The Sandman: The 5 Most Sensational Scenes Of The Netflix Series! Masterpiece Scene

The Sandman: It is strange, but it is not so common to be faced with a product that perfectly reflects the claims made during the marketing campaign. Yet here we are, Neil Gaiman had repeated several times that the historical fans of his comic had nothing to worry about because on screen they would have found The Sandman in all respects and so it was. Indeed, we want to dare even more, because most likely the new Netflix series (here you can find our review of The Sandman) is the transposition of the most faithful paperwork ever made in the history of the audiovisual medium: step-by-step, chapter by chapter, image after image, almost line after line, the immortal pages and plates of a masterpiece have come to life, clearly with their enormous strengths and inevitable flaws – we keep reiterating that The Sandman is not for everyone. An epic that is already in its first season gave us wonderful sequences and 5 deserve, in our opinion, a space for discussion and celebration free from any spoilers.

1 – The Dream Escape (1×01, “The Sleep of the Righteous”)

We could not fail to start with perhaps the iconic scene par excellence of The Sandman, one of the most immediate results that came out on Google looking for the work of Gaiman before the release of the series. Iconic because it is one of the very first times that we see Morpheus in action, which shows off those pale, almost ashen and minute features that characterize almost all of the Eternals.

Moreover, a closure – both the first chapter of the comic and the debut of the Netflix series – is substantially perfect, since combined with the severe punishment that Sogno inflicts on his dear jailers, it starts the events, delivers the feeling of an entire universe willing to open up. in the following pages paradoxically manages to make the reader or viewer dream, through a physical portal that will transport them into the maze of a boundless and surprising odyssey, capable of changing the panorama of comics forever and, hopefully, in the future even TV series. In short, the escape of the protagonist from the imprisonment of the Burgess family could not miss this appointment.

2 – Gregory’s Suppression (1×02, “Inadequate Host”)

Here, on the other hand, we are already on very different terrain, as it marks a marked change from the original material. In the comic, in fact, after escaping and punishing those responsible for his imprisonment, Sogno is unable to reach the palace due to a lack of strength and wakes up from Cain and Abel, who give him back part of his power through letters of appointment created by himself. It was a simple interlocutory moment, which Gaiman and his associates had the brilliant foresight to reinvent to make it a passage with a strong emotional impact.

Gregory is a gargoyle, a wonderful creature who with his sweetness immediately enters the spectator’s graces, but who unfortunately must die at the hands of his creator despite the unison protests of Cain and Abel. Dream of knowing the role that has been assigned to him, he is lucidly aware of his function in the universe, and he knows that he cannot waste any more time: Gregory was superficial and had to be sacrificed, there was no other solution. However, it is a gesture that he makes reluctantly and that even brings him to tears, the first real indication of his change, as the old Morpheus would not even have broken down.

3 – The Oldest Game In The World With Lucifer (1×04, “A Hope in Hell”)

Another round, another this time a slight difference from the comic, where Morpheus does not challenge the king of the underworld, but the demon who had obtained his helmet. It is a choice made to increase the importance and pathos of the scene, also because if you have Gwendoline Christie in the cast – amazing in the role and in general a sublime casting for the vision of Lucifer that Gaiman has – you still try to show it off a bit.

How do you stage a much more elaborate game of Chinese morra? In this way, not only by using state-of-the-art special effects to make the crazy impersonations that follow one another, but by making the protagonists suffer the effects of their choices, cuts, or universal suffocation. In addition, the dialogue following the victory of Sogno, to say the least iconic: perhaps dreams in Hell have no power, or perhaps it is Hell that has no power without the possibility of dreaming of Heaven. Pure chills and goosebumps guaranteed.

4 – The Destruction of Dream’s Palace (1×05, “24 hours”)

Now, we think that the John Dee arc in its entirety was handled sensationally, especially considering the infinite challenges it entailed: the numerous references to the DC universe that in the Netflix series could not find a place, the aesthetic of Dee very cartoonish and exaggerated, the reluctances of Gaiman himself who in retrospect – even when The Sandman was far from the conclusion – never digested some choices of lightness made in these first chapters.

Difficulties that however evaporate with each dialogue of John, to the madness that assails him more and more scene after scene culminating in the destruction of the palace of Dream, in an attempt to hunt him in his realm in an ecstatic moment of omnipotence. As often happens and – hopefully – will happen in The Sandman, most of the clashes are at the end of the verbal accounts, they are ideologies that collide and this, despite a certain spectacularity and mastery in the staging, is no exception. The “you are hurting the dreamers” pronounced by Dream is a blow to the heart, the proverbial icing on the cake of an exhilarating bow.

5 – Comparison With The Corinthian (1×10, “Torn Hearts”)

Speaking of verbal clashes that represent the antithesis of unnecessarily spectacular battles, the apex can only be the dialogue with the Corinthian – masterfully interpreted by Boyd Holbrook – during the serial killer’s convention, before posing – momentarily? Who knows – end to his existence and the murderous fury that he unleashed on Earth.

It is only a mere verbal exchange: on the one hand, Dream’s disappointment at the futile actions of the Corinthian, which has done nothing but give humanity something more to fear, feeding on it without serving it; on the other hand, the qualms of a nightmare against the hypocrisy and total disinterest of its creator towards humanity and that he did not seek anything other than to prove, even if only for a few seconds, what it meant to be a normal human being. State-of-the-art drama, with just a few last-ditch attempts by the Corinthian to put an end to the existence of Sogno to set the pace and lengthen the situation. A manifesto of The Sandman and his divisive style of him.