The Revue de la season deux de Sandman – Neil Gaiman’s Drama EMO is so pretentious that it ruins everything | Television
MOrpheus, alias Dream, alias the Sandman (Tom Sturridge) could be the immortal suzerain of a world of the Magic Nether and the director of all our subconscious visions, but he is not immune to relational problems. “Ten thousand years ago, I condemned you in hell,” he said to her other half, having felt that she was bored by something. “I may think I should apologize.”
Damn right! We are back in the cold and moist understanding of The Sandman, the series that looks at the fantastic genre and says: and if we get rid of almost all lush landscapes, epic struggles, sharp political allegories and delicious disgusting monsters, and replaced them with a guy in a bad mood in a long black coat that goes by a monotone of oneself? The second season, the first part-the saga ends with another handful of episodes later this month-sees Dream Tenty to grow and atone, first looking for her beloved Queen Nada (Deborah Oyelade), which is upset on the entire 10 Millennia-Hades cock-up.
Sorting this mess requires Dream to negotiate for access with Lucifer herself (Gwendoline Christie, playing Satan as a tired perpetuity condemned who tires of tormenting), then organizes a gathering of Netherworld monsters and legends. After that, he left to attempt reunion and rapprochements with some of the family members he has, during eternity, alienated.
The Sandman is really a curious beast. Where other similar series are concentrated around a hero warrior, the main guy here is more an emo worried, forever standing in the dark corner of the setting, escape from the eyes of other characters while he delivers the Platitudes with an apparent lighting shortage of production, of gloom. The Lossine jaw Sturridge is physically ideal for the role of Morpheus, with its concave cheeks and a set of eyelashes that could have someone’s eye. But while his impeccably Backcombed and Swishy monochrome outfits suggest that he is about to transform into an Echo and the Killing Moon refrain from Bunnymen at any time – someone in the design department appreciates their Billy Idol pop – he also styled Freddie’s design, never entertainment. Even when it transforms the thrilling hammer of Thor into dust or grants William Shakespeare creative immortality, which could be fantastic adventures are always mixed through in a difficult way as if they were tedious obligations.
It works roughly as an analogy elaborated for the disaffection of adolescents – a moment when you feel as if you buy a kind of horrible power, but everyone gets angry when you try to handle it, and not knowing why you make you even more square. When the spectacle coopte Greek, Nordic and Christian mythologies, however, it does not do much with them. The rear half of this batch of episodes concerns Orpheus (Ruairi O’Connor), who in the Sandman universe is the son of Morpheus: after a told by the myth of the Eurydice in the underground world, the series moves into fashion a new tour of the head of the attempt, which looks cooled. A visit to transgender knowledge in current New York, on the other hand, is a story with an admirable and sincere morality which is undermined by delivery with zero dramatic subtlety.
And: part of the Sturridge dialogue has to say! OOF. As for the appreciation by Morpheus of the power of the narration – “Tales and dreams are the truths of the shadow that will last when the simple facts are dust and ashes and forgotten” is the kind of non -zinc which would seem flat even if it did not come from a character who says everything in a Gothic murmur. And the passage of Dream-Shaper as manager of the hell of hell ends with him by bogging: “Hell is a reflection of paradise. They define themselves. Without hell, paradise does not make sense.” A million lives have passed to feed the deepest fears and desires of humanity, and it is always cursed to resemble Instagram publications of a failed evangelical preacher.
The Sandman is not lacking in ideas, but he stifles them all in a pretension fug, missing every opportunity he creates for himself. The fact that Morpheus has the ability to access humans’ dreams – to model them and make them real – barely. Even the comic relief of a sarcastic speaking dog offers little respite: they asked Steve Coogan to make the voice, but the real challenge for him would have been behind the scenes, claiming that the lines that were given to him were funny.
