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- Apr 25, 2024
Ironic. The biggest expectation for GRUMMSH was that he sat on his fat ass and wrote a fucking book... and he couldn't even do that.
Netflix is about to rape the Sandman
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The Cringe Connoisseur
kiwifarms.net
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- May 30, 2024
I couldn't take this show seriously because the main fucking character both looks and sounds like he could burst into tears at any given moment for no reason and it's just funny. Also what the fuck was the deal with that cat animation that was rendered at like 10FPS? That trash just outright hurt your eyes to watch.
- Joined
- Aug 20, 2022
That'll work then. Netflix has been falling behind Disney+ in the arms race of pretentious woke faggotry. This latest offering will help narrow the gap.
PuddIeduck
kiwifarms.net
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PuddIeduck
kiwifarms.net
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For anyone who cares - season 2 is quite good, the only "wokeness" is that which is in the comics.
The tranny who got left behind by the real women, that character has been relocated, and died as part of a different story, so the question as to how Wanda would be handled in that story is side-stepped entirely.
Though the gravestone was still changed, but in a different manner.
(I tried to phrase that as spoiler-free as I could)
The tranny who got left behind by the real women, that character has been relocated, and died as part of a different story, so the question as to how Wanda would be handled in that story is side-stepped entirely.
Though the gravestone was still changed, but in a different manner.
(I tried to phrase that as spoiler-free as I could)
Standardized Profile
kiwifarms.net
- Joined
- Oct 5, 2018
Stole this episode list from some web site:
So, uh, that was The Sandman created by Neil Gaiman. Looks like they hit the major storylines, a Daniel episode, an epilogue, and a Death episode. That one could be a back-door pilot if they don't take too much flak over the Gaiman connection. There isn't much source material, but I imagine them starting more or less from scratch. Maybe it'll be a police procedural.
- Episode 1: “Season of Mists” — Aired July 3, 2025
- Episode 2: “The Ruler of Hell” — Aired July 3, 2025
- Episode 3: “More Devils Than Vast Hell Can Hold” — Aired July 3, 2025
- Episode 4: “Brief Lives” — Aired July 3, 2025
- Episode 5: “The Song of Orpheus” — Aired July 3, 2025
- Episode 6: “Family Blood” — Aired July 3, 2025
- Episode 7: “Theme and Night” — Airing July 24, 2025
- Episode 8: “Fuel for the Fire” — Airing July 24, 2025
- Episode 9: “The Kindly Ones” — Airing July 24, 2025
- Episode 10: “Long Live the King” — Airing July 24, 2025
- Episode 11:“A Tale of Graceful Ends” — Airing July 24, 2025
- Episode 12:“Death: The High Cost of Living” — Airing July 31, 2025
So, uh, that was The Sandman created by Neil Gaiman. Looks like they hit the major storylines, a Daniel episode, an epilogue, and a Death episode. That one could be a back-door pilot if they don't take too much flak over the Gaiman connection. There isn't much source material, but I imagine them starting more or less from scratch. Maybe it'll be a police procedural.
Chunky Salsa
kiwifarms.net
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- Jul 2, 2024
The Sandman was always bad. Gaiman was always a hack and nothing he has ever written has been good.
PuddIeduck
kiwifarms.net
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- Nov 1, 2022
I always prefer his comics or adaptations to his prose - his "authorial voice" just never appealed to me, but I quite like his stories.
I don't hate his dialogue, and when the stories are told visually they're (to me) more appealing.
(I'm not saying he's particularly original or insightful)
- Joined
- Mar 14, 2021
That's...pretty impressively informative. From the episode list above that plotline looks to have been shrunk to heck but even so Netflix adapting a Neil Gaiman work that explicitly says YWNBAW and not correcting that is a heck of a sign.
I've not seen the episodes. But this Guardian headline tells me it's not even pleasing the target audience.
The return of the mopey goth hero sees him stroppily shuffle through what could be fantastic adventures as if they are tedious obligations. And some of the dialogue: oof!
Morpheus, AKA Dream, AKA the Sandman (Tom Sturridge) might be the immortal overlord of a magical netherworld and the director of all our subconscious visions, but he is not immune to relationship problems. “Ten thousand years ago, I condemned you to hell,” he says to his other half, having sensed that she is annoyed about something. “I think perhaps I should apologise.”
Damn right! We’re back in the chilly, clammy grasp of The Sandman, the show that looks at the fantasy genre and says: what if we got rid of nearly all the lush landscapes, epic struggles, pointed political allegories and delicious, disgusting monsters, and replaced them with a moody bloke in a long black coat who goes around annoying everyone in a self-pitying monotone? Season two, part one – the saga concludes with another handful of episodes later this month – sees Dream attempt to grow and atone, questing first to rescue his beloved queen Nada (Deborah Oyelade), who is miffed about the whole 10-millennia-in-hades cock-up.
Sorting that mess out requires Dream to negotiate for access with Lucifer herself (Gwendoline Christie, playing Satan as a weary lifer who tires of tormenting), then host a gathering of assorted netherworld freaks and legends in his maddeningly underlit dream castle. After that, he is off to attempt reunions and rapprochements with some of the family members who he has, over the course of eternity, alienated.
The Sandman really is a curious beast. Where other, similar series centre around a hero warrior, the main guy here is more of an emo worrier, for ever standing stiffly in the shadowy corner of the frame, evading other characters’ gazes as he sulkily delivers platitudes suffused with doom and – quite literally, given the production’s apparent lighting shortage, gloom. The rhombus-jawed Sturridge is physically ideal for the role of Morpheus, with his concave cheeks and a set of eyelashes that could have someone’s eye out. But while his impeccably backcombed barnet and swishy monochrome outfits suggest he is about to break into a chorus of Echo and the Bunnymen’s The Killing Moon at any moment – someone in the design department enjoys their 1980s pop, because they have also styled Freddie Fox’s Loki to look eerily like Billy Idol – he is, by design, never that entertaining. Even when he is turning Thor’s throbbing hammer to dust or personally granting William Shakespeare creative immortality, what could be fantastic adventures are always shuffled through stroppily as if they are tedious obligations.
It just about works as an elaborate analogy for teenage disaffection – a time when you feel as if you’re acquiring some sort of awful power, but everyone becomes angry when you try to wield it, and not knowing why makes you more peevish still. When the show co-opts Greek, Norse and Christian mythologies, though, it doesn’t do much with them. The back half of this batch of episodes concerns Orpheus (Ruairi O’Connor), who in the Sandman universe is Morpheus’s son: after a rote retelling of the myth of Eurydice in the underworld, the show spends time trying to fashion a fresh spin on the tale’s coda – but the suspicion is that this was merely because it involves a talking severed head, which looks cool. A visit to a transgender acquaintance in present-day New York, meanwhile, is a story with an admirable, heartfelt moral that’s undermined by being delivered with zero dramatic subtlety.
And: some of the dialogue Sturridge has to say! Oof. As for Morpheus’s appreciation of the power of storytelling – “Tales and dreams are the shadow truths that will endure when mere facts are dust and ashes and forgot” is the sort of non-zinger that would sound flat even if it wasn’t coming from a character who says everything in a depressed gothic whisper. And the dream-shaper’s stint as the caretaker manager of hell ends with him opining: “Hell is heaven’s reflection. They define one another. Without hell, heaven has no meaning.” A million lifetimes spent feeding off the deepest fears and desires of humanity, and he’s still cursed to sound like a failed evangelical preacher’s Instagram posts.
The Sandman is not short of ideas, but it smothers them all in a fug of pretension, missing every opportunity it creates for itself. The fact that Morpheus has the ability to access humans’ dreams – to mould them and make them real – barely features. Even the comic relief of a sarcastic talking dog offers little respite: they got Steve Coogan to do the voice, but the real challenge for him would have been behind the scenes, pretending the lines he was given were funny.
Morpheus, AKA Dream, AKA the Sandman (Tom Sturridge) might be the immortal overlord of a magical netherworld and the director of all our subconscious visions, but he is not immune to relationship problems. “Ten thousand years ago, I condemned you to hell,” he says to his other half, having sensed that she is annoyed about something. “I think perhaps I should apologise.”
Damn right! We’re back in the chilly, clammy grasp of The Sandman, the show that looks at the fantasy genre and says: what if we got rid of nearly all the lush landscapes, epic struggles, pointed political allegories and delicious, disgusting monsters, and replaced them with a moody bloke in a long black coat who goes around annoying everyone in a self-pitying monotone? Season two, part one – the saga concludes with another handful of episodes later this month – sees Dream attempt to grow and atone, questing first to rescue his beloved queen Nada (Deborah Oyelade), who is miffed about the whole 10-millennia-in-hades cock-up.
Sorting that mess out requires Dream to negotiate for access with Lucifer herself (Gwendoline Christie, playing Satan as a weary lifer who tires of tormenting), then host a gathering of assorted netherworld freaks and legends in his maddeningly underlit dream castle. After that, he is off to attempt reunions and rapprochements with some of the family members who he has, over the course of eternity, alienated.
The Sandman really is a curious beast. Where other, similar series centre around a hero warrior, the main guy here is more of an emo worrier, for ever standing stiffly in the shadowy corner of the frame, evading other characters’ gazes as he sulkily delivers platitudes suffused with doom and – quite literally, given the production’s apparent lighting shortage, gloom. The rhombus-jawed Sturridge is physically ideal for the role of Morpheus, with his concave cheeks and a set of eyelashes that could have someone’s eye out. But while his impeccably backcombed barnet and swishy monochrome outfits suggest he is about to break into a chorus of Echo and the Bunnymen’s The Killing Moon at any moment – someone in the design department enjoys their 1980s pop, because they have also styled Freddie Fox’s Loki to look eerily like Billy Idol – he is, by design, never that entertaining. Even when he is turning Thor’s throbbing hammer to dust or personally granting William Shakespeare creative immortality, what could be fantastic adventures are always shuffled through stroppily as if they are tedious obligations.
It just about works as an elaborate analogy for teenage disaffection – a time when you feel as if you’re acquiring some sort of awful power, but everyone becomes angry when you try to wield it, and not knowing why makes you more peevish still. When the show co-opts Greek, Norse and Christian mythologies, though, it doesn’t do much with them. The back half of this batch of episodes concerns Orpheus (Ruairi O’Connor), who in the Sandman universe is Morpheus’s son: after a rote retelling of the myth of Eurydice in the underworld, the show spends time trying to fashion a fresh spin on the tale’s coda – but the suspicion is that this was merely because it involves a talking severed head, which looks cool. A visit to a transgender acquaintance in present-day New York, meanwhile, is a story with an admirable, heartfelt moral that’s undermined by being delivered with zero dramatic subtlety.
And: some of the dialogue Sturridge has to say! Oof. As for Morpheus’s appreciation of the power of storytelling – “Tales and dreams are the shadow truths that will endure when mere facts are dust and ashes and forgot” is the sort of non-zinger that would sound flat even if it wasn’t coming from a character who says everything in a depressed gothic whisper. And the dream-shaper’s stint as the caretaker manager of hell ends with him opining: “Hell is heaven’s reflection. They define one another. Without hell, heaven has no meaning.” A million lifetimes spent feeding off the deepest fears and desires of humanity, and he’s still cursed to sound like a failed evangelical preacher’s Instagram posts.
The Sandman is not short of ideas, but it smothers them all in a fug of pretension, missing every opportunity it creates for itself. The fact that Morpheus has the ability to access humans’ dreams – to mould them and make them real – barely features. Even the comic relief of a sarcastic talking dog offers little respite: they got Steve Coogan to do the voice, but the real challenge for him would have been behind the scenes, pretending the lines he was given were funny.
- Joined
- Aug 6, 2024
- Joined
- Mar 14, 2021
Started the slog through and it really is a slog. Just got through Episode 3, where Hell's fate is decided.
All the guests are done with cheap makeup, with maybe two decent visual choices amongst them all.
For some reason they decided to provide Shivering Jenny with a bunch of other clowns to stand behind her. Similarly the Lord of Order has more than just one minion. On both sides they do nothing.
Dream's rules of hospitality that mean he's allowed to cheat Azazel of getting to leave with his victims? For some reason he doesn't apply that rule to Azazel's demonic victim.
Rather than Nuala's loss of glamour reducing her to a plain, normal being it returns what is either a terrible Irish or Scottish accent. With the added remark from her that Titania requires this because she's "posh." "God love her." I cannot decide what is most egregious there, any one of the fae from that setting talking condescendingly about the Queen Bitch herself or the insinuation that faeries have a problem with Celtic accents. I can see the filthy Netflix staff's grubby little hands all over this scene.
One of Dream's rank and file has to remind him that a guest is missing causing him to realise a disguised Loki is still around.
We need to have a scene with worst Lucifer at a desolate beach just so they can work in the line, "God's a cunt."
Lucienne is somehow worse in the second season.
Oh and of course rather than Nada reincarnating she goes back to Earth as she is. Why do I have a terrible feeling this will work its way into the search for Destruction?
For some reason they decided to provide Shivering Jenny with a bunch of other clowns to stand behind her. Similarly the Lord of Order has more than just one minion. On both sides they do nothing.
Dream's rules of hospitality that mean he's allowed to cheat Azazel of getting to leave with his victims? For some reason he doesn't apply that rule to Azazel's demonic victim.
Rather than Nuala's loss of glamour reducing her to a plain, normal being it returns what is either a terrible Irish or Scottish accent. With the added remark from her that Titania requires this because she's "posh." "God love her." I cannot decide what is most egregious there, any one of the fae from that setting talking condescendingly about the Queen Bitch herself or the insinuation that faeries have a problem with Celtic accents. I can see the filthy Netflix staff's grubby little hands all over this scene.
One of Dream's rank and file has to remind him that a guest is missing causing him to realise a disguised Loki is still around.
We need to have a scene with worst Lucifer at a desolate beach just so they can work in the line, "God's a cunt."
Lucienne is somehow worse in the second season.
Oh and of course rather than Nada reincarnating she goes back to Earth as she is. Why do I have a terrible feeling this will work its way into the search for Destruction?
wtfNeedSignUp
kiwifarms.net
- Joined
- Dec 17, 2019
Can we change the title of the thread to Netflix has raped Sandman?
- Joined
- Mar 14, 2021
I owe Netflix an apology. I assumed from the episode listing that they would be trying not to retcon YWNBAW. In fact they not only retconned it but did so so hard that Dream and Death prioritise it over Delirium's meltdown.