness is part of the reason Wednesday likes him. Wednesday is almost never perturbed by Shadow’s feelings about anything. He often steps back and just lets Shadow handle his own business.

One of the highlights, and a subject of some concern to the fans, is Shadow’s relationship to Wednesday. I really want to like it. Actually, I do like it, sort of, but I also  keep in mind the Wednesday is a con man. A user, who is grooming Shadow for some dark purpose. Nevertheless, you can see the genuine affection he has towards Shadow. You know Shadow needs to separate himself from this man who orchestrated, not just his sojourn in a prison cell, but the deaths of his entire family while he was away. It’s easy to forget that when watching the two of them together though. I have to keep in mind that Wednesday thinks like a god,  and is not held to  human morality. He did what gods have always done, which is manipulating humans to suit their needs. I dislike Wednesday because he’s a manipulative narcissist.  He cares about Shadow because it’s in his best interests to care, and yet all of that doesn’t make me actually hate him, probably because there is  a genuine liking for Shadow in his demeanor.

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Shadow’s relationship with Wednesday is complicated. He knows what kind of person he’s with, which is the reason he’s so often angry with him. He knows Wednesday is a con man, a liar, a thief, and a user, but seems unable, or unwilling, to pull himself from Wednesday’s orbit. This isn’t because Shadow is stupid. It’s the opposite. It’s because Shadow is curious about the larger, weirder world, he’s been glimpsing over Wednesday’s shoulder, and he’s drawn to it, even if he resists believing in it. How many of us, if given a glimpse of such a world, could resist becoming a part of it? Of wanting to?

It’s the reason people worship gods in the first place, for a glimpse of something bigger than themselves. Shadow was mostly godless before he met Wednesday. The closest thing to a god he believed in was Laura, and that was smashed by learning of her infidelity. (See how Wednesday needed to squash that belief before recruiting Shadow to his cause? And how Wednesday warns Shadow about getting close too close to Ostara? He is a jealous god, who does not want Shadow setting any other gods before him.)

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Now for some speculation.

My speculations are entirely based on the book, and are subject to total reinterpretation next season. So this will contain spoilers from the book, and maybe, or maybe not, spoilers for the future of the show.

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One of the reasons Wednesday needs Shadow to believe is Shadow agreed to perform Wednesday’s Vigil should anything happen to him. Its part of the bargain Wednesday quietly slips  in,  at the beginning of Shadow’s employment, in The Bone Orchard. A Vigil, at least in Norse culture, is done over the body of a  dead relative. And yes, Shadow is Wednesday’s son.

I have speculated if the writers will make Bilquis Shadow’s mother, as we keep being given subtle hints that the she may well be. That Disco scene in the finale with Bilquis, with the huge Afro, morphing out of a lunar eclipse (which is another term for a shadow moon) is one such hint, and Wednesday speculating about Shadows mother having an Afro, in The Bone Orchard, is another. And having a son is something that could have happened to Bilquis during her fall from power, in the late eighties/early nineties, which would put Shadow at just the right age to be her son. But this is just me speculating. (If this is so, Shadow would be a true-God, not a Demi-god.)


Fuller has promised that Bilquis has an important part to play in the narrative, so everything we’ve seen of her so far, is all setup for a later reveal. Notice how women are instantly sexually attracted to Shadow (outside of Shadow looking like the extremely hot Ricky Whittle). I think this is  deliberate on the part of the writers. From the waitress at the Crocodile Bar who openly flirts with him,  to Audrey’s attempted rape, to Ostara being instantly smitten with him, and Laura’s new obsession ( Is the reason she sees him as an eclipse a sign of his godhood?) women have had strong sexual reactions to him, which could be a sing of Bilquis’ influence, as she is a Love Goddess.

Let me be more specific here: white women all have strong sexual reactions to him, as he hasn’t had any interactions with WoC, yet. If Bilquis is his mother that would explain much of the behavior we’ve seen, and could also be a deliberate statement on the  white supremacy which sees Black men as hypersexual stereotypes. We’ll see!

In the book, Wednesday is killed by the new gods,  to be used by Loki as a martyr, to help facilitate their war. Shadow is the one who performs this Vigil, by being hung on a tree for nine days, just like in Odin’s mythological backstory. Odin hung on the World Tree, for nine days, to receive wisdom, and the price paid, was the loss of his eye.

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In the book, Shadow hangs on an Ash tree for nine days. During that time, he receives wisdom about who and what he is, while traveling through the underworld. Shadow dies, but is resurrected by Ostara, and her fondness for Shadow, in Come to Jesus, is a nice setup for why she would decide to do that.

This also ties into the lynching imagery throughout the series, because that is foreshadowing for when Shadow will choose to hang on a tree for Wednesday, despite the naked fear we see in him. This lynching imagery is used throughout the series as a dreadful reminder of Shadows future. It is literally hanging over his head in his scenes in the jail courtyard, and Vulcan’s front yard. You are meant to be afraid for him. He is being manipulated to sacrifice himself for Wednesday, and cannot do so, if he doesn’t fully understand who Wednesday is, which is why Wednesday’s reveal, and Shadows statement are so awful. Wednesday is that much closer to realizing his plans for Shadow.


All season long Shadow has been admonished to Believe. So yes, even though believing is his downfall, it’s also the only way he can be saved. He has to believe in something, not necessarily Wednesday, but something, or he will never get through any of this intact.

Through the efforts of the other gods, Shadow survives the Vigil. Earlier in the series, Wednesday mentioned that there’s no King of America, which is why the philosophical discussions that happen between Wednesday and Shadow need to be attended closely. They offer clues to Shadows future. Shadow ends the book as a kind of Demi-god, a new King of America, who can see lies, and expose the truth. And this  is also the reason Shadow had to be a Black man. It’s a statement on how Black men are one of the few marginalized groups that have most often spoken truth to power. A black man who can see Truth is just keeping it real.

In the next few seasons we may or may not get to see the war, (in the book, there’s no war), but I’m not very concerned about that, because I don’t think that’s really the series end game either. I’m speculating that Shadow’s  birth as a kind of God of all gods, (sort of like Odin) is what’s at stake on the show. At least that’s where I’d like to see the future of this series turn.

American Gods Season One : Come to Jesus (Part One)

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This  took some time to write because so many delicious things happened in the finale. I’ve been pretty busy and tired this week, but I’m determined to get this post out, doggonit! I’m also  going to have to do this in installments, because its already long enough. The next post is about the series as a whole, including its future incarnations, and an entire post devoted to speculation about the show’s lead, Shadow Moon, and his relationship with Wednesday.

Fuller and Green pulled out every stop in Come to Jesus. This episode was funny, cute, and awesome, in ways I wasn’t expecting. And that ending? Wow! This episode was also just gorgeous. The cinematography was  incredible, from Bilquis backstory, to the final scenes featuring Ostara,  tonight’s episode belonged to the women.

We open with Shadow and Wednesday, looking bored, while Nancy crafts new suits for them from spider silk, of course. Why am I not even surprised that he’s a tailor? It’s Easter holiday, and the two men plan to visit the goddess for which the holiday is named. For that, they need to look presentable. Nancy’s  house is an arachnophobic nightmare, though. All of his tailoring scenes, and even the clothing, is crawling with tiny spiders. (I think the spider’s are making the fabric, and there’s a giant loom in the background. How do I know this? I used to have  that kind of loom when I was a child.) I was a little squicked out by the spiders, though. If you have severe anxiety about spiders, then skip this scene. What’s interesting is that all of these gods have animals associated with them, and that they communicate with. Wednesday has his ravens, and the wolf we saw in A Murder of Gods, Nancy has his spiders, Ostara has bunnies.

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Afterward, we get another gorgeous scene of Nancy telling a story, despite Wednesday’s protestations, and Nancy’s  signature catchphrase, “Angry gets shit done!” is aimed, this time, at Shadow, who is pissed at Wednesday for killing Vulcan. This episode has so many favorite moments, this is simply the best episode of the season. Mr. Nancy generating his own spotlight is hilarious! (I just love this character!) At first I thought Nancy was going to tell the story he told in the book, about how the monkey got the lion’s balls, but no, he tells Bilquis’ tragic backstory, which is a very neat way to tie her to the other characters we’ve met this season, and tie her presence in this episode to Easter. How he knows her backstory is anyone’s guess, unless he’s making it up (in the book, he and Bilquis never meet) but it’s fitting that he be the one to tell her story here. I think Nancy is probably a little in love with her too, and it makes sense, in this series universe, they would’ve met.

Note: Once again, only the barest bones of this comes from the book. This series follows the foundation, and spirit, of the books, but is very heavily embellished with lots of extra stuff.

http://nerdist.com/american-gods-history-primer-bilquis-a-k-a-queen-of-sheba/

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Bilquis  is a very, very old Queen, (Sheba) with her own temple, and congregation. We’re talking about 3,000 years ago, in ancient Iran, where she was incredibly powerful, and openly worshiped. Of course, you could visit her temple, and worship her if you wanted, but you would very probably be eaten. It’s a beautiful, sensual scene that doesn’t feel gratuitous. Fuller has an unerring talent for crafting sex scenes that are titillating, without being raunchy. Bilquis was so powerful then, like a spider, she just liquefied her companions (whole groups of people), before sucking them into her vagina. Where, according to Technical Boy, they spend an eternity worshiping her in the Vagina Nebula, as she feeds off their energy.

Nancy narrates how various patriarchies went out of their way to destroy her, and failed. That handsome young man with the crown, I believe just represents royalty in general, and no God in particular. At the height of her powers, she devoured kings too. Later, as men became more and more desperate to control and contain her and her followers, out of fear and hatred, they resorted to violence, which seemed to work. As the centuries passed she fell on harder and harder times and, like Nunyunnini, was slowly forgotten, even by herself. Unlike him, she was still potent enough to be revived. As long as people wanted what she had to give she could still take sustenance. Bilquis’ story is a perfect metaphor  of the suppression of female sexual agency and  power by patriarchy, which is why it was important to Fuller that she be a  dark skinned Black woman. In the history of America, Black women have had little sexual agency, they’re bodies often exploited by men for labor and reproductive purposes. We’ve all been taught that woman’s sexuality needs to be carefully harnessed, and are only just now moving away from this concept in the US.

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Also, women who look like the gorgeous Yetide Badaki, are rarely shown as sexual icons in  media, or  as women who own their sexuality, serving no one but themselves. Women  who use their sexuality for their own ends, often have their sexuality heavily policed by men and women of all races. Witness how black women like Beyoncé, and Serena Williams have been vilified by social media for expressing themselves, slut shamed by respectability politics, and made to seem less than white women who have engaged in the exact same behavior, but are considered empowered when they do it. The true irony,  in this scenario, are white women who think the freedom to express their sexuality is something only reserved for them, and who seek to suppress and castigate WoC for expressing theirs.  Bilquis story is all the more tragic because, as Bilquis’ power diminishes, she comes to accept this shame and self hatred, along with her lowly status. She isn’t just forgotten by the world. She forgets her power.

The  passing eras, and her rise to power again, are beautifully rendered by the changes in costume and makeup. We see her in her original jewelry, at the temple. There’s a scene of her in a disco, with a huge Afro,  reminding me of Wednesday’s first statements to Shadow about his mother. (I do wonder if the show will go that route with her. It would be a nice touch, and explain a number of odd things about Shadow, who we still have no backstory for.) She even takes another WoC ,as her lover and I’m sure there are fans who loved this representation of WoC pansexuality. In 1979, during the Iranian Revolt,  she is exiled from her homeland, along with many of her followers, and years later, watches in despair, as ISIL destroys her last temple. Later, she finds her lover again, but she is dying from AIDS, which has been seen a punishment for people  who are considered too free with their sexuality.

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Bilquis is, once again, visiting her display at the museum. She is so ancient, that almost no one now alive knows what any of the  objects representing her were for. She is visited by Technical Boy, (who is wearing yet another shitty, ridiculous hairstyle) to whom she owes a huge favor, as he was the one who found her when she was at her absolute lowest ebb, homeless, and sleeping in the gutter. He offers her tribute in the form of a modern dating app, which is where we find her in episode one. What he has tasked her to do, we’re not sure, but she’s meant to meet everyone at the House on the Rock, a place of major importance in the book.

Nancy says Bilquis is reluctantly on the side of the new gods, and that Wednesday needs to collect another ancient goddess as her counterpoint.  During all Bilquis’ scenes, we get some idea of what her powers are, and while she’s not at her height, she possesses the ability to charm, beguile, or seduce any human being. Who she is meant to turn this power to at House on the Rock, is unclear. Wednesday, or Shadow? Nevertheless, it’s clear she’s not entirely willing to do Technical Boy’s bidding, and there is hope for her breaking her deal with TB, because we notice she is not carrying her phone, or using her app, when she seduces one of her travel companions.

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On the way to Easter, Shadow dreams about climbing a mountain of skulls. This is his prophecy about the war, hanging  over his subconscious like Wednesday’s storms. On some level, he knows and believes in what’s happening, but refuses to commit, and Wednesday calls him out on this. No matter how angry he gets at Wednesday, or pretends to, he still likes the old con, and I think Wednesday is counting on that fondness to keep him by his side.  Shadow also sees the White Buffalo again, and the World tree, Yggdrasil, which is also a representation of the War of the Gods (Ragnarok) spoken of in Norse mythology.

**Ragnarok (Old Norse Ragnarök, “The Doom of the Gods”) is the name the pre-Christian Norse gave to the end of their mythical cycle, during which the cosmos is destroyed and is subsequently re-created.

—– http://norse-mythology.org/tales/ragnarok/

When Shadow wakes up, he finds that he and Wednesday are being chased by bunnies. It turns out that the bunny that overturned Laura’s truck was not sent by Easter, although it is her animal to call, and they report to her. I thought that was one of the cutest things ever. The bunnies try to stop Wednesday  from reaching his destination too, but unlike Laura, he is unimpressed. He just runs them over, which makes Shadow give him the side eye. So the bunny’s job seems to be stopping uninvited  people from reaching Easter’s home, I guess.

Obstructionist Bunnies!

Easter is, naturally, celebrating Easter, but she’s celebrating it with all the various Jesuses, which I thought was hilarious. This is notable because Jesus is treated just like any of the other gods in the narrative, and most of the current versions are present at the party. The whole damn thing was just deeply, deeply funny to me, including the scenes where, whenever any of the Jesuses got near a light source, a halo would appear, and Shadow’s meeting with Jeremy Davis’ regular white guy Jesus, AKA Jesus Prime, for some reason. I did see Hippie Jesus, Black Jesus, and even a baby Jesus. Some of the Jesuses I couldn’t pinpoint, although I am told Mexican Jesus managed to resurrect long enough to show up.

Your basic guide to Jesus:

 

What do you call them? A flock? A gaggle? A Halo of Jesi?  But it’s the details that really fetched me up, and made me laugh out loud. From the flock of sheep that follow Ostara in all her outdoor background shots, to the tiny halo on the infant Jesus, being nursed by a woman dressed like old-school Mary, to  the jellybean stigmata of the Russian Orthodox Jesus, and the bunnies that poop jellybeans, it’s an incredibly rich, and thoroughly charming backdrop. And if I was a bit dubious about Ostara, at first, I was totally in love with her by the end of the episode.

 

On Ostara:

https://www.thoughtco.com/eostre-spring-goddess-or-neopagan-fancy-2562488

https://www.themonastery.org/blog/2013/03/easter-and-ostara-converging-traditions/

Easter receives several uninvited guests, along with Shadow and Wednesday. Laura and Mad Sweeney, Media and Technical Boy also arrive. The meeting of Shadow and Easter is just cute in the books but they’re shown here as being much more smitten with each other, which is a good foundation for Easter’s actions towards Shadow later in the series. In the book, she is delighted to meet Shadow and flirts shamelessly, in that way that only Southern Belles can get away with. The two of them are just the most darling thing I’ve ever seen on this show. Shadow blushes like a shy teenager with his first crush, and while she offensively refers to him as pink chocolate! she gets a pass, because I wholeheartedly agree.

That boy is foine!

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Kristen Chenoweth is wonderful in this role. I was prepared to be annoyed by her because of the trailer, (and because Chenoweth has a sordid past as a Broadway singer),  but she turned out to be a delightful character who, like a lot of southern women, is warm, gracious, and mushy, on the surface, but has a backbone of pure steel underneath. Easter is not happy that Wednesday is crashing her party, and upsetting the Jesuses, who are very nice men.

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Laura and Sweeney also arrive, but unfortunately, Easter is unable to resurrect Laura, as Sweeney requests. Looking deeply into Laura’s eyes, Ostara sees the shadow of a raven, and the face of Mad Sweeney, and determines  that Laura was killed by a god. Since Laura was killed through Wednesday’s machinations, Ostara cannot interfere in  another god’s plans. Laura figures that Sweeney knows more than he’s been telling her and tortures the truth out of him. It turns out, Wednesday isn’t just responsible for Laura’s death, but just as I suspected, is also responsible for that perfect casino heist that went horribly wrong, that landed Shadow in prison, being guarded over by Loki. You need to ask yourself why Wednesday would go through so much trouble, to procure a nobody, from nowhere. Easter also admits that the other gods have been talking about Shadow too, speculating who he is, and why he’s with Wednesday.

I like how they’ve kept Laura’s decomposition consistent. She’s definitely getting to the liquid stage, as her eyes have become milky, and she coughs up maggots. She can’t even begin to hide her smell now, (in the books she covered it up with perfume), and she has her own halo of flies. In the meantime, Shadow has a conversation with one of the Jesuses about the nature of belief. I laughed too hard at Jesus setting his drink down, and losing it in the pool he was floating on top of,  because Drunk Jesus!

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One of Easter’s bunnies whispers in her ear that Media has arrived, also without  invitation. Before I start gushing about Gillian Anderson in this role, I need to give some backstory. Irving Berlin’s Easter Parade was released in 1948, and starred Judy Garland and Fred Astaire. The plot involves an older veteran dancer, who replaces his older partner with a young dancer, he hopes to mold in his image, until he finds himself falling in love with her. The faceless drone we see Media dancing with, is dressed in a replica of his suit, from the movie, and Gillian is wearing a pink replica of Judy Garland’s dress from the movie’s title scene, at the end. The drones are even attempting to dance like Astaire. Media mostly speaks in quotes from the movie. From her opening statement about Easter’s heart beating faster, to the mention of their date, these are all quotes from the movie. Guess how I know this!😊😊😊

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Unlike Wednesday, Easter didn’t turn down Media’s offer of aid, although she never asked for it either. In exchange for making certain that Easter traditions remain popular (eggs and chocolate), Easter has gotten a significant boost in her reputation, and followers, even if she has to share her holiday with the Jesuses. In exchange, Media requests her loyalty. When Wednesday approaches, he is confronted by Media and Technical Boy, but he upsets their plans, winning Easter’s loyalty with a combination of lies and tribute. He tells  her the Shadow-unapproved story, that Vulcan was killed by the New Gods, for taking his side in the coming war, and making him a sword. He also offers her a sacrifice.

Here, we see Odin for the first time this season. In an awesome display of power,Wednesday shows Shadow his true face, and speaks his many names.

 

 Odin’s backstory:

http://norse-mythology.org/gods-and-creatures/the-aesir-gods-and-goddesses/odin/

Now once again we come back to the idea of sacrifice. By offering Easter the  deaths of his enemies, he gives her enough power to free her from the bargain she made with Media. Throughout the series, he has outlined the basic idea of godhood, and how it works. Give a little, and get a little in return, whether it be worship, tribute, prayer, or sacrifice. It’s fairly simple. Quid pro quo! If you dedicate something precious to a god, you will receive something in return, although not necessarily what you asked for. Media, Technical Boy, and the other new gods, have corrupted this arrangement, and think this makes them more powerful than the old ones. They have never seen the old gods powers fully unleashed, and have nothing but disdain for creatures they see as old and weak, the way so many young people view the elderly.

It’s not that Media and Technology don’t affect the world in some way, but they can’t control the seasons, rainfall, or lightning. They cannot truly control anything on the physical plane, and are not grounded in the real world of human physical sensation. Bilquis can compel people to love her and eats them, Wednesday can control the weather and destroy them, Vulcan can make weapons that kill them. As I said in an earlier post, the old gods are physical in a way the the new gods are not. The new gods are virtual, ephemeral. They promise dreams and fantasies, but give little or nothing  in return, for all the attention humans give them. Or rather, what they give in return for human attention is just as ephemeral, shallow, and unreal as they are.

And this is Wednesday’s key to his argument with Easter. Media can’t really give her power. She can influence humanity and she can tug on their bargain to procure Easter’s loyalty, but with the influx of direct power from Wednesday’s sacrifice, she no longer needs Media. The new gods can aid and abet, cajole, promise and seduce, but they can’t really offer her a sacrifice. It’s not just about human attention. Power comes from being offered tribute.We saw this with Bilquis and Technical Boy earlier. If it weren’t for the bargain she made with him, she would be capable of devouring him too. He doesn’t have nearly as much control over Bilquis as he thinks he does, and he is too shallow, and ignorant, of who she is, to know what he has awakened. The same way he underestimated Wednesday,  in A Murder of Gods, Media has underestimated the degree of power she is dealing with regarding Easter.

But I also said that neither side in this war is  good or bad. There’s no right or wrong from a human perspective. Gods have their own concerns and most are only concerned with what humans  can give them. This mindset (and Wednesday’s actions towards Easter) is the key to understanding why Wednesday wants this war, and why he’s willing to kill Laura to procure Shadow for himself, and is also willing to unleash untold misery on humanity, by encouraging Easter to take away the harvest season.

Wednesday did the same thing to Shadow that TB did to Bilquis. He found her at her lowest point and offered her a chance to regain power. Wednesday orchestrates the complete destruction  of Shadow’s life, and at his lowest point, when Shadow has nothing and no one, he steps in, and offers him a way out, winning his loyalty. If you want a clue as to who Shadow is, think about why Wednesday would want to collect him, and why he needs Shadow to believe.

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We see an awesome display of power, and some truly gorgeous cinematography, as Easter, high on the sacrifices given to her by Wednesday, unleashes the full meaning of her name, as Goddess of the Dawn, and kills off all the plant life in a several mile radius of her home. Humanity can have Spring back when they pray to her for it.

 

My  favorite moments were all the wonderful details like:

Mr. Nancy’s interjections in his scenes with Shadow.

Media’s presence this entire season, which is in keeping with the fact that Fuller is an out gay man, has been a showcase of gay icons. Marilyn Monroe, Lucille Ball, David Bowie, and Judy Garland, are all extremely popular gay icons, from the forties through the sixties.

The Security Rabbits jobs are to stop traffic on the road to Easter’s home, so they can see who is in the vehicle, and then report the occupants back to Easter. I suspect this is what the rabbit that caused Laura’s accident was trying to do. No one approaches her home without her knowing about it , except in the case where Wednesday killed them all.

The deviled eggs at Easters party. It was a tradition in our house to eat those every Spring.

Easter’s tiny halo.

The tiny polka dots on Shadow’s suit.

That poor waiter who was wearing an egg shaped helmet.

The tiny cookies shaped like hands with red centers representing the stigmata.

Wednesday connecting Spring Break raunchiness to the worship of Easter.

The diversity of Easter’s party guests.

Those ridiculous striped silk robes Nancy made Shadow and Wednesday wear while awaiting their new outfits.

Easters slightly tattered finery. If you look closely enough, the flower in her hat has just a bit of rough edging.

When Media’s hat blows off during the storm, that’s also a scene from  a Judy Garland movie.

Shadow disapproves of Wednesday’s buunycidal behavior.

*In part two, I’ll discuss my thoughts about Shadow Moon, and in part three I’ll talk about the costumes, cinematography, and visual aesthetics.

 

A Prayer For Mad Sweeney

This episode is Mad Sweeney’s elegy. He is also one of the more unlikable characters in the show., but it turns out he’s not actually a bad man, and has heart of gold. In the real world, someone like Sweeney would get their ass kicked on a regular basis, (actually he does in the show, too) but he is a great character.

Normally, I like fictionalized assholes as much as I like real world ones, which is to say not at all, but from time to time I get captured by a great depiction, and Sweeney is one of those. Pablo Schreiber plays the hell outta this guy, and I have to give him some props, especially when I had no idea who he was before this show.

One small dislike for me  is that this is another filler episode, that distracts from the greater narrative revolving around Shadow and Wednesday. I didn’t dislike this episode, it’s just that I’m less interested in what Laura and Sweeney are up to. But tonight’s episode was devastating in its implications about the relationship between Laura and Sweeney, deepening it, and explaining a lot of the dynamic between the two of them.

The episode begins at the Anubis funeral home, where Mr Ibis and Mr. Jaquel not only lay out corpses for burial, but can even predict when corpses will arrive. I thought it was interesting getting a glimpse into their relationship. Are they a couple? Are they brothers? Just friends? They’re always considerate and polite to each other, and know each other too well.  Mr. Ibis tells Sweeney’s story through the eyes of an Irish girl named Essie, who looks suspiciously like Emily Browning. Laura is not the reincarnation of Essie, though. Its  that Laura reminds Sweeney of Essie, and I think he’s starting to like her.

The episode is split between Laura’s and Sweeney’s  modern day road trip, and Sweeney’s past, when he knew Essie. This  follows the book pretty closely. Essie has a very colorful life, as a thief, an indentured servant, then a  wife and mother, and finally grandmother, where she often traded on her looks to get ahead, aided by her gifts to, and stories, about “The Good Folk”. Notice that whenever Essie stops giving to the good folk, they stop giving to her.

There’s  a scene where Essie is in Newgate prison, after having not made an offering for a time, and Mad Sweeney is in the next cell, and she tells him stories. She tells him about her wish for a good life, quiet and settled, a tree, some children. She makes an offering to the Good People using the only food she has available, a piece of rotten bread. Eventually she gets out of Newgate and gets sent back to America where her wish comes true, because she made an offering of her last bite of food.

Eventually she has to stop telling her stories about the Fair Folk, realizing that there’s no place in her current world for belief in such things. But she never stops believing, and upon her death, it is Sweeney who comes to collect her soul.

The term Good Folk is a reference to the Fay, or any Fairy creatures of Celtic folklore. The general idea in most people’s minds are the tiny, butterfly beings that frequent rings in meadows, or Tinkerbell, but the term encompasses a greater variety of creatures than just those, (some of which are pretty horrific, deadly, and not at all tiny. See any book by the painter/illustrator, Brian Froud.)  Irish folklore is pretty complicated  though,  and you could spend your entire life studying the subject.

 

*For background on Faery lore, and myth:

http://www.medbherenn.com/faerie-lore.html

http://www.medbherenn.com/faerie-lore.html

 

*And for background on the real mythology behind Mad Sweeney:

http://www.askaboutireland.ie/reading-room/history-heritage/folklore-of-ireland/carlow-folklore/the-story-of-mad-sweeney/

Sweeney, Salim, and Laura stop at the site of the White Buffalo statue.The legend of the White Buffalo is somewhere around 2,000 years old, and was originally a tradition of the Lakota Sioux, a Plains Tribe. This particular scene, like all the modern day scenes, which involve Laura and Sweeney, don’t happen in the book.

http://lightningmedicinecloud.com/legend.html

For those of you concerned that there haven’t been any Native gods depicted, I think Shadow’s dreams count. In the book, they don’t play a pivotal role until much much later, and are responsible for interfering in the war, coming in on Shadow’s behalf. I expect we may not see them until well into second season. Although I do agree they should be introduced in some greater form beyond the forgotten Nunyunnini.

 

While at their rest, Sweeney is visited by one of Odin’s birds, who he harshly chastises. He mistakenly lets Laura know that all the gods are meeting at a tourist attraction/resort called House on the Rock in Wisconsin. Now that she knows where Shadow is going, Laura decides to release Salim from his bargain to take her to a resurrectionist friend of Sweeny. She tells Salim to go get his Jinn. He happily leaves, but not without (hilariously) informing Sweeney of what a vile creature he is. (Yes, he is, but Sweeney also has a lot of secrets.)

That morning, Laura talked with Salim, asking him if he loved God, or was “in love’ with God. He answered in the affirmative. I think Laura is seeking an answer to her own questions of how she feels about Shadow. She may not have loved Shadow when she was alive, but I think she is certainly loves him now, (or is obsessed or something) and part of that may be the supernatural connection that exists between them, because I dont tihnk she is “in love” with him.

Laura hasn’t looked at peace since she was resurrected, so I just want to point out, during this episode, we often see her quietly smiling to herself when contemplating Shadow. I think she is finally at peace in a way she never  was in life. She has a goal and a purpose now, that was missing, when she was alive. Shadow is her purpose. He’s her god, now. He is literally her reason for living and not only has she realized that, she’s okay with it. She even seems happy about it. Yeah, she is stalking Shadow, but if you’ve ever read John Campbell’s Hero’s Journey books, then there’s a purpose to it.

While driving, Sweeney gives Laura some more background. He tells her about his hoard of gold, that he used to be a king in Ireland, that he was once a bird, and then a saint according to the prevailing beliefs of whatever time period in which he lived. He ran away from so long ago war in which he knew he would die. He gave up his sword and vowed not to get involved again, but he owes Wednesday a war, which explains his objections to Wednesday’s warmongering between the old and new gods, but also  his refusal to leave.

Keep in mind, Sweeney is a leprechaun, which  is a kind of  Celtic deity. Although Laura is more powerful than him, he is not without power of his own, as illustrated by him easily stomping a park bench, without breaking a sweat. His speech to Laura is a reference for how diminished the gods have become as people’s belief in them changed, and leprechauns have been demoted to cute cartoon characters on cereal boxes, something which bears almost no relation to what he actually is, or even looks like.

One of the rules of being a Fey is one can only take what’s freely given, so when we see Sweeney throw the coins out if the vehicle, its becasue he took the ice cream out of the freezer, and the owner wasn’t there. When he and Laura stole the truck, Laura gave the owner of the truck all of his money, so he doesn’t object to that. He didn’t have to leave anything behind in return for stealing Salim’s taxi because he was interrupted before he could finish.

One of the questions that is confusing to a lot of people about American Gods is if these gods can die. If all it takes is a belief in them, then can they really be killed. Vulcan is is killed in the last episode. But he is definitely a god, people actually believed in a version of him. Does that mean some other version of him will take his place? Does Wednesday’s curse prevent this from happening? Just as there are different versions of Jesus, there are different versions of ods like Wednesday and Sweeney, wherever they are believed.

 

For example, in one of the last scenes from the book, Shadow meets a more authentic version of Wednesday in his home country. He is a more original form in his country of origin, and acknowledges Wednesday as an offshoot of him. I don’t think the gods can travel to anyplace where they are not believed in. Wednesday can’t leave America, and hasn’t done so, as he says to Shadow in one of their earlier discussions. When the new gods offer to make a missile in his name, over North Korea, Wednesday refers to it as a form of exile, and it would only be that way if belief in him were transferred, from America, to the missile system over North Korea.

Another treat we get in this episode is the white rabbit. The white rabbit is a sign of the goddess Easter,  or Ostara, a pagan fertility goddess. She is also the goddess of Spring and renewal. Her imagery often involves hares and rabbits. We will meet Ostara in the season finale. When a White rabbit hops into the middle of the road, Laura swerves to avoid it, crashing their vehicle. She flies out the windshield, and loses the coin, after which there is another revelation, as Sweeney contemplates her dead body.

 

Sweeney was the one who caused Laura’s first death in a car crash, and he feels some kind of way about that. Incidentally the words he’s screaming, after the truck crash, are in Old Irish, not Gaelic. Something along the lines of, “Why is this shit happening to me? Haven’t I suffered enough? And I’m not an evil man!” Which is ironic after being told by Salim that he is an unpleasant creature.
Wednesday has been trying really hard to keep Laura and Shadow apart, and was the orchestrator of her death. He was responsible for hiring Sweeney to kill her the first time, and I’m certain he’s responsible for hiring Ostara to crash their vehicle this time, since the rabbit which caused it, is her symbol. Laura is meant to die again and she does, when the coin, that Sweeney has  made clear that’s all he’s interested in, pops out of her open chest cavity.  Sweeney retrieves his coin and he could walk away, but flashing back to the night he first killed her, he changes his mind and places the coin back in her chest. He immediately regrets it, of course, when Laura punches him out, for touching her. The two of them continue their journey.

I also want to mention the music in this episode is so  spot on, it’s hilarious. During the scene where Essie absconds with her latest husband’s money to become a market thief, the theme is Runaround Sue by Dion. Daddy’s Home by Shep and the Limelights, is the song that plays the first time she offers bread to the Good Folk in America, an unknowingly summoning Sweeney.

Next week is the season finale, titled Come to Jesus, so I guess there will be some Jesus involved.  The show has already been picked up for a second season, and if we’re lucky it will continue for many more beyond the story of the book.

 

 

American Gods Season One: Lemon Scented You

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In tonight’s episode the New Gods and Old Gods meet for the first time in the narrative. This episode is a lot less confusing for some people in that it’s pretty straightforward. (Okay, except for that crawling tree-thing in the police station. ) Anyway since the plot was actually understandable, I can focus on the characters. Namely, the gods who are the four main players in both the book, and the series. They will be joined by others later, like Anansi and Easter, who both have  big parts to play, but for now, the major characters are Technical Boy, Media, Mr. World, Wednesday, and I’m including Shadow.

While we were not confused by the plot, Shadow spent most of the episode reeling and coping with the strangenesses around him. Til now he’s been a real trooper, handling all this batshitness like a boss, but I think this episode knocked him for a loop, because the hits just kept coming. He’s visited by his dead wife, and it’s not a dream; he’s arrested by the police after trusting Wednesday; the man who tried to lynch him apologizes for it; Marilyn Monroe is floating into his jail cell; there’s spiders running around; all the police are massacred; he gets attacked by a giant crawling tree. It’s not that weird stuff hasn’t happened before it just didn’t happen all at once. There was time to digest.

That was all a bit much for one night!

The episode isn’t frantic, or fast paced, but there is a lot to understand. There’s no plot movement but Fuller and Green are very aware that, at this point, the viewers need a breather, so some shit can get spelled out for us, we can take a minute to absorb, see where everybody is standing, and get some idea of the layout.

For four episodes now we’ve had Wednesday telling us of how frightened he is of being forgotten. Remember, the gods don’t die like humans do, there is no afterlife for them. When humans have forgotten about their existence they become nothing, which speaks to their non-corporeal existence. They come from nothing, are only what we make them out to be, and go back to nothing. And we witness this in the prologue of tonight’s episode, in a scene taken directly from the book.

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Nunyunnini (NUN – you – nini) was worshiped by the first people to cross the land bridge to what is now America. Notice the ritual where the priestess calls on the god to inhabit her and how it involves smoke. Remember what I said, in an earlier post, about smoke/and smoking being a part of many summoning rituals, and how when we’re introduced to a lot of these gods and goddesses, on the show,  there is smoking involved.

After facing many hardships, including the death of their priestess by the Buffalo god ( in the book he’s called a spirit of the land) N’s worshipers are offered a new god by the people already living there, in exchange for survival. Eventually, it is never remembered that N was worshiped at all, and  his name is forgotten. This is what Wednesday is afraid of, and this is important because he wants to be relevant again, and his war is one way  to accomplish that. The choice to make this scene animated was a deliberate choice on the part of the creators. Using live action would’ve given a modernity and immediacy to Nunyunnini’s story that would not have reflected its great age.

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Shadow walks into his motel room to see his dead wife and takes it rather well, I think. He seems more focused on her having cheated on him, than the how and why of her return. Shadow is the protagonist of the show, but he’s also our stand-in. Our Everyman character we’re meant to identify with, and through whose mind we’re meant to process the craziness happening on the show. Til now, no one has bothered to explain what’s going on to him. If you’ve read the book, you know more than Shadow, which changes the dynamic of your relationship to the character, than if you didn’t read the book.

Laura is unable to manipulate Shadow the way she has in the past. He stays focused and blunt with her, insisting she answer for having cheated on him with his best friend.. At one point she asks for cigarettes, and after smoking one, (she doesn’t exhale any smoke, which is a nice detail), she kisses Shadow, and her heart beats. Once. (Many viewers found it remarkable that cigarette machines still exist in that world, along with pay phones that still work, but Shadow seems okay with it.) When he goes back to his room you’ll notice the number 55 is prominently displayed. I’m told that if you go to page 55 of the author’s preferred version of the book, you’ll be at the exact scene in the show, where Laura and Shadow meet. Later, in his convo with Laura, Shadow tells her he is no longer her puppy. I know a bunch of people stood and applauded this moment, since they see Laura as a manipulative user, who didn’t love him. I personally don’t care what she was, as long as she’s on his side right now.

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Technoboy is having a meeting with Media, and this is one of my favorite scenes from this episode because I’m a huge Bowie fan. Gillian Anderson turns in a wonderful performance as David Bowie’s Ziggy Stardust, imparting to TB that he fucked up (when he tried to lynch Shadow), while using nothing but David Bowie song cues, which I thought was pretty clever. Mr. World is mentioned for the first time, requiring that TB apologize to Shadow for what he’s done. Even TB has a master, it seems.

Wednesday’s raven spy knocks on his door, and either snitches to him that Shadow has company, or that the motel is under surveillance. I prefer the former because it just tickles me to think that. If the raven is telling him about Laura, than Wednesday was attempting to get Shadow out of the room and away from her, which is how I initially interpreted that scene. But if the raven was telling him about the police, then he was trying to get Shadow to escape with him before they got caught. It doesn’t work anyway.  They are both promptly arrested and taken to the little podunk police station.

They’re interrogated and Wednesday puts on his forgetful old man act, while at the same time, he completely explains what’s happening, knowing the officer won’t believe him. Shadow refuses to speak at first,  but is finally convinced, by the detective questioning him, that Wednesday has some pretty huge enemies, because they were tipped off to their whereabouts by satellite surveillance photos, and GPS coordinates of their location. Of course not everything in the episode makes sense. Why don’t the police search Shadows motel room if they though he’d stolen money? They didn’t even bother to go inside his room until much later.

While Shadow and Wednesday are being detained, Sweeney finally catches up with Laura, and demands his coin back. One of the funniest moments for me is Laura throwing Sweeney across the room by popping her finger at him. She’s got some idea of her strength now, and no, Laura is not a nice person. She taunts Sweeney about the coin and he tries to choke her in the bathtub. It is then that he is interrupted by the police, who naturally think he’s insane for trying  to choke a dead woman, in a tub full of water. Why the police show up at that particular moment is still a mystery. Is that just more of Sweeney’s bad luck?

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Back at the station, Wednesday is frantic to leave before company arrives. He’s helped by a tiny friend of Compe Anansi,who unlocks his cuffs. But it’s too late. There’s the sounds of fighting and screams from the rest of the station, and Media arrives in the form of Marilyn Monroe, dressed like her character from Some Like It Hot, and while I admire and applaud Gillian Anderson’s mimicry, I have never been impressed by Marilyn. (Personally, I prefer Eartha Kitt.) I think she broke Shadow, because he nearly loses his shit at the sight of I Love Lucy literally floating into the interrogation room. Apparently, Marilyn was the last straw, after his dead wife. Shadow doesn’t regain his equilibrium for the rest of the episode.

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We finally meet Mr World who walks in on glowing floor tiles like Michael Jackson in Billie Jean. It’s a lovely entrance, (☺️) but not as impressive as Anansi’s. World and Media explain to Wednesday that they don’t want a war, and offer him a merger in the form of a missile named after him. But their charms don’t work on him or Shadow. Mr World calls TB who offers an insincere apology to Shadow for lynching him. World offers Shadow the opportunity to knock out a couple of TBs teeth, and Shadow looks appalled, but when TB disrespects Mr. Wednesday, like the little shit that he is, Mr. World gives him the business end of his tongue, then has Media knock those same teeth out with a blown kiss. Shadow gets his offering anyway. The three new gods exit the station.

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Shadow and Wednesday try to escape, but the police show up with Sweeney before they can get out the front door. They head to the back door, but before they reach it,  Shadow is stabbed in the same spot in his side as his earlier wound , by a giant tree creature, that grew out of one of the desks in the station. They escape via the back door into a thick ground fog, that I suspect was conjured, like the snow in the episode Head Full of Snow, by Shadow.

The police who are dropping off Sweeney are alarmed by the silence at the station. They abandon their suspect, and charge into the station,  guns ablazing. Sweeney escapes the patrol car and runs off into the night, determined to get his coin back. Laura has been taken to the local morgue, where she accidentally kills the nightman when she breaks out of one of the drawers. She gets dressed  but not before examining herself in a mirror. A nice little detail is Laura trying to breathe on the mirror, but there’s no moisture, or warmth, in her to create any condensation, so the mirror doesn’t fog. She walks out into the night. She and Sweeney are on another collision course.

Note:

To those of you who haven’t read the book, how is it going? Was this episode at all helpful? I mean I read the book, and have some frame of reference, and  sometimes even  I’m confused, so I can’t imagine what y’all must be thinking if you have no context . Oh, and it turns out that the tree-thing, that attacked Shadow, might have been Yggdrasil. Yggdrasil is an Ash tree that connecting the nine worlds of Norse mythology, the nine worlds consisting of the various heavens, earth, hells, and the  tributaries of knowledge referenced in The Prose Edda. If the tree thing is Yggdrasil then there’s great significance in its attack on Shadow.

 

New Gods vs. Old Gods

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Mr. World is the god of global capitalism, which is the master of media and the internet, which makes him Media’s and Technoboy’s boss. He knows everything. Just by touching Shadow, he knew everything Shadow liked, loved, hated, how many men his momma slept with, and what he looks like when he masturbates. He’s also a world class shapeshifter. Those of you who’ve read the book already know his real name. Crispin Glover is known for playing eccentric characters and he’s perfect here, smooth, polished, charming, and just a little bit unhinged..

Media and Technical Boy are the new gods everyone is worshiping without knowing they’re doing it. As media says, all she requires is time and attention. She’s the god of television, and movies, which is why she keeps showing up as iconic characters, or people who have used the media to great effect. What better person to chastise Technical Boy over his image problem than the master of his own image, David Bowie. Btw, the songs referenced in Media’s conversation with TB are: Starman, Under Pressure, Cat People, Rebel Rebel, Life on Mars, Space Oddity, and Oh, You Pretty Things.

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The New Gods are not corporeal in the same sense as the old gods. The old gods feed off more material things, like blood and flesh, and as Wednesday says, grant boons and wishes to their supplicants. The new gods give nothing back and take the energy and attention of their worshipers. Notice how the old gods are so physical. Lusty, hungry, angry, dirty, sarcastic, violent, in ways the new gods aren’t. The old gods are sensationalist creatures who are messy, emotional, love blood, sex, a good cigar, and  liquor. They enjoy interacting on the physical plane with their subjects. More human than human. Which is entirely in keeping with the eras in which they were created, when humans had more concrete, basic concerns.

The new gods are cool dispassionate creatures. Technical Boy likes to do his dirty in a virtual, bloodless realm of his own control. Media has no real face of her own, and is a consummate shapeshifter herself. They’re not physical the way the old gods are physical. They’re clean, polished, bloodless, and pretty beings, who do not require physical sacrifices, as they feed on far more intangible things, like time sacrificed to them. But, and here is what they have in common with the old ones, they are just as much grifters and con artists. Especially Media. They both promise all manner of things, power, money, sex, but the problem is they don’t actually deliver those things. The old gods, when they are sacrificed to, give back something physical in return for their worship. Bilquis gives unending orgasmic bliss, Odin will help you out of a tight spot, Anansi will tell you the truth. Even the Zorya sisters tell fortunes. Sure, it’s a con, but it’s a real one. The new gods seduce, cajole, and charm,they promise much, but largely give back nothing in exchange. Some of the other new gods like commerce, or the stock market are even less tangible. Those gods don’t exist on the physical plane at all.

Next week we get to meet one of my favorite old gods: Hephaestus, the Roman version of the god of weaponry, Vulcan.

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