I meant to read more of the comics before diving into Season 2 of The Sandman, but here we are. Honestly? I don’t regret it. This season opened strong enough to pull me right back into the Dreaming like I never left.

The writing is quotable (I still find myself repeating some of these lines), the visuals are still stunning (no surprise there), but what really stood out was how the show balances the mythic with the deeply personal. The first episode is a perfect example of powerful dialogue, gorgeous cinematography, and Morpheus being his brooding, hauntingly poetic self when he finally faces the consequences of his harsh choices. Gwendoline Christie’s Lucifer remains one of the best casting decisions in this show. She’s equal parts regal and vulnerable. She commands every scene she’s in, and the tension between her and Dream? Deliciously tragic. Episode 2 in particular gives us a quiet vengeance that feels more brutal than any battle. This particular scene is also as beautiful as it is tragic – instead of battling, Lucifer quietly drops a serious burden on Dream. It’s hands down one of the best moments of the season, or even the entire show, so far.

Dream’s decision to visit Hob Gadling and his “son” before heading out on his accountability and love tour was surprisingly sweet. These are tiny character beats that keep me invested. Speaking of character beats, Nada. Whew. I’ve had questions about Dream and Nada since Season 1, and those scenes did not disappoint. The actress who plays Nada brings so much depth. Her reunion with Dream was long overdue, and yes, I yelled at my screen when he said he still loved her after ten thousand years of damnation. Sir, what?

There’s also a surreal road trip happening, giving us a chance to spend time with Dream and Delirium as they search for their lost brother, Destruction. Esme Creed-Miles as Delirium is such a vibe (chaotic, unpredictable) and just the right amount of unsettling. She makes Delirium unforgettable. I love her character’s style, and I also want her shoes. LOL.

And can we talk about Death? Kirby Howell-Baptiste continues to be a warm, grounding presence as Death. She’s still a queen, even if her hair doesn’t slap quite like it did in Season 1. It’s not something I usually look at but here it kind of stood out. Episode 5 gave us some very real sibling dynamics, Dream playing the grumpy little brother while Death calls him out on his nonsense. Loved it.

The Shakespeare nods, the return of Jack Gleeson (hello, Joffrey?!), the emotional fallout from Hell, and even the way wider mythology is intelligently pulled into the show, it’s a packed first half. The show keeps threading all these arcs together like a dream itself: sometimes confusing, often profound, but always poetic. This isn’t just fantasy set dressing; the emotional stakes are huge. Dream’s heartbreak, and later Dream’s agony over some events in this part, are written and acted so that you feel them deeply. The series doesn’t shy away from Dream’s flaws; in fact, it leans into them for dramatic impact.

Is it perfect? Not quite. Some choices, like the pace at which the show is moving, are a bit much. But overall? This mid-season is a win. They’re still honoring Gaiman’s material while keeping it accessible to folks who haven’t read every issue. And despite knowing Netflix has already canceled the series after this season (sigh), I’m still excited for Part 2… even if I’m not emotionally ready for it to end.

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