The Sandman Producer David S. Goyer Breaks Down Season 2 of the Beloved Netflix Series

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David S. Goyer’s influence can be seen throughout the comic book world. He has written blockbuster films like “Batman Begins,” “The Dark Knight,” “The Dark Knight Rises,” “Man of Steel,” “Batman v. Superman: Dawn of Justice,” as well as the movies “Blade,” “Blade II,” and “Blade: Trinity.” He even directed the third “Blade” installment. Additionally, he executive produced TV series such as “Constantine” and “Krypton.” His comic book work includes a notable run with “Justice Society of America.” His latest project, the Netflix series “The Sandman,” has concluded after two seasons.

In this television series called Sandman, which mirrors a comic book of the same name, we follow the character Morpheus (Tom Sturridge), who represents dreams and is one of several beings known as the Endless. After being locked away for over a hundred years, Morpheus broke free from his confinement and set off on a journey to regain his power and reestablish his domain, the Dreaming. The second season takes a more intimate approach as Morpheus deals with the repercussions of granting his son, Orpheus (Ruairi O’Connor), a swift and compassionate death. This action, however, drew the attention of the Kindly Ones, an ancient trio of goddesses, who conflicted with Morpheus, compelling him to make a significant choice concerning his life and kingdom.

The conversation with Goyer focused on various topics, including updates about the second season of “Sandman”, reasons behind its cancellation, prospects for a spinoff, potential new developments in “Murderbot”, plans for a remake of “The Blob”, updates on “Blade”, and more intriguing discussions.

Could the creative team behind ‘Sandman’ have explored more of their universe if they had a two-season format instead?

As a film critic diving into the world of “The Sandman”, I found myself grappling with an unexpected challenge during the initial pitching phase with Allan Heinberg. Initially, we aimed for four seasons, each consisting of ten episodes. However, as we delved into Season 1, we realized that many of the early Sandman comics are rather brief, often just 17 or 18 pages long. This led us to find ourselves covering three or four episodes’ worth of material at a time. Naturally, it wasn’t a straightforward adaptation. The initial Sandman issues were deeply entwined in DC continuity, but we found ourselves depleting our source material faster than anticipated. A request from Netflix, reasonable under the circumstances, was to prioritize Morpheus, or Dream, as much as feasible. One of my favorite story arcs, regrettably, features him sparingly. It bears a striking resemblance to the works of Jonathan Carroll. We managed to find a way to incorporate him into this particular arc, albeit he doesn’t make his grand entrance until the end. However, a significant arc that we had planned was ultimately removed from the series.>

Although I wasn’t heavily involved in planning Season 2, I was taken aback when Allan first mentioned his intention to dedicate four episodes to The Kindly Ones, as it’s the most extensive storyline in the book. Initially, I had some reservations, but it turned out well and doesn’t leave any crucial aspects unaddressed. Another point worth mentioning is that while we adapted several standalone issues, some of them ended up being costly productions. In total, we managed to adapt roughly half a dozen of these standalone stories.

Was there any involvement of the allegations against Neil Gaiman, the creator of Sandman, in the show’s cancellation?

The decision to prolong the show’s final season by several months was made well ahead of any rumors about it, approximately 18 months beforehand. Even when we initially heard about these rumors, we were nearly done filming Season 2 and the idea wasn’t even on our radar at that point.

Many attempts at bringing The Sandman to life have faced challenges during production. What makes it so difficult to bring this concept to fruition?

Initially, Neil didn’t have a well-defined plan for the story’s direction, given his youth as a writer and his improvisational approach. Around two-thirds of the way through, when he began considering its conclusion, it seems that various elements were coming together unconsciously. However, towards the end, he deliberately brought everything cohesively together. The final product can be likened to a feathered fish, as it incorporates numerous deviations and was not originally intended to have a clear-cut structure with a beginning, middle, and end.

The show is unique in its blend of styles, ranging from dark fantasy to full-on high fantasy in certain episodes, and even venturing into mixed genres. During the various adaptations I was involved with, one of them being a feature film, we found that elements considered as bugs by others were actually features we embraced. When discussing potential adaptations with Netflix, we emphasized the importance of preserving its original essence rather than transforming it into something it’s not.

Recently, I’ve been reflecting on shows like Sandman and some of the adaptations that aired this summer. I also enjoyed the latest Fantastic Four movie, appreciating its nostalgic feel and accurate portrayal of Galactus, which seemed true to the original works of Jack Kirby and Moebius. Interestingly, when they were making Fantastic Four at Fox, there was a sentiment that Galactus was overly silly or even foolish, and that the series itself was too corny if taken at face value. The prevailing opinion was that it needed to be made darker and more distinct.

This summer, I’ve been reflecting on the ongoing attempts to modernize comic book stories and characters like Metamorpho and Mr. Terrific appearing in the latest Superman series. Many of these efforts aim to remove the quirky comic book elements and make them more serious, but they often fall short. Instead, I believe it’s essential to embrace the unique charm and history that makes these properties enduring. After all, their longevity speaks for itself – people continue to enjoy them for decades. It’s unnecessary to transform them into something they aren’t just to fit current trends. That’s my take on things.

In other words, did something cause a change in focus for the writers’ room during the process of preparing for Season 2, since Sandman already had plans for it before Season 1 had even been broadcast?

The experience was truly liberating, realizing we were moving towards a conclusion. Upon observation, the first season appears more self-contained, focusing on individual Dream cases, whereas Season 2 presents a coherent narrative arc. Subsequently, having the chance to implement choices that Neil did not make when penning the book allowed for enhancements in the Corinthian’s relationship. These extra details, I believe, added depth. I particularly enjoyed the dynamic between Puck and Loki, which was expanded beyond their comic book counterparts. They were cunning, charming tricksters.

What did Dream learn about himself as a father? And what kind of parent did he make?

When we first presented the show, it had two main guiding principles, or North Stars, as you might call them. The streaming platforms were curious about this unusual series, asking us to explain its essence. We described Sandman as a deity who initially perceives himself as immutable but undergoes transformation and learns to love and forgive. This change ultimately leads him to become human and eventually pass away. This is his storyline, and it’s quite distinct, especially in the second season.

In simpler terms, we described the series as focusing on a troubled family, specifically referred to as the Endless. The narrative ultimately revolves around themes of forgiveness and personal transformation, concluding with an impactful dinner scene involving the Endless family members.

The aspect that the streamers found hard to grasp, due to its abstract nature, but which the team skillfully addressed in the finale, was their reference to Shakespeare and the essence of stories, particularly how they conclude. This recurring theme revolved around a deity transforming into a mortal and perishing, as well as a troubled family’s love dynamics – the paradoxical feeling of hating those you love and loving those you hate. Even as the narrative grew increasingly complex, we often related it back to this central concept, making it less complicated than people might think.

How did you adapt Dream’s funeral scene in the series to make it reminiscent of comic book funerals, and what elements gave it a powerful, moving, and eerie quality all at once?

Initially, you might find that the final episode is significantly longer than the others, approximately 70 minutes in duration – which we admit, could be considered stretching it a bit. Essentially, it’s like two episodes combined. In the original comic books, there were more characters present at the wake. However, considering the vast array of characters in the second season of Sandman, we had to make some tough decisions. Some viewers criticized us for leaving out the Egyptian characters. Regrettably, certain elements had to be sacrificed. I was quite impressed by how well Allan managed to develop so many characters.

I’m equally captivated by the closing credit scene featuring the Kindly Ones, the flickering candle, and its eventual extinction. This symbolizes the indelible nature of life as well as storytelling. The surprise element came from not anticipating Allan’s decision to include that scene. If it had been overly sentimental, it would have seemed cloyingly saccharine. Since it was somber, a more somber response would have felt inappropriate. Instead, it carried a bittersweet tone, a harmonious blend of sweetness and sourness – it needed to be both.

In the final episode, there’s an older Daniel character reflecting on his role in life. This scene seemed to hint at the possibility of another season ahead. However, was this the original plan?

There’s a chance that we might explore more stories related to Daniel as the new Dream, and delve into untold tales about certain individual Endless. Additionally, there may be further material available. We’ve incorporated elements from Night and Time, and blended them subtly within the show. Given its current success, it’s possible that we could revisit this show or see it return in a new form at some point.

What can viewers expect from that bonus episode with Death?

As a passionate movie reviewer, I’ve got to share my thoughts on this unique series. Originally, we proposed 11 episodes per season, with an extra one following the initial run, inspired by the beloved Doctor Who Christmas specials. Most streaming platforms rejected this idea, preferring a straightforward 10-episode run. However, Netflix, always up for something playful, agreed to our proposal.

This is Allan’s captivating spin on Death: The High Cost of Living. Much like the bonus episode in Season 1, which was an adaptation of Dream of a Thousand Cats and other standalone episodes, this post-season episode with Death serves as a delightful treat for fans who appreciate something different. It’s fascinating to see Morpheus’s journey from beginning, middle, and end, only to be followed by a post-season episode that completes the circle.

In essence, we took what some might consider minor aspects and turned them into significant features – just as Netflix was willing to do. Kudos to Netflix for their openness to experimentation and for creating something truly special!

Moving on, preparations for Murderbot’s second season are about to begin in Toronto. The climax saw the main character setting out on a journey to carve his own destiny. What strategies might he employ to make this happen?

Martha Wells has penned five additional books, offering an abundance of material for readers. However, I’m uncertain if our show will span five or six seasons. The primary distinction between the novels and the upcoming season lies in the financial aspect of producing a TV series, which necessitates securing series regulars. Since we’ve completed a season and have X number of series regulars now, most of those characters are absent from the second book. You may notice some elements of these books being reworked or remixed. Unfortunately, I’ve been out of town for the past month, so we haven’t had our meeting to discuss the upcoming season yet. We only received renewal news three weeks ago.

On one hand, it’s impressive, yet on the other, it’s perplexing. By acknowledging feelings for others, you increase your susceptibility to pain. Moreover, there remains an enduring enigma concerning the events that led to his memory loss and massacre, which he is eager to unravel.

You have a horror film in the pipeline. What makes The Blob ripe for a remake?

Initially, the original Blob was produced in the 80s, and since then there have been significant technological advancements. In our new version of the film, instead of the Blob originating from space, it will be a product of laboratory creation. If you consider horror as a means of warning or mirroring societal fears, the first Blob was released during a time when there was widespread fear about Sputnik and space travel. Today, with the increasing use of AI, gene editing, and the potential consequences of such advancements, we are drawing inspiration for this film. I’m particularly thrilled because the story will unfold over the course of a single day, although it may not be presented in real-time. Currently, we are conducting research and development with funding from Warner Bros., focusing on creating realistic Blob effects for our movie.

One memorable moment displays the Blob taking over a cinema, spilling out through the exits. Was it necessary for it to do so everywhere, including the doors?

Yes, without giving too much away. It’s kind of self-referential. So, absolutely.

Fantastic Voyage is also in development. What’s the update on its status?

It’s clear that the project in question is a modern adaptation of an iconic film. Fox approached me nearly a decade ago about it, and they’ve been working on it for what seems like forever. I wrote a proposal, and James Cameron was fond of it. We hit it off well. Unfortunately, things didn’t pan out as planned because there was a leadership change just before we received the go-ahead. We had even started discussing potential cast members. I sincerely hope we can revisit this project someday. The script was exceptional. Working on a movie with both directors Guillermo del Toro and Cameron, who I’ve collaborated with previously, felt like an ideal scenario.

Are you planning to reboot the character of Blade? You were responsible for writing the scripts for Blade II and Trinity, directing the third movie, and contributing to the creation of the Blade TV series. Have you finished with this character, or are there more opportunities to explore him further?

After such a long hiatus, it’s been an impressive 20 years since the last Blade movie graced our screens! As a dedicated fan, I must confess that my excitement levels are through the roof, especially with Robert Pattinson stepping into the iconic role of Batman.

I’ve always believed that the evolution of a character can bring fresh perspectives and new dimensions, much like how I felt about Henry Cavill’s Superman in Man of Steel – a film I had the privilege to contribute to.

So, with an open heart and eager anticipation, I eagerly await another iteration of Blade, ready to embark on this thrilling journey once more!

I’ve been perplexed as to why they’re facing so many difficulties, given that they cast Mahershala Ali who seemed an ideal fit for the role. I can’t fathom their strategy. I’ve often been asked, “Why don’t you jump in and assist them with it?” Previously, I hadn’t seriously thought about it. However, my agent contacted Marvel around six months ago to propose help, but they declined, stating they were doing well on their current path. I wouldn’t reject the opportunity if offered again. It would be intriguing to revisit it after several decades have passed.

Wasn’t a Nighstalkers spinoff in the works?

In simpler terms,

New Line requested me to introduce some characters, and it seemed logical to spin off from them The Nightstalkers. This is why Jessica Biel was cast, as she had starred in the remake of Texas Chainsaw Massacre. It appeared to be the perfect choice. However, Ryan Reynolds wasn’t an immediate pick, but I managed to persuade him. He needed to gain 26 pounds of muscle for his role. The movie did well, even surpassing the first one’s performance, but not as much as the second, and unfortunately, not enough to justify a spinoff.

Where would you have gone with those characters?

Back then, I had a feeling that we were about to unveil Morbius. Being a die-hard comic fan, incorporating aspects from the Darkhold would’ve added an extra layer of excitement to the storyline.

In your experience being deeply involved with the DC Universe, have you ever collaborated with James Gunn or Peter Safran in any capacity? Are there specific characters from the DC Universe that you’re eager to explore further, or are there new characters you’d like to see make their big-screen debut?

1. I haven’t met either of them. (Instead of “I have not. I have never met either.”)
2. I’ve always been an admirer. (Instead of “I’m a big fan.”)
3. I never imagined that I would witness a live-action Metamorpho, along with some lesser-known characters. (Instead of “I never thought I’d live to see a live-action Metamorpho and some of these more tertiary characters, as well.”)
4. I haven’t discussed this with them. (Instead of “I haven’t had a conversation with them about it.”)
5. The issue is that I’ve collaborated with some major players in the past, but now I’m not keen on working with them anymore. (Instead of “I think the problem is having worked with some of the biggies, I don’t necessarily want to work with the biggies anymore.”)
6. I’d prefer to collaborate with more unconventional individuals instead. (Instead of “I’d be more inclined to want to work with some of the more unusual ones.”)
7. I’m not certain if those projects would actually get made. (Instead of “I’m not sure if those would necessarily get made.”)
8. I’ve been involved in a lot of it already. (Instead of “I’ve done so much of it.”)

Apart from “Sandman,” I’ve been absent from the comic book industry for about five to six years now, but I’ve had a substantial amount of experience before that. I wouldn’t rule out returning to this field entirely. I’m currently pondering over an intriguing character that I might like to explore. Not one of the main seven or eight characters, though. With those, you have less room for creativity since they star in multiple books. Instead, I prefer the “B” characters, which we introduced many during our run on “JSA.” Among these, Doctor Fate particularly intrigues me, especially after seeing him in “Black Adam.

All episodes of The Sandman are now streaming on Netflix.

This interview has been edited for length and clarity.

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2025-08-07 00:07