The second and final season of The Sandman has hit Netflix in its entirety. Picking up where things left off, we follow Morpheus (Tom Sturridge) on another series of adventures both in and out of his realm. If that sounds vague, it’s because I don’t know how to summarise the season’s central arc.
Season one of The Sandman excelled in its storytelling, delivering both gripping anthology-like narratives and an engaging overarching plot. It also effectively placed episodes within different subgenres, giving each one its own unique identity. While this season does contain a few exceptional episodes and arcs, it’s quite a drastic step backwards in its approach to both the anthology-like and overarching stories. Much like in its debut season, the first episode here is pure brilliance. It throws us back into the world of the Dreaming without losing an ounce of the tension and suspense that’s prevalent in the finale. It’s grand, it’s cinematic and the narrative that’s set up promises to be just as epic. Then the second episode comes along, and while it’s still consistent in tone and atmosphere, it sets a precedent for the season where every arc that seems to be the season’s core plot is refreshed before it can really take off. I’m all for a good anthology structure – the first season executed it to perfection – but without a clear overall direction for the season it was hard to get invested in the story.
Exciting teases from last season are unceremoniously thrown out, and many of the shorter arcs feel undercooked. Just when I thought a certain plot direction would be the crux of the season, it’s prematurely resolved. It’s a frustrating choice that happens multiple times through the season, especially early on. What’s even more frustrating is the fact that most of these arcs are entertaining and gripping enough to be the main focus, but they’re not capitalised on. The arc placed at the half-way point, revolving around Orpheus (Ruairi O’Connor), is the undisputed highlight. The arc carries over two episodes and delivers the most poignant, alluring and awe-inspiring narrative of the season. I should clarify that while there are three episodes that are absolute bore-fests, the bulk of the story content is engaging and full of suspense, it’s just the payoffs that aren’t there.
Looking beyond its struggles in committing to a narrative direction, there’s no denying how beautiful and aesthetically impressive this series is. The artistic vision is clear and carried through from the first season, crafting a universe that’s dark and gloomy yet so alluring.
While there’s not much of a narrative focus, the characters themselves and the performances behind them do a lot of the heavy lifting. Through the first season, the writers crafted a number of well-fleshed out characters who are all interesting and complex in their own right. Those characters are almost all carried into this season and bring plenty of exciting moments to latch onto. Their inclusions are surprises so I won’t mention them here, but they’re all individuals who have a great relationship with Morpheus, and so simply seeing them converse makes for engaging TV.
Speaking of Morpheus, Tom Sturridge is otherworldly as the series’ lead. He single handedly carries the series with a captivating presence and hypnotising dialogue delivery. It’s incredible how much emotion he manages to convey with such a stoic, straight-faced expression. His deep vocals enhance the dramatic weight of every conversation, making for deep, enthralling interactions with nearly every other supporting character. Kirby Howell-Baptiste returns as Death and makes a memorable impact with every one of her scenes. She’s such a charismatic force, that every time she leaves the screen I wish we had more time with her. Thankfully, we do. She’s the focus of this season’s bonus episode, once which has nothing to do with the rest of the season yet is better than most other episodes. Howell-Baptiste’s scenes alongside Sturridge are full of chemistry, making their sibling relationship feel authentic.
Of the newcomers, Esme Creed-Miles debuts as Delirium and makes an immediate mark on the series. Her quirky persona and appropriately delirious actions bring something completely unique that no other character is capable of. The character’s vibrance up against the deep blacks of Morpheus’ aesthetic makes for a fun duo. On the flipside, Douglas Booth and Ann Skelly are introduced as siblings Cluracan and Nuala from Faerie, and boy are they rough inclusions. I have nothing against their performances, but the entire arc they’re a part of adds nothing of value to the story.
In the end, The Sandman doesn’t quite capitalise on the epic scale and singular narrative direction of the first season, but is still an entertaining ride. The story is unfocused and unclear early on as it jumps through a number of anthology-like arcs, resulting in a little frustration when these quality stories are prematurely ended. A few of these arcs are stellar, containing everything from deep character development to tense dramatic beats. Meanwhile certain episodes, like the abysmal finale, are a little tough to get through. Led by an ensemble of riveting performances, including the breathtaking Tom Sturridge, this final season remains a fun ride despite being a disappointing step back.
7.2/10
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