NOTE: This review covers the first eight episodes of The Sandman premiering August 5 on Netflix. Spoilers are sparse but do be aware some things may be discussed. All ten episodes are now available by the time you read this.
There has been talk of adapting The Sandman to movies or TV for decades. The story from writer/creator Neil Gaiman and his visual collaborators about a master of dreams awakened after decades of imprisonment, and the tales of his “Endless” family, was the flagship of DC Comics’ “Vertigo” imprint for years, even after its 75-issue run had ended. I think we should count ourselves lucky, though, that The Sandman didn’t come to TV or movies before now, because it might not have been done as well as what we’ve ended up getting.
Netflix, gratefully, has ordered a 10-episode series which premieres tonight (August 5), and as a bonus – key creators of the original comics, including Neil Gaiman himself and cover artist Dave McKean (who designed the closing credits for each episode), are along for the ride as well. This series was developed by Gaiman with Allan Heinberg who comic book fans may know as the creator of the Young Avengers, and fans of DC movies might know as one of the writers of the critically acclaimed Wonder Woman starring Gal Gadot.
One thing that may have prevented this from happening before would have to lie with the casting of the Sandman, also known as “Dream” of the Endless. I was not familiar with Tom Sturridge’s work before this, but it’s a character and a role who could go too far over the top if not acted well. Sturridge portrays Dream at the right levels – subdued and mysterious, but also not doing a Christian Bale Batman voice no wonder what Dream’s comic book dialogue may have looked like. On the subject of the comics, it is interesting and fascinating to me how direct this TV series compares to the comic. Some dialogue is directly lifted. There are some story elements and characters that are moved around, but if anything, it enhances the story and the adventure that we, as an audience, are going on. Some of the more overt DC Comics connections aren’t present — no Martian Manhunter or Etrigan the Demon here — but a pied piper and someone named Lyta are still part of the structure.
Speaking for the rest of the cast, there was some controversy, especially with regards to race and gender, to which I kind of have to roll my eyes. Casting so differently for Lucifer and Constantine, for example, was necessary, or else audiences will wonder where Tom Ellis and Matt Ryan might be, and I must say, both Gwendoline Christie and Jenna Coleman are brilliant in their roles. I do admit, though, that I would love to have seen a take where Tom Ellis had played this version of Lucifer, but I think his casting would’ve taken me out of the moment and I loved what Christie had to offer. There was a lot also said about the casting of Kirby Howell-Baptiste as Death, which should quickly be evaporated as soon as audiences see how great she is. Howell-Baptiste plays Death with a warmth that this character would need to have as she’s about to take someone away from the mortal coil, and her attitude – especially opposite Dream – is so worthwhile. (The Death episode, “The Sound of Her Wings,” might be the best episode of TV I’ve seen in 2022 so far.)
Vanesu Samunyai is Rose Walker, who we meet in the later episodes of the series, and at that point she almost becomes our POV character for a while. Oh, and by the way, I much prefer actor David Thewlis over the Crypt-Keeper look the John Dee had in the original comics, and I will say “24/7” is another highlight episode for this first season. Boyd Holbrook lurks and lingers as The Corinthian whose menace grows throughout the season, Mason Alexander Park brings us a seductive and possibly manipulative Desire, and Vivienne Achemapong is a delight as Lucienne. Razzan Jammal plays Lyta Hall who hardcore DC Comics fans know of as having a connection to a major DC icon, and Hedwig’s John Cameron Mitchell plays Hal, a character that Rose and Lyta meet in their search for Rose’s brother. If there’s any casting I wasn’t a fan of — and I mean this with no offense to the actor — it is Patton Oswalt’s voicing of Matthew the Raven, and it might just be because Oswalt’s so good at what he does that we’re so used to hearing the voice, so I hear the narrator of The Goldbergs or, well, Patton Oswalt whenever I hear him. Matthew’s also a bit silly, which was unexpected to me, having seen a different take on a human Matt Cable on Swamp Thing. It’s interesting, because I’d almost complain the character seems like something out of a kid’s show, yet the moments with Rose Walker’s brother which really are meant to evoke a kid’s show in some parts don’t bother me at all.
Aside from some scenes that looked like they may have been shot in front of a green screen, The Sandman has a cinematic look for every episode. I’m impressed by the set designs, especially in fantastical places such as The Dreaming. I hope in a time of studio and streamer cost-cutting that we can continue to get more of this quality, because one season is not enough.
Neil Gaiman said recently at the San Diego Comic-Con that he hopes word of mouth spreads to tell people how great The Sandman Netflix series is, and I can’t help but wonder if he’s wanting a repeat of what happened over 30 years ago in comics fandom, where the series grew its fandom month to month before being known as the perennial classic that we now see it as. There’s a lot of TV to choose from in this day and age, and I would like to be among the early adopters to tell you that investing the time to watch The Sandman will be moments well spent.
The Sandman Season 1 is now available on Netflix.
