The Sandman (2022-Present)

*Premise spoilers.*

The Sandman is one of those series where the word “unadaptable” gets thrown around a lot. It feels too big, too fantastical, too dark, too weird, and too meandering to ever be done justice. As someone who isn’t a major fan of the comic series but has been drawn into every volume I’ve read of it, I went into the new Netflix series curious and cautiously hopeful. And honestly? I think they’re nailing it.

In 1916, an aristocrat/sorcerer named Roderick Burgess tries to capture Death and ends up catching someone else instead: her younger brother Dream. When Dream finally escapes after more than a century of imprisonment, he discovers that both his realm and the Waking World have suffered in his absence. He sets out to recover his stolen tools, repair the Dreaming, and retrieve several nightmares who’ve gone missing.

This is a sprawling story, and not just in the Game of Thrones, “dozens of characters, numerous locales” sense. The Sandman is sprawling in its very narrative. It involves members of the immortal family known as the Endless, a trip to Hell, an escaped murderer preying on a sleepy diner, a man who refuses to die, and a young woman who can walk through the dreams of everyone at her bed and breakfast. A bonus double episode released after the main season goes off into even wilder tangents involving cat prophets and enslaved Muses. There’s a little of everything here and hints of more to come.

Yet somehow, the series makes it all feel cohesive. As the story shifts from Dream’s search for his tools into the plotline involving the Vortex, we pass from one narrative to the other through the lovely coda of “The Sound of Her Wings,” which itself effortlessly combines stories from two different issues of the comic. The themes and the imagery weave it all together, with a throughline of Dream’s imprisonment and how he’s changing since he escaped. It’s an impressive feat, and the show pulls it off well.

The visuals are spectacular. Half dreadful, half stunning, the images saturate the screen and bring us fully into these worlds. Special shoutout to every member of the Endless that we meet—they all look so good—and the CGI on the transformation of Fiddler’s Green.

Fine acting all around. Again, the Endless need particular kudos. At the center of the series, Tom Sturridge is the embodiment of Dream. I love how cold and remote he feels, and Sturridge does a nice job bringing in these subtle notes of empathy and consideration as his experiences change him for the better. Kirby Howell-Baptiste (Simone from The Good Place!) is exquisite as Dream, and Mason Alexander Park makes for a sumptuous Desire. We only get a glimpse of Donna Preston as Despair, but it’s enough that I want to see more of her.

Other notable cast members: I was dubious of Boyd Holbrook on Narcos, but he’s excellent as the nightmare known as the Corinthian, equal parts menacing and seductive. David Thewlis is great as John Dee, and Gwendoline Christie makes for an intriguing Lucifer. Kyo Ra is a newcomer, but she’s very engaging as Rose Walker. I also love the warmth and specificity of Stephen Fry’s performance as Gilbert. Additionally, the show features strong appearances from Jenna Coleman, Ferdinand Kingsley, and Arthur Darvill.

Warnings

Violence, disturbing imagery, sexual content, language, drinking/smoking, and strong thematic elements (including child abuse.)