Martin Carr reviews the sixth episode of American Gods season 2…
Aside from a chuck away reference to Fredrick Nietzsche there is little of philosophical depth in Donar the Great. Flashback heavy and no more obscure than normal this vaudevillian segue into music hall politics with Velvet Underground undertones shows much but achieves little. Narrative intentions are vague while Ian McShane and Orlando Jones retain audience attention through sheer force of will. Visually there are elements of The Cotton Club combined with back stage altercations, while the production design is both gaudy, sumptuous and simultaneously grandiose.
Present day strands involving ancient weaponry, scorched runes and biblical grifters sits awkwardly alongside the stage show elements elsewhere. Mr World and New Media feel like a needless addition while their high tech machinations do little to increase drama or further the story line. Bruce Langley seems oddly out of place in his flashback role of audience member watching everything unfold, while Wednesday continues the same old song and dance. Philosophical meanderings save this episode from falling flat while allusions to the intrinsic link between Wednesday and Donar feel unexplored.
For some reason the love interest element also fails to convince as there is a lack of chemistry between both actors. Time is limited and therefore better spent elsewhere but their infatuation, apparent long term relationship and desire to escape feels more empty gesture than emotional intention. Thankfully the abundant charisma of McShane and Orlando Jones as Nancy saves this extended production number from being a complete wash out. Fireworks and pyrotechnics might come towards the end to make up for the episodic equivalent of a slow new day, but this is just smoke and mirrors. Without those deeper issues playing a larger part Gods has to bounce between three locations, maintain dramatic momentum and retain interest which on this occasion it fails to do.
For anyone coming to this series fresh all I can say is things have been considerably better. Old Sweeney, Laura Moon, Bilquis and Ibis are sorely missed, which says much for those who remain. In the past that narrative incongruity which somehow created the glue holding things together felt innovative, provocative and ingenious. It felt like there was a rhyme and reason behind the choices being made. Here if anything it felt like they were treading water and sacrificing progression for backstory.
Martin Carr
