When I was a kid, you had jokes about politicians lying. What Allan and his people did, which I think was so brilliant, was they dug in even deeper, and they said, “What people want right now is honesty.” We live in a world in which we know that we're being lied to. I think it’s one of my favorite scenes in the entirety of the 10 hours of Sandman.
Gaiman: There’s the scene where David Thewlis goes to the fridge and gets himself some ice cream and goes back to the counter and sits and eats it, while all around him, terrible things are happening that he’s paying very little attention to - he just walks through and gets his ice cream. And it really transformed how we approached the diner episode. And I think we feel so much for John throughout because of David. I feel so much for this character who in the comic is a straight-ahead monster. David Thewlis has given this character a performance unlike any other, unlike any other I’ve ever seen. It was an incredible way to explore this character. And the problem is, once people walk around and start to tell their truths, it becomes very uncomfortable very quickly. He wants a world where the truth can actually be told. And, keeping enough of that character’s backstory so that the fans recognize him but giving him a less nihilistic mission.
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Īllan Heinberg: For me, it started with wanting to understand John Dee better and having more room in the TV show to explore John Dee’s relationship with reality as he experiences it. Can you handle the truth? If not, check out our guide to everything you need to know about The Sandman. To dive deeper into the dark and rewarding episode, we caught up with executive producer Allan Heinberg, creator Neil Gaiman and production designer Jon Gary Steele to discover more.Īnd warning, there are some MAJOR, MAJOR spoilers throughout. And when paired with the next episode - the uplifting walk with Death - viewers experience the core of The Sandman’s mantra: Life and death are inextricably intertwined, and dreams are nothing without nightmares. But for those who are willing, the diner’s enrapturing nightmare has moments that reflect on what it means to be human. It’s not for everybody, like the other iconic and irreverent graphic novels from its era, Watchmen and Sin City. The Netflix adaptation exists in that uncomfortable space too, pushing ethical and aesthetic boundaries, needling at painful moments and opening doors to places in the mind we’d rather keep shut. The Sandman comic book on which the diner episode is based, 24 Hours, drawn by artist Mike Dringenberg, inhabits a top spot for Gaiman fans as a challenging and existentially terrifying classic.
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