It’s not a coincidence that the sixth episode feels so much livelier and dynamic it brings two entirely separate issues together to form something new. Sure, it took an entire issue for Dream to visit Hell to regain his helm, but a 24-page comic book and a 50-minute television episode are different beasts, and that’s a tension felt throughout the season. Similarly, the pacing of the show suffers from a fidelity to its source material. It brings to mind the quip Harrison Ford made to George Lucas on the set of the first Star Wars: “You can type this shit, but you can’t say it! Move your mouth while you’re typing.” As enchanting as his words can be, this happens again and again, even when the show’s credibility is at stake.
#EVE LAST MAN STANDING CAST SERIES#
For long-term fans who’d hoped that the Netflix series would be everything the comic was, and maybe more-I mean, the comic was great, but did it have Gwendoline Christie? Exactly-the end result was likely a disappointment, and for the most unfortunate of reasons: It tried too hard to be faithful to the source material.Īlthough the show’s creators obviously made changes-most evidently in the first five episodes, which were reconstructed to excise elements tied to the Justice League and other DC heroes (DC imprint Vertigo published Sandman)-there’s a sense throughout the season that Neil Gaiman’s scripts were the one true gospel. Unfortunately, that moment of recognition-the feeling that what’s onscreen is a note-perfect recreation of the original in a different medium-isn’t something that the rest of the series can sustain. It’s a welcome moment for a number of reasons, not least of which because it gave the character a heretofore unseen empathetic note, but also because, for a brief second, it’s as if the original 1990 comic book it adapts has been translated deftly onto the screen.
There’s a point midway through the sixth episode of Netflix’s The Sandman-the most successful episode of the first season by some distance-where Tom Sturridge’s Dream is talking to his sister, Death (masterfully played by Kirby Howell-Baptiste), and it becomes immediately apparent that, for all his power and fearsomeness, he’s still a sulky little teenager when he’s talking to anyone in his family.
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