We also added a few notions about a particular gay experience, coming from a man who originates from a country where you can be thrown off a rooftop for being gay,” Fuller says.Īt a press event for the show, Fuller explained the scene was a “wonderful metaphor for a religious experience.” And so, we took great care and were very deliberate in how we brought that to life so it reflected the romance of the novel. “We talked at length about our favorite aspects of the novel very early on, and we both cited Salim and the Jinn as one of the most memorable, touching romantic chapters of the novel.
In an interview with Vice, gay showrunner Bryan Fuller says the sex scene between the two characters was one of his favorite moments to translate from page to screen. I don’t think anything like it has ever occurred on TV,” Kraish told Out. The sex scene is so intense and intimate. “The Jinn comes into Salim’s life to say, ‘It’s OK to be who you are.’ Now more than ever that story is incredibly powerful.
The pair meet in a taxi and go back to a hotel room to have sex.ĪMERICAN GODS also has the single hottest and most pornographic gay sex scene ever put on mainstream television, so buckle up for ep 3Īmong its other merits, “American Gods” has the hottest gay sex scene I’ve seen on TV since “Sense8,” maybe ever. Salim (Omid Abtahi), who has recently moved to New York City, crosses path with the Jinn (Mousa Kraish), a mythological Middle Eastern god posing as a taxi driver. The series, an adaptation of the novel by Neil Gaiman, follows old gods such as Love and Evil as they prepare to battle new gods like Technology.
"We even heated the blue screen stage up to 85 degrees so the cats would be comfortable.Fantasy series “American Gods” will include the most explicit sex scene on TV, according to multiple reports. "We filmed two days of the cats performing for each of the shots in that scene." "We built blue ramps and blue stairs and blue sets and blue walls and blue screens," explains American Gods' visual effects director of photography David Stump, who helped orchestrate the shots. Instead, a completely separate shoot using multiple cats was orchestrated with stand-in mock-ups of the kitchen and outdoor set that had been filmed with Antaramian. The second the handler let go of it, it would run in the other room and start tearing the carpet apart.
Recalls Haug: "The cat had, as best we could tell, never been around more than two people in its life, and had no idea why it was standing on an uncomfortable cold chair. The American Gods crew had a real cat on set, but it failed to deliver the performance required. Fadil along a a staircase towards the heavens. Fadil makes her way into the afterlife.īefore passing, she has several scenes with the cat, which follows Mrs. After being surprised by a godly presence, Mrs. Fadil (Jacqueline Antaramian), who falls while readying a meal for her family. The thing is, the cat in those shots was never in the apartment at all, thanks to the magic of special effects.
On the other end of the spectrum - like, the complete other end - were invisible visual effects for a scene featuring the cat of an old woman who dies one day in her New York City apartment. "It was all very clear on the page what the goal was," adds Haug, "so the trick was just trying to do it in a way that made it clear what was going on, and looked like a love scene." Starz necessary appendages with computer graphics. American Gods' visual effects studio, BUF, augmented the photography to provide the flame and obsidian texture. It was a feat they ended up having to do twice. To help make that happen, Abtahi and Kraish wore shiny black makeup while performing their sexual choreography on a blue screen. "Creator Bryan Fuller very clearly described what he wanted," recounts the show's visual effects designer Kevin Tod Haug, "which was two obsidian people with flames inside of one guy that he ejaculates into the other one." The scene was dubbed "Obsidian Lovers" and involved the two men taking on a very distinctive look and feel while they had sex.
Featuring full nudity as well as some god-like imagery, it's certainly an explicit sequence, and one that required various levels of digital intervention.
The episode's psychedelic sex scene takes place between Salim (Omid Abtahi) and a spiritual messenger in the guise of a taxi driver (Mousa Kraish).