Latest news with #GreekTragedy
Yahoo
3 days ago
- Entertainment
- Yahoo
Netflix's The Sandman ends (for now) on a disjointed note
This time around, Netflix's The Sandman adapts Neil Gaiman's magnum opus The Kindly Ones. The original work boasts multiple intriguing plot points and character arcs, polishing off the comic series (which ran for seven years) as a cohesive narrative that benefits from repeated readings. The series is less successful and more disjointed, primarily due to its haphazard approach to the material. Morpheus (Tom Sturridge) is dealing with the consequences from having ended his son Orpheus's (Ruairi O'Connor) life. It's a serious offense in the Endless to 'spill family blood,' and Desire (Mason Alexander Park) had tried to trick Morpheus into doing just that. Of course, Orpheus wanted to die—he had lived too long already and was just a head, which is limiting socially. Yet, despite inflicting deliberately crueler fates on others who have crossed him, Morpheus' undoing might come from his most selfless, compassionate act. The narrative doesn't actually address or question the arbitrary absurdity of these rules for long and instead leaps directly into Greek tragedy. The Eumenides, also known as the Furies, were the Greek deities of divine vengeance and retribution. The Greeks often referred to them as 'the Kindly Ones,' out of both polite deference and abject fear. These were not ladies you wanted to annoy, and Dinita Gohil, Nina Wadia, and Souad Faress are suitably creepy as the less-than-kind Furies. It's appropriate for a tale modeled off Greek tragedy that Morpheus clumsily sets in motion his own downfall. He seeks out Loki (Freddie Fox), who's hiding on Earth in a disguise that's tasteless yet fitting and hopes to enlist his aid against the vengeance-seeking Furies. Loki owes Morpheus his current freedom, but the god of mischief is not someone who pays his debts. He'd sooner eliminate whoever holds the IOU. So Loki, with his partner Puck (Jack Gleeson), sets out to frame Morpheus for an unimaginable crime. He doesn't manipulate or trick Morpheus into committing the act himself, a true Oedipus Rex-worthy twist. However, Loki's machinations produce two tragic heroes in one story. Lyta Hall (Razane Jammal) is easily convinced—too easily, in fact—that Morpheus has horribly wronged her, and her immense grief is forged into a weapon of destruction. Her frustrating gullibility makes it hard to sympathize with her, and it's just no fun to watch a thoroughly stupid antagonist. Fortunately, Fox is delightful as the dastardly Loki—a very different spin on the character if you're mostly familiar with Tom Hiddleston's more benevolent version in the Marvel Cinematic Universe. Fox even resembles a young David Bowie, who was the model for Gaiman's Lucifer. It's not hard to imagine Fox's character as the more comics-accurate former ruler of Hell, even if he can't own a nightclub on this particular Netflix show. Loki is often mythically linked to fire, which he demonstrates in some shocking moments when the series swerves into horror. Meanwhile, Gleeson is especially compelling as a morally conflicted Puck. The series offers his character deeper layers than those found in the source material, and he delivers admirably. However, the season's undisputed standouts are Jenna Coleman as Johanna Constantine (the show's version of DC's occult detective John Constantine) and Boyd Holbrook as the Corinthian, a reformed foe from the first season. Coleman brings excitement to the screen wherever she's present, and her chemistry with Holbrook is electric. His character is a literal nightmare, but hers has dated worse. Alas, Sturridge is as placid and intentionally one-note as ever, even when facing life-altering events—and Johanna Constantine is sadly correct when she pegs Morpheus as having no sense of humor. Classic tragedies involve the flawed hero desperately seeking to avoid his preordained fate. There is some of that here but also far too much standing in place. Morpheus often delivers ponderous monologues to characters who function more like emotional brick walls. These scenes go nowhere and are incredibly tedious. Catharsis is also a pivotal part of a good tragedy, and the series denies us this from Morpheus in any authentic way. He says at one point, 'I am not a man and I do not change,' and while we're told that this isn't true, we don't actually see it. The show's limited visual imagination has been noted on this site already, but this remains an issue. In the comics, Morpheus' world was often as unpredictable and fantastic as Willy Wonka's chocolate factory. In the show, it all feels like a supernatural The Tudors but with far less sex. (Douglas Booth, as the magically handsome Cluracan, too often seems like he's auditioning for that Showtime series.) Realms that should astound our senses are instead depicted with moody lighting and uncomfortable furniture. And with the exception of Merv Pumpkinhead (humorously voiced by Mark Hamill), most of the mythical creatures wouldn't look out of place on a London city street during business hours. Ultimately, The Sandman spends two seasons building to an epic conclusion that maddeningly lands (for now) with a thud. (The show drops a bonus episode on July 31.) This batch can come off as endless, with characters simply telling us what they feel, which will only make viewers angry or, at best, bored. For decades, it's been said that Gaiman's work was unfilmable, and this series only backs up that idea. The Sandman just fails to dream. The Sandman season two, volume two premieres July 24 on Netflix More from A.V. Club Star Trek: Strange New Worlds boldly finding out if "puppet episode" still feels like a creative gimmick First Star Trek: Starfleet Academy trailer knows not to skimp on the Holly Hunter Staff Picks: A historical fiction podcast, and a drummer gone too soon Solve the daily Crossword
New York Times
09-07-2025
- Entertainment
- New York Times
The Surprising Presence in ‘The Gospel at Colonus'
Little Island's revival of 'The Gospel at Colonus' brings together a powerhouse ensemble of Black artists to tell a story of shame, exile and grace. At its center: the gospel singer and pastor Kim Burrell, who came under fire nine years ago after a sermon surfaced online in which she condemned homosexuality. Now, in her traditional theatrical debut, Burrell joins a production that asks whether redemption is possible. 'The Gospel at Colonus,' directed by Shayok Misha Chowdhury, is a joyous fusion of Greek tragedy and gospel music. This is the show's first New York production not led by its writers, the composer Bob Telson and Lee Breuer, a founder of the experimental theater group Mabou Mines. The musical, first produced at the Brooklyn Academy of Music in 1983 and a finalist for the Pulitzer Prize in 1985, uses the melodic language of a Black Pentecostal church service to retell the story of Oedipus, the king of Thebes who unwittingly killed his father and married his mother, then gouged out his eyes in shame. The original production starred Morgan Freeman as the pastor who tells Oedipus' story and the Five Blind Boys of Alabama as the singers who give voice to his pain. Now, Chowdhury has assembled a multitalented cast: the R&B singer-songwriter serpentwithfeet; the actors and singers Stephanie Berry, Ayana George Jackson and Jon-Michael Reese; and, sharing Oedipus's singing parts, the operatic bass-baritone Davóne Tines and the jazz musician Frank Senior. Burrell appears as Theseus, the king who offers Oedipus refuge at the end of his life. Chowdhury, a Pulitzer-nominated playwright, studied and later taught about spirituals and other religious music at Stanford. He said he assembled this cast because of their voices. 'There's enormous sonic diversity under the umbrella of Black sacred music,' he wrote in an email, 'and in gathering together a team for this production, I wanted to highlight that range of sounds and textures.' Want all of The Times? Subscribe.
Geek Vibes Nation
03-07-2025
- Entertainment
- Geek Vibes Nation
'The Sandman' Season 2 Volume 1 Review - A Journey Into Hell That Brings Devastating Revelations
Tom Sturridge as Dream | Courtesy Of Netflix © 2025 As Netflix's adaptation of The Sandman begins its final season, the groundwork is laid for what's sure to be a tragedy that would rival the very best of Greek tragedies. Eschewing some of the lallygagging, lackadaisical pacing that permeated its first season, season two of The Sandman tells a taut, tightly-paced tale of betrayal, redemption, and consequences. As Morpheus grapples with the action of past sins, he must place his very life on the line to make amends. While fans of the comic may mourn some of the stories left on the cutting room floor, season two of The Sandman greatly benefits from its streamlined focus, resulting in an enthralling family drama with hints of delicious, melodramatic tragedy on the horizon. A Journey Into Hell Picking up where the first season left off, Dream (Tom Sturridge) journeys to Hell to rescue an old lover he damned to an eternity in the fiery pit. But what he uncovers sends Dream down a path that may just lead to his undoing. For though the road Dream walks may lead him to redemption, it may also spell the end of everything he holds dear. It's a path that reunites him with lost loves and lost family as the Lord of Dreams realizes just how much he's changed after spending a century trapped on Earth. Adapting storylines originally found in volumes 4 and 7 of the comics, the first half of The Sandman 's second and final season tells a more streamlined story of betrayal, heartbreak, and forgiveness. Put simply, if you liked The Sandman 's first season, you're gonna adore its second. Everything that worked about season one returns in season two. You've got Tom Sturridge's haunting portrayal of Dream, alongside his ever-expanding family, featuring the return of Kirby Howell-Baptiste, Mason Alexander Park, and Donna Preston as Death, Desire, and Despair. Joining them are Adrian Lester, Esmé Creed-Miles, and Barry Sloane as Destiny, Delerium, and Destruction (the missing Endless sibling). As season two unfolds, it quickly becomes apparent that Dream's story is far bigger and stranger than what we saw in season one, with ties all the way back to Ancient Greece and the myth of Orpheus and Eurydice. And as Dream grapples with his past sins, Destiny foretells a dangerous future for Dream—one that he just might not escape. It's the beginning of The Sandman 's final outing, and these first six episodes promise quite a doozy of an ending. Tom Sturridge as Dream | Courtesy Of Netflix © 2025 A Tighter Focus But at What Cost? Perhaps the biggest change between seasons of The Sandman lies in its structure. Season two takes a page out of Andor 's second season, with this first half of the season being comprised of two distinct arcs, each spread across three episodes adapting 'Season of Mists' and 'Brief Lives', respectively. As such, though each arc feels nice and contained and far more focused than season one's storylines felt, the whole show feels as though it's moving at a breakneck speed. Though focused more squarely on Dream's journey proves to be a much-needed boon, it comes at the cost of the quieter, more character-focused stories found in season one—like 'The Sound of Her Wings', the season's sixth episode. Though the season does make room for some beloved standalone stories, like 'A Midsummer Night's Dream', 'The Song of Orpheus', and 'Thermidor', tying them tighter into Dream's overarching story than the comics might've. That being said, these episodes still find time to delve into Dream's relationships—most notably with his sister, Delerium, and his son, Orpheus (Ruairi O'Connor). O'Connor's performance as Orpheus is equal parts breathtaking and heartbreaking, as is his relationship with Dream. But it's Delerium that both makes and breaks this half of the season. Her longing for reuniting with Destruction sends Dream down this path of redemption and her relationship with Dream offers up the most tender scenes found in the season so far. But translating her from page to screen proves a bit difficult as, despite some strong writing and Creed-Miles' equally strong performance, the show can't quite capture the otherworldliness of Delerium's page counterpart. Still, this trio's relationship is where The Sandman really starts finding its footing as a story about redemption and the power of storytelling. Everything We Know About James Gunn's Superman Movie 2025 Mason Alexander Park as Desire, Donna Preston as Despair, Barry Sloane as Destruction, Esmé Creed-Miles as Delirium | Courtesy of Ed Miller/Netflix © 2025 The Elephant in the Room And now for the elephant in the room. When discussing any adaptation of Neil Gaiman's works, it must be acknowledged that earlier this year, multiple credible allegations of sexual assault were levied against Gaiman, resulting in both the cancellation of some adaptations of his work as well as the major retooling of others, such as Amazon Prime's ongoing adaptation of Good Omens . As far as The Sandman is concerned, co-executive producers, Allan Heinberg and David S. Goyer, both report that the decision to end the series with its second season was made long before the allegations against Gaiman came to light and that Gaiman, himself, played a far smaller role on the show's second season than he did on its first. However, it remains difficult to separate Gaiman from The Sandman. For so long, it's been identified solely in connection with Gaiman, and many of its themes read a bit differently in the wake of these allegations than they previously did. Still, the vast majority of production on season two occurred before the surfacing of the allegations against Gaiman, leaving The Sandman in a sort of twilight zone in-between space. Your mileage may vary on whether you want to support the show given the allegations against its creator, It's a decision every viewer must make for themselves, given the situation surrounding the show, its production, and the timing of its airing. Though the show's marketing does its best to distance itself from Gaiman, much to its credit, the fact of the matter still remains and may prove ultimately inescapable. Final Thoughts Setting all of that aside, the first half of The Sandman 's second and final season holds onto much of what fans enjoyed in its first season while delivering a tighter, more focused narrative. Sure, it sometimes feels as though the show is speedrunning its way through the last 50 or so issues of The Sandman 's original comic run, desperate to reach its climactic conclusion as quickly as possible. But mostly, it works, even if the series might've been better splitting up each arc into their own separate volume like Andor did, rather than releasing both 'Season of Mists' and Brief Lives' at the same time. As a fantasy show standing on its own two legs, the first half of The Sandman 's second season is about as strong of a beginning as you could hope for. Its pacing feels a bit too breakneck in the latter three episodes, but it's a far more efficient and, surprisingly, faithful adaptation of the comics, sticking to its core themes and arcs without wandering too far astray. If the latter five episodes, set to debut July 24th, can stick the landing, then Netflix might just have achieved the previously unthinkable: a complete adaptation of the once unfilmable Sandman series. Season Two, Volume 1 of The Sandman premieres July 3rd on Netflix, with volume 2 following on July 24th and a subsequent bonus episode airing on July 31st
Yahoo
07-04-2025
- Entertainment
- Yahoo
Dave Nemetz Reviews The Last of Us: A Beautifully Brutal Zombie Thriller Gets Even Harder to Watch in Season 2
I gave Season 1 of HBO's The Last of Us a grade of A-minus, hailing it for breathing new life into the zombie genre — but I never actually finished watching the first season. When I went back to finish it recently to prepare for Season 2, I remembered why I stopped: This show is just brutal to watch. Sure, no zombie show is exactly a walk in the park, but watching The Last of Us is an especially draining experience, pairing abrupt graphic violence with a suffocatingly bleak worldview. (I said in my original review I don't recommend binge-watching more than one episode at a time, and I stand by that.) It's still an exceptionally well-made zombie thriller, and Season 2 — premiering this Sunday at 9/8c; I've seen four of the seven episodes — does push the story forward and find new emotional depth. But it's also even harder to endure than the first season… and that includes a particularly harsh twist. More from TVLine The Last of Us' Bella Ramsey: Isabela Merced's Dina Brings Out Ellie's 'More Wild and More Free' Side in Season 2 — Watch Video The Last of Us Season 2 Episode Count Revealed (and It's Fewer Than Season 1) The White Lotus Boss Explains the Finale's 'Greek Tragedy' Ending - and Teases a Big Change for Season 4 Season 2 picks up five years later, and zombie apocalypse survivors Joel (Pedro Pascal) and Ellie (Bella Ramsey) have found a community called Jackson: a fully functional mountain town that gives them a chance to breathe and regain a sense of normalcy. The zombies, or 'clickers,' are still out there, but at a safe distance, and human threats begin to loom larger. Peace can only last for so long, though, and soon enough, Joel and Ellie are back on the defensive, forced to fight to keep their newly tranquil lives from slipping back into chaos. The Last of Us' action scenes are effectively terrifying, and Season 2 delivers nightmarish visions like an army of clickers crawling out of a snowbank and hurtling down a hill at a full sprint, along with a full-on assault that rivals the scale of Game of Thrones' most epic battles. But at times, I get the nagging feeling that this is all just a slightly better version of The Walking Dead, falling into some of the same storytelling pitfalls. (The town of Jackson is a lot like TWD's Woodbury, and once they've achieved a level of safety, the characters are forced to make foolish decisions in order to encounter danger.) The superior writing and performances, though, elevate this to a level beyond anything The Walking Dead ever reached. There is, as I said, a twist — one that I can't say much more about, but one that fans of the video game series will see coming. I will say the twist was divisive among video game fans, and it's easy to see why. It turns the show into something different, a meditation on the toxic effect of revenge, and it may leave a bad taste in some fans' mouths. It also emphasizes the black cloud of sadness that hangs over everything on The Last of Us: The tension is just about unbearable at times, and Season 2 adds in several sadistic torture scenes that are enough to make you wince. We do find fleeting moments of beauty amid all the carnage, but they're sadly short-lived. Ellie has grown up a lot since we last saw her, and that gives Ramsey more emotional colors to work with in Season 2. The new cast additions are welcome as well: Isabela Merced has a playful spark as Ellie's new pal Dina, along with TV veterans Catherine O'Hara and Jeffrey Wright. The highlight, though, is Kaitlyn Dever, who makes every TV show she's in better and just dazzled us earlier this year as a phony wellness scammer in Netflix's Apple Cider Vinegar. Here, she plays Abby, who's determined to track down Joel and exact vengeance for the sins of his past. Violence has consequences, and this show forces you to reckon with that — no matter how painful it might be. It's tough to sustain a zombie show: It either gives us a zombie attack every week and risks becoming repetitive, or it strays away from that pattern and ceases to be a zombie show. It's commendable how Season 2 of The Last of Us tries to advance the narrative in a fresh way, but it's not entirely successful. And the deep sadness that permeates the entire show stubbornly remains. I can say I admire a lot of the craftsmanship that goes into making The Last of Us… but I hope you'll forgive me if I take some time to recover before finishing the rest of the season. THE TVLINE BOTTOM LINE: remains an exceptionally well-made zombie thriller in Season 2, but it's sadder and harsher than ever — especially after a brutal twist.
