![]() ![]() Episode 5 is about as dark and traumatic as anything is ever gonna get, then you’ve got Episode 6, which is probably the most feel-good of all the episodes.” It’s a notion that looks set to differentiate The Sandman from all the other lavish fantasy adaptations out there. ![]() “Then you’ll be wondering, ‘What the hell is this?’ by Episode 2, when you’re meeting Gregory The Gargoyle in The Dreaming. ![]() “You watch Episode 1 and think, ‘Oh, I get this thing: it’s like Downton Abbey, but with magic,’” he says. In the upcoming Moon Knight issue of Empire, Gaiman opened up about the genre-hopping, tone-switching approach of The Sandman on screen. And part of that faithfulness is conjuring a show that shape-shifts from instalment to instalment. Enter Netflix, which has taken on an adaptation of a comic book series like no other – a metaphysical, philosophical exploration of dreams, romance, life and death – with Gaiman on board as a developer to help shepherd it to the screen faithfully. For decades, Neil Gaiman’s The Sandman has been considered a towering achievement in the world of graphic fiction – a fantastical epic so imaginative and broad in scope that the prospect of bringing it to the screen seemed near-impossible. ![]()
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