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writing-for-life · 2 days ago

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SFX Magazine

18 Jun 2025

Shared via PressReader (this is the whole article and pics, incl. interviews with Tom Sturridge, Freddie Fox, Douglas Booth, Sanjeev Bhaskar & Asim Chaudhry)

SFX HAS ARRIVED AT HELL. It’s probably not the first time in our 30-year history – and likely won’t be the last – but thankfully this trip is temporary and actually housed within Shepperton Studios in London. It’s February 2024 and we’ve been invited to a banquet – but this isn’t any ordinary meal, this is a gathering of representatives from several different realms, all of whom are vying for ownership of Hell once Lucifer abdicates. We’ll just graze, thanks. This is season two of The Sandman, which returns to Netflix in July for 12 episodes, including a standalone outing for Death. It’s also the final season, as Dream’s story is wrapped up in a slightly different way. “We’re remixing a lot of it,” showrunner and writer Allan Heinberg tells SFX. “There are a lot of standalone stories because we’re an ongoing series; it’s all focused on Dream’s character primarily. So we will weave in and out of flashbacks that allow us to get to know the characters. “All of the self-contained moments are incorporated into the narrative as flashbacks. For example, ‘The Song Of Orpheus’, which is a standalone Sandman special, that’s all now a flashback in episode five rather than its own episode. Thermidor, which we’ve included – a flashback to the French Revolution with Joanna Constantine – is an example of that. “Since we’re moving forward with Dream’s life, anytime we look backward, it’s as a flashback in order to give the present some context and meaning.”

SPLIT SCREEN

Today’s entertainment – for both us and the representatives of the realms in the banquet hall – is a magic show performed by Cain and Abel with sidekick Goldie the Gargoyle. As you might expect, the box-sawing trick doesn’t exactly go in Abel’s favour. “They’re just deciding how to chop people in half…” production tells us. Jamie Childs – who’s directing all 12 episodes of the season – is on stage figuring it out. The set smells of wood and smoke. There are extras in woolly robes who will later mingle with “representatives from Faerie, the demons from Hell, the Lords of Order, the Lords of Chaos, Shivering Jemmy, and the Chaos Brigade, Lord Susano-o-no-mikoto, who’s a Japanese storm god, and the Norse gods Oden, Thor and Loki,” Heinberg explains. The representatives all have different themed tables. The demons’ table is covered in entrails. There’s cling film keeping the eyeballs, hearts and livers “fresh”. The Norse gods have a lot of meat – over-sized turkeys on sticks so they look like giant legs. Another table has sweets, dolls and a Victorian creepiness, using the attic from The Woman In Black as a reference. Susano’s table has a bonsai tree and a sand garden – the sand is all modelled and fixed so that it can’t be moved. (continues after interview)

JUST ANOTHER DREAM

Tom Sturridge is Dream

Do you feel like you have a deeper understanding of your character now in season two?

You can’t help but have a deeper understanding after you’ve spent a year doing something, rather than when you’re a total virgin to the experience. Having time away from it was also incredibly helpful. There’s something about time breeds subconscious experience, which, ironically, is what our entire show is about, and that’s been very helpful with Dream.

But more than me personally, it’s such a communal experience, the making of something like this. What’s most thrilling is everyone together having an understanding of what they’re doing, because at the beginning, you have actors who can be obsessive about characters, but members of the crew don’t necessarily have a historic understanding of The Sandman. Suddenly now we all know what we’re in. So the thing that we’re building together is instinctive as a group and that is an incredibly unusual and magical thing to witness.

This season doesn’t follow the comics in a linear sense…

It’s difficult to talk about. It does and it doesn’t. The comics obviously don’t follow a linear story either. That’s what makes them so incredibly satisfying. That’s why it’s taken so long to adapt them, because long-form television is the only form that can deviate from a linear narrative. You can’t do that in two hours. If it isn’t linear, then it’s because it’s faithful to what the comics did.

When you do a first season of anything, there’s a lot of world building to achieve and a lot of introductions. What’s thrilling about this year is that is done now and we can dump you into the story and feel confident in who we are and people recognising the world that they’re in.

Was it easy to get back into the character?

It was exciting. It was thrilling to get back into it. I hesitate to say easy, but only because I’m not really sure how to quantify the experience. What I do want to say is that the thing that’s spectacularly different to the first season is that we have one director, Jamie Childs, directing every single episode, which is an incredibly rare way of making television. They did it with season one of True Detective. I can’t think of many directors who’ve done 12 episodes of something. What that means is it’s like making a film. It’s a completely holistic experience.

You don’t have that thing of having to reintroduce people every six weeks to what you’re trying to do. That is what is going to make the biggest difference is that there’s one vision telling the story. What has been particularly exciting doing the second season is going deeper, much, much deeper into his soul, as opposed to simply trying to lay the foundations of his history.

Does it change the process, working on a physical set?

A hundred per cent. The way the industry is evolving, you have everything in these productions from LED screens to just plain blue screen. The thing that I am so conscious of in my relationship with my own dreams, which I think people often forget, is how extraordinarily real they are and how almost all the time I don’t know that I’m dreaming. What’s incredibly, exquisitely important is to do justice to that experience.

So for everything within the show to be tangible and to be able to see it and touch it and smell it and feel it – credit to Netflix and the production team, they’ve committed to that. They’ve been building these extraordinary sets. In something that is so based on one’s imagination, it’s amazing not to have to use it that much. When they’re framing the cameras, they’re looking at the frames in the comics, seeing if there are things that are iconic that need to be realised and reflected. This is a Sandman made by Sandman fans. Therefore, it is immersive.

Do you have much involvement with your costumes?

Sarah Arthur, our costume designer, is a brilliant woman, and I would say has almost all the involvement. But I know the character well. I care about it a lot. I constantly want to be true to the comics more than anything else. But then there’s an aesthetic that I understand, that is historically related to certain musicians and performers. When it was written, the 1980s was the contemporary time, and now we’re in the 2020s. So you have to find an avenue that makes sense.

The combination of the historical sweep of the story and its dreamlike element allows for such creative opportunity and the sartorial aspect of it. The idea of what would the King of Dreams be wearing in 17th-century England? That’s a thrilling question, I imagine, as a costume designer to be able to pose to yourself and one that I think has been answered quite spectacularly.

What from season two are you especially looking forward to?

Having all of the Endless in one room together for the first time would be thrilling. It’s yet to happen. Interrogating this history of that family, be it Dream’s relationships, his loves, his children. Beyond anything, The Sandman is a story about a family and with all families; it’s funny, frightening, and deeply, deeply sad. It’s exciting to explore that.

(continued) Someone holds a model of Goldie in shot for scene 202/41, take two. “Jiggle, drop, separate!” someone shouts. The box splits and entrails fall on the floor to groans all around. The Goldie prop is then positioned beside Abel’s spilled innards. “Who’s on clean-up?” someone jokes. It’s then that Dream, aka Tom Sturridge, glides along the banquet hall and sits at a table. “I swear to God, he just floats across the set,” actor Douglas Booth tells us. “I don’t know how he does it. I feel like he maybe has those wheels on the bottom of his shoes.” A hush falls across Studio A. Dream takes to the stage. As he does so, a spotlight hits him. “Good guests,” he says. “That concludes the evening’s entertainment. I suggest you leave this room at this time. It will cease to exist shortly. Good night.” They try another take where he doesn’t pause between sentences. “That concludes…” Someone pulls the curtains on him and the crew laughs. “As for the matter that has brought you here… Oh fuck, sorry!” Sturridge exits the stage before returning to deliver the lines again, but with more dramatic pauses. Another take and the curtain hits a candelabra. It spins slightly but doesn’t affect filming. Another take and more smoke is pumped in. Another take, missing the candelabra. The curtains open and close, open and close…

FAN SERVICE

“It’s more of the same in terms of taking an arrogant, honourable, all-seeing, all-knowing deity and humanising him and teaching him – or watching him figure out what it means to be a good sibling, a good husband, a good father. Teaching him – we’re trying to teach him – compassion,” Heinberg tells us of what to expect in season two. “You get to know Dream and his intimate relationships a lot more deeply, especially the family relationships with his brother and sister. He starts to make choices that are emotionally responsible. This is somebody who, when we started out in season one, thought that he was the most important being in the universe with the most important job. It’s taken him a minute to realise that other people have other points of view and that his behaviour, though he thought it was honourable in the moment, has created all kinds of trouble for people he allegedly cares about. “Last season was about realising he made mistakes, and this season is about trying to make things right and the cost of that, to the point where if it becomes too dangerous, do you protect yourself or do you protect the people that you love? I think it’s a much more personal and intimate and emotional season than last season was.” He adds they never solely use scope and spectacle in order to tell the story. “Jamie Childs, our director, doesn’t like to rely on CGI. He doesn’t like to rely on the SFX or VFX at all. It feels better to him if everything’s in camera and if everything is practical. That really helps keep us focused on the emotional lives of the characters and what’s going on in the scene. “The demands of the show are ridiculous – beyond ridiculous – and somehow they make it all look gorgeous and easy, and nobody asks, ‘Why are we suddenly in an Elizabethan tent performing A Midsummer Night’s Dream while there’s a demon banquet going on down the hall?’ Everybody just goes with it, and it all looks really beautiful. It’s because we’re focused on this emotional storyline that I think it all becomes one story, regardless of whether you’re in the past or in the future or wherever.”

But it’s memorable sequences such as A Midsummer Night’s Dream that fans have come to almost demand of the production. “We try to preserve as many of the comicbook moments as possible and translate them in a way that feels like we’re fulfilling fan fantasies of what that would look like on film,” Heinberg explains. “But also the show dictates what works and what doesn’t and what’s moving the story forward for Dream at all times. There have been plenty of times where I’ve actually tried to include too much from the comics: we film it, and you see it in the context of the cut and of the story, and you realise, ‘Yeah, nobody’s going to understand this.’ “So there have been casualties already. But again, it’s bonus content for the website, and also the fans will love it because they can’t say we didn’t try!”

The Sandman is on Netflix from 3 July.

Gods and Monsters

Freddie Fox and Douglas Booth are Loki and Cluracan

SFX

18 Jun 2025

DB I’m playing Cluracan. I’m from Faerie, and I’m in the court of Queen Titania and Auberon, and my sister is Nuala. There is in the series – it’s quite a famous part of the comic – the A Midsummer Night’s Dream sequence. That’s where Dream tried to heal the relationship between the dream world and the Faerie world, as it were. We see it more in the form of flashback in our show. But basically, my sister has a bit of a soft spot for Dream. Dream is given the keys to Hell by Lucifer. The first couple of episodes is this great coming together of the Faerie world, the Norse gods – you’ve got the envoys from the Kilderkin, Lords of Chaos and Order. A lot to keep track of! Everyone comes together and it’s this great thing of Dream having to weigh up who should have the gates to Hell.

Nuala and myself, Cluracan, come to the Dreaming to try and convince Dream that he should give it to none of them because Faerie has a tie to Hell, which means that they have to give seven of their most beautiful and brightest every seven years. That’s the surface-level plot, and then you get into the personal character and stories.

But my character – because Cluracan means a leprechaun that haunts breweries and pubs – is always drunk and trying to sleep with everyone. I have a fun relationship with my sister, who is trying to do the right thing, trying to really impress Dream, fulfil her diplomatic mission, whereas I just want to get drunk.

Loki is the god of mischief. He’s got all sorts of monikers: Wolf Father, Cloud Walker, all of those things. In mythology, he’s an extraordinary composite of so many things. When he says Wolf Father, he actually gives birth to a wolf, so he’s actually really a Wolf Mother. Anyway, he’s known as this shapeshifting, chameleonic, mischievous, dangerous, very sexually curious sprite. More than a sprite. Sprite sounds inert and innocent. He’s not.

What he wants to do is to show the human realm the hypocrisy of their lives and introduce a bit of anarchy into the system because that’s essentially what humanity is, a hodgepodge of complete nuts-ness and trying to pretend that it’s not. He’s like, “Come on, you’re not.”

There’s a bit of the Joker in Batman about him. That’s his overriding mission which goes on a journey with Puck from his realm. Puck and he have a relationship, a long-standing, I guess, romantic relationship, but it’s a bit dyed-in-the-wool now. They’re a bit like a bickering old couple who go off and do their own thing. But their main mission together is to steal Daniel, the baby, and burn him alive. He’s a nice guy, really [laughs]. It’s really trying to hold the mirror up to humanity and go, “Look at yourselves, you’re ridiculous,” and, in the end, have a good time doing it. That’s his MO.

Family Ties

Sanjeev Bhaskar and Asim Chaudhry are Cain and Abel

18 Jun 2025

Do you feel you know your characters better now?

SB The characters are pretty clear on the page of the comic books. What you don’t know, what you can’t see, is the relationship. One of the things with us being able to hang out with each other is that you find that. You find that tonal thing, which isn’t necessarily on the page.

AC You find that dynamic. On paper, it’s like, “Oh, Cain and Abel. It’s a biblical story. Cain murders Abel.” But actually, there’s a lot of complexities about the brotherly relationship and about greed and envy. But it definitely feels more familiar coming back for the second season and just figuring out the nuances more than just him murdering me every episode.

Is Abel still the reluctant stooge?

AC Yeah, I think he is. There is still comedy in that, that violence with Cain and Abel. We did this scene today and yesterday – it’s funny. It’s the magic [saw] trick and Abel thinks, “Oh, but there’s a trap door. Just get in the box.” I do think he still is that innocent. There was this great scene that we did in the first season, and I’m climbing out of a grave and I’m talking to Goldie and I’m saying, “Cain doesn’t mean to murder me. It’s just the way he is.” There’s actually parallels of an abusive relationship where the person thinks it’s their fault.

SB We shot another scene where you see that nuance of fleeting warmth from Cain towards Abel. That’s the thing that you can only find in person, really, because you’re working off of each other. It’s very difficult to just plan that beforehand and go, “Well, I’ll give a little warm look at that point.” In your head it doesn’t work, but in situ it enables you to find it.

Are they looking forward to performing at the banquet?

SB Cain has been given centre stage on this so I think he’s relishing it. Otherwise, in the comic books and in the first series, they stay in their realm, in their House of Mystery and House of Secrets. For them to suddenly interact with this broader world, I think it’s a big thing for them. Abel looks forward to everything.

AC Well, he does. But also we are immortal. So even though Cain is killing me and my guts are spilling, we will be back. So that’s the great thing about these characters. So as long as Sandman goes, we can’t be cut. We can’t die.

What’s it like working with Goldie?

AC Goldie always steals everything, every time. We’re screwed with that.

SB He’s too cute. In fact, I’m also the Chancellor of the University of Sussex, and so I hand out the degrees twice a year. The winter graduation was last month. At least three people of the 2,000 people that crossed the stage, as they shook hands or gave me a hug, said, “That’s for Goldie.”

AC Like I said, Goldie just fucking steals it. Little prick.

The World of Sandman

Observations from the set

18 Jun 2025

Dream’s private quarters are sparse, but huge. “It’s not homely. It’s somewhere he just comes. It’s a bit Zen, and it’s got that traditional feel to it, but elegant, very stylised,” we’re told by the production team.

The library from season one was filmed in Lincoln’s Inn Fields – this time it was built. They “kept the essence of it”, we’re told, with a table brought over from France in a van. “I thought it was a beautiful thing for Lucienne to be sitting at.” There are buckets everywhere because when Dream’s in a really foul mood it rains.

The show goes through many different time periods, particularly Ancient Greece – meaning that a lot of the set pieces dotted throughout the season are from Ancient Greece. “That’s the joy of The Sandman. Last week it was the French Revolution. Then the next week, we’re in Elizabeth I’s throne room that just happens to have an IBM computer in it. It’s a juxtaposition every week.”

Dream’s throne is very high. So high, in fact, that there’s actual bird poop on the 16th step (of 24, fact fans).

In Lyta Hall’s apartment we spot a copy of Dune and a book about latex fashion photography.

What’s Dream’s bedside book? (“It was black and French and I liked it,” says the designer.) My Priest Among The Poor (1925) by Clément Vautel.

#the sandman #sandman #dream of the endless #morpheus #the sandman netflix #netflix sandman #sandman season 2 #sandman s2 #tom sturridge #netflix the sandman #sandman netflix #sfx magazine #sandman spoilers #Loki the sandman #also: get thee a library pass because depending your local library you might get a free PressReader subscription with it #queue crew

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knightofgoetia · 2 months ago

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It’s very interesting and indicative that when fans of the DMC gameverse criticize the netflix show, they’ll go on multi-paragraph posts on why they loved the original franchise and why the netflix show is a cheap insult to it.

But the all the netflix defenders got is: “The characters are hot and the fight scenes are cool! Stop being such a hater sheesh 😒” I feel bad for the furries that got into the netflix show because of the rabbit tbh.

This is an issue that has been going on not just for DMC, but for many other pieces of media. How many times have we heard that argument? "Don't be a hater, if you don't like it just don't watch", this isn't how things work. Yes, I agree there's no reason to jump at people who have enjoyed something and tell them that they're stupid for doing it — but it's thanks to criticism that nowadays the world isn't the exact same way it was before.

Long post below.

"If you don't like it don't watch, you're being a hater" is nothing but the equivalent in media for "do not fight for your rights, do not question what you're given nor put into", an argument fascists and dictators use. Do these people think that we would be where we are now if people hadn't voiced their complains? Being a comformist has its consequences, and those consequences are being shown.

Sure, this is just a netflix series, not the removal of basic human rights, but that doesn't make it any less concerning: accepting any product that is given to you regardless of how good or bad is, is nothing more than a branch of that bigger problem. "It's better than having nothing" so you would rather eat raw meat that could damage you rather than starve? I'm sorry, but I would not. I'm just the average person on planet Earth and I deserve to be treated with the same respect as the guy who has too much money on his hands. You can't be a comformist and go "at least we've got crumbs!", no, you're not supposed to get crumbs, you're supposed to be given the piece of bread on the table like everyone else.

Now, with that said since this ask is about DMC, let's go back to that:

Devil May Cry isn't a perfect saga. It had its ups and downs. But, and we have to make this clear, it's thanks to the people who voiced their complains about those downs that we were given proper content as costumers. Sure, Itsuno may have been annoyed himself and wanted a proper game to follow Kamiya's own, but do you really think the company would have given him the necessary time and resources for DMC3 to happen if people hadn't voiced their displeasure with DMC2? No, they're a company, not an indie developer nothing speaks more to them than money. If people had accepted DMC2 anyways because "it was better than having no sequel" they wouldn't have given the necessary things to make DMC3 happen, because they would have seen that unfinished games and lack of attention and consideration would give them benefits anyways.

Why are people right now voicing their annoyance with (mainly Nintendo's) current game prices? Because if we don't, then the only ones allowed to play them will be the 4 ones around there that can afford them. And that's because, regardless of what the majority says, if there's people willing to pay for such an insulting price, they won't bother to listen. "I'm gonna buy it anyways because I'm a fanboy" what you're being is incredibly comformist. "It is what it is" has done a lot of damage to people's mentality. Don't get me wrong, companies know about this, so the moment people doubt about those prices, they will add 'limited edition' to them, so everyone panics, thinking they're gonna miss on this precious product if they don't buy it now, regardless of the price.

We humans don't act by instict nowadays, and that's why we're so easy to manipulate. "You're gonna miss on this" or "your favorite piece of media will have nothing else if you don't accept this" or "you're being ungrateful, at least you got something".

I don't want 'something', I don't want 'the bare minimum', I want to be given the same worth I am giving those people for such a product. You want 90€ for a game? Sure, as long as it is worth them. Because, no, the 10th MarioKart is not worth that money.

There's a reason why handmade products cost more than the ones from a factory. They take more time, more effort, more research, more care... And more passion.

Netflix is a company. They don't care if you liked their content or not, as long as you pay — that's why series such as Devil May Cry have been splitted into two. Because, no, those 8 episodes were not season 1. It's just been a week, this has been planned since the start, it's not the haters' fault that the next season was announced. Season 2 is also season 1, they simply divived them so they would get people to watch the first half with hype, regardless of how less people watch the second half due to the awful job of the showrunner and writers. They are businessmen before anything else, they knew everyone, haters or defenders, would be watching at day 1 due to the amount of hype (and lies) built around the series. They don't care if you're gonna watch season 2 or not — you already gave them their money; they already have a bunch of people defending the series SIMPLY to be against those who did not like it; they already have a lot of people who simply want to entertain themselves and not engage with said piece of media... Why should they care about it being something done with the minimum effort?

"It's not a canon universe" that's not the point, not at all — but what am I supposed to expect from people who defend a series that is representing a certain group of people as demons, huh? The REAL issue is HOW these characters have been changed:

"It's an AU" why, though? Why would you want to make them swap roles? This isn't a Dante and Vergil situation in which people come up with interesting concepts regarding their trauma and experiences, their own personalities and behavior — no, this isn't that. This is Shankar seeing Sparda, a character that was written as someone who gave up on his own power to join humanity; and Mundus, a character who would kill anyone who interacted with Sparda simply because he sided with the weak. Is it fiction? Yes. Does it affect reality? Well... Isn't this showrunner a Trump supporter? I wonder why, huh.

This guy saw Lady, a girl who and killed her own father for the sake of everyone else. A girl who lived with guilt the rest of her life because she has killed her father. A girl who put others above herself in commiting an act such as murder, patricide, with her bare hands. a girl still compassionate enough to cry such a horrible man's death.

And what has Shankar turned her into? A genocidal, racist cop. Shankar saw a girl who cried for a man who deserved nothing but to disappear — and he thought she was better as a sociopathic soldier.

Vergil, a boy who despite believing all his life due to his traumatic experiences that humans were miserable weak creatures, he never hated them. Despite being blinded by trauma for decades — he never hated humanity.

What did Shankar see in him? A man who would side with the responsible of his family's death and disappearance.

"It's an AU" or "the game's stories were never good anyways" or "you people are just haters".

Haters... So you are against people voicing their opinion? "No, I just don't want you throwing it at me." No one's throwing anything at you, not real critics, at least, they're posting it in their OWN accounts. "But I still see it." What are the silence and block buttons for? "But you just don't want us having fun." We just don't want you to defend a product made my an egocentric Trump supporter. What? Being a hater of Christianity now makes you automatically a defender of the poor? I never knew you guys were this naive... Or dumb.

Whenever it's a blue checkmark on Twitter... Yes, I do wonder how much you were paid to defend this shitshow. But whenever it isn't — why? Why are you waisting your energy? Sure, go ahead and enjoy the show. Let people speak their minds, just ignore them if you're such a boring person to have no taste and consume any piece of media that is shoven into your throat simply because "the animation is cool." It's... It's an animated series, isn't that the bare minimum?

"I don't condone the showrunner's behavior, I only like the series." Do you not see how this was written? Is your brain really that rotten? Have you spent that much time on TikTok with brainrot one-minute videos, that you've forgotten how it feels to be able to think by yourself? You can't despise the showrunner's behavior and support his product, do you think he's gonna care about your ideology, as long as you consume the product of his narcissism and egocentrism?

I know many examples of people with too much money on their hands to pay for others to speak well of them, be it articles, or news, or companies, or individuals... (if anyone's intrigued, or doesn't believe me, DM me, i don't mind giving another example). We live in a capitalist society, for the love of god, NO review from 'professionals' is genuine. Do you really believe in Rotten Tomatoes? The page that had a 82% on Blonde when it first aired, and after time and discussions passed, now it has a 50%?

7.70 out of 10, and you give it a 96%? Then, 3.3 out of 5, and you give it a 61%? That 3.3 out of 5 comes from people not being able to rate something properly with numbers, it's a mix of 0/5 reviews and 5/5 reviews, it's not a fair number. The single negative critique of te 'critics' talks about how the series isn't really a homage to the original games has most likely not been read. Neither the rest — but who cares, most are positive, right? That's our nowadays issue. "I'm not reading all that" or "yapping" in our culture has done a lot of damage to critical thinking, and people acting as individuals.

If you understand Spanish well, I recommend this video in particular about reviews, and how all of them are fake, be them paid or not. Please, it's not a waste of time at all.

... About that last part, I do not feel that bad for the ones who got into it because of the rabbit. It's again, the same thing: so, regardless of how bad a series was, you find the fucking furry hot, so you don't care and praise the product anyways. You find a single thing of it good, and that already makes it the Holy Grail for you.

I don't think we have a solution for this. Not anymore, with how putrid our brains are nowadays. After all, it's easier to attack the people who demand a quality product, than the rich guy behind said product, isn't it?

#anti dmc netflix #anti netflix #< in general. really.#you people really don't have much respect for your money #a netflix subscription isn't free. search for other hobbies.#dunno. guess i was born too poor to pay for 4 different platforms at the same time and be able to go 'just let people enjoy things'#i hope you know that i will raise my children to eat your own <\3 #dmc #devil may cry #nysus q&a

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