The Sandman season two Eps 7- 12 reviews

 

There is something about knowing you are reaching the end that can energise a creative vision and the fact that there won’t be any further seasons appears to up the determination of the writers to fully expand this world. So, the second half of the season doubles down on strangeness, ancient rules and brutality yet also offers something of wonder and change. While it may seem nothing ever does change amongst these Gods and elementals this is proved not to always be the case. It feels as if Dream is facing the combined forces of tradition more than anything; ancient rules that afford no escape. The plotline definitely gives the show a momentum it hasn’t always had as Dream comes to terms with the ramifications of what he has done even if he did it for his son’s sake.

The next three episodes weave a tale of regret and atonement as Dream’s previously stoic barriers loosen (a little) now he knows the end is nigh. Of course, as he always behaves as if the end is nigh you might say- what’s the difference? The difference is subtle and highlights Tom Sturridge’s ability to pull tiny nuances from what can come across as a portentous script. In tandem with this the scripts for episodes seven, eight and nine do feel lighter, even if the subject matter sometimes isn’t, as if the writers too are feeling the impending conclusion of this story.

That said there are still moments that might cause shock and even distress amongst more sensitive viewers most of them involving Loki who is realised here in full sneaky malevolence by Freddie Fox. He is so tricky and ruthless even Puck tires of him and the actor sneers at the camera slipping through guises and doing the sort of things most antagonists usually only threaten to do. While this is shocking sometimes it’s also quite engrossing leaving the viewer to wonder- what will he do next? One sequence in particular involving a baby made me gasp only the narrative executes a rug pull in the following episode allowing the crime to stand yet the results are not as expected. Equally we are often fooled by Loki’s chameleonic abilities; notably when he poses as Dream. Fox gives a memorable performance which is why it’s such a pity when his reign of terror ends with him being literally carted off by his father and brother.

The main thrust of the narrative is Dreams’ attempts to make amends for some of his past mistakes and also ensure the succession for his realm. His spilling of family blood, whatever the reason (and it does seem a tad unfair that there is no extenuating circumstance allowed) means that the Kindly Ones must and will take his life. Their moniker is more than slightly inaccurate as they are also better known as the Furies. They are in the tradition of the classic triumvirate of witches going back to Shakespeare and it seems there is no escape from their vengeance. Ancient laws, what can you do even if you’re a God? This kind of thing can make the series seem out of touch with reality but there are plenty of parallels to be had if you just look at this as a family saga. Played with fussy glee by Nina Wadia, Dinita Gohil and Asim Chaudhry the witchy trio along with their human avatar Lyta Hall, do everything you might expect save for dancing around a bubbling cauldron.

A child called Daniel Hall, born in the Dreaming, is already destined to replace Dream one day and much of the action revolves around the infant being kidnaped by Loki and Puck (who really could carry a demented flat share comedy) and Dream’s attempts to find the child. At risk if he sets foot outside his realm, he employs Joanna Constantine and a revived, changed Corinthian to undertake the task. Boyd Holbrook was of course a stand out presence in season one but here he is a different version and plays off the more amusing aspects of the role. He and Jenna Coleman’s Joanna make a good team that could support a spin off even though Corinthian’s ocular-based skills are a bit icky.

The plot also enables some slight thawing of relations between family members- a couple of scenes between Dream and Delirium are rewarding in that respect. Dream’s meeting up with his ageless friend Hob is also reflective showing how Dream is softening, realising he is suddenly not invulnerable. So, while the stakes are high, the feel is smaller and works better for it. Episode nine ends though with the Kindly Ones rather unkindly despatching Stephen Fry, surely a crime of the highest order?

Usually in this kind of show our hero will be facing seemingly unavoidable death only to be extracted at the last moment either by some sleight of hand, an object everyone’s forgotten about or some less convincing escape. By episode ten I was sort of hoping for an intervention where a character would appear and shout “Stop!” Yet it becomes apparent this will not be the case for Morpheus. Set against worsening weather and grim looks, as some of his loyal helpers are killed, it seems that his fate really is sealed. The fact he’s going around making amends is a big clue- he even releases Paul from his endless sleep.

Where else would a character like this meet his end than atop a cliff in a crumbling stone ruins with pouring rain and sullen grey skies the backdrop? It’s a never more goth scene albeit scored by elegiac strings and haunting melodies. When it comes to conjuring a sense of occasion this series knows exactly what to do. Some busy battle with elemental energy is not the style of the show so the end happens very quickly and that’s it. With one and a half episodes left, the show’s main character is gone. The twist at the end is baby Daniel becoming the fully grown new Dream of the Endless.

The final episode is called `A Tale of Graceful Ends` and fulfils that title adroitly being set around Morpheus’s funeral as well as serving to show how Daniel, the first partly human Endless, will be a different custodian than his predecessor. Forsaking Tom Sturridge’s emotional austerity with a more benign (even sometimes smiling) exterior Jacob Anderson essays a change rather like you get on Doctor Who when a new Time Lord takes over. Most of the key characters from both series attend the funeral to give their stories and the series a send off befitting it’s elegant style. Its so serious at times it feels like we’re saying goodbye to something that’s been running for a decade or more rather than just two seasons. Admittedly there’s a smattering of cliches and some rather simple homespun philosophising but these scenes also possess a sincerity that’s impossible for all but the grumpiest to dislike. Much of the dialogue shifts back to the idea and value of storytelling and remembering people who have passed. The final scene sees the new Dream meeting his family and the contrast with the glacial meeting in the first episode and this warm, chatty encounter is notable. The message is clear- life goes on. The saddest aspect this shines a light on is how people are gradually forgotten over decades and centuries when there is nobody alive who remembers them and over time all but the most famous or infamous are forgotten.

Its a rich series that will no doubt reward a second watch; in fact there's characters I've not even found space to mention in the reviews. For a show that seems so slow and careful there is alot going on! Amidst what may initially seem like a gloomy episode there is something of a hopeful message lurking. It’s interesting that Morpheus’ experiences have changed him because the Endless are not supposed to change though it might seem pessimistic that it leads to such a dramatic act. Yet the narrative affirms the value of family and friendship even if it’s something that Morpheus realises too late. His farewells seem regretful in tone and the episode is suffused with that emotion. Its clear thar the trajectory has been leading here as Morpheus’ act was not a self-centred one as he knew what the results would be for him.

While the new Dream is a different person- not least because he is partly human- it seems as if he will deal with this weight more lightly because he will be more socially open. He knows from the start what it took Morpheus his very long life to realise which is the value of friendship and the fact that whoever they are nobody can carry everything on their own. It’s interesting as well to compare Morpheus’ closed off life with that enjoyed by the also long-lasting Hob who in episode ten, offered the opportunity to end that life after six hundred years- declines because he is still savouring the possibilities.

There’s also a standalone bonus episode after the finale which underlines some of these points as it follows Death’s day off which she spends with a depressed writer and gradually encourages him to see the value of life regardless of wider world situations that play on his mind. Guesting Colin Morgan as the writer and Kirby Howell Baptiste enjoy a sparky warmth that supports the thoughtful script.

Rather like Morpheus with his associates I only came to appreciate The Sandman series as it was ending. The producers have stated all of his story was told though whether different external circumstances might have allowed for a third season we will never know.