American Gods on HBO (via The Mary Sue)

Neil Gaiman gave an American Gods anniversary interview/talk at New York’s 92nd St. YMCA last night and while we’re kicking ourselves for not going, io9 was in attendance and picked up some really interesting news about HBO’s American Gods adaptation, which has been offered a budget of $40 million a season for up to six seasons by Tom Hank’s Playtone Productions.


[Gaiman] said the production team is thinking that the first season of the show would cover the events of the novel.
Where is the rest of the show going to go? Why, Gaiman’s going to be handling that. The author said he has two more short stories concerning Shadow in the United Kingdom, and plenty of stuff that he wants to incorporate in further American Gods stories for the show, including Jesus, Bigfoot, and Cassadaga, Florida. ”Also,” according to io9, “Shadow will be dealing with “baggage” that he brings back from his UK adventures.”

As for doing the entire show in one season, I’m guessing there will be much trimming of fat, so to speak, but American Gods is a novel with many, many plot threads and short stories intwined in it, many of which contribute more to the tone and setting than they ever do to the plot, so it can probably handle that. I wouldn’t mind seeing the whole “Clunker” story arc as a few flashback episodes later in the show’s run. Gaiman has a lot of experience writing for serial narratives, and is no stranger to non-linear writing for an ongoing series: just look at Sandman. Neverwhere, as well, was a television series first, which he adapted to the novelization that most non-1996-BBC-watching-fans are familiar with.

(io9.)
American Gods on HBO | The Mary Sue

What kind of man are you? You’re weak, spineless, a man of temptations. But what tempts you? You’re a porky fellow, long in the waistband. Yours is a sweet tooth. You may stray, but you’ll always return to your dark master: The cocoa bean!
—  Cosmo Kramer derives George’s ATM code.
Cut to Kramer, P.I., in which the perennially rumpled detective is employed by an apparently wealthy but forever shadowy figure who generally leaves Kramer with plenty of free time to wander around figuring stuff out as it pleases him.
Pitch it as TV’s first show-within-show spinoff; every episode transpiring slightly off to the side of a Seinfeld episode and forever going to commercial when Kramer finds a key clue or wraps up the case… just in time to make his crazy entrance back into Seinfeld’s apartment.
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