The Sandman is a very magical adaptation of the comic book spirit.

Neil Gaiman created a mythology in 1989 using bits from numerous DC Comics books, capturing the attention of readers everywhere. He introduced us to the Endless family, which are anthropomorphized personifications of the ideas that constitute everything. Dream, the ruler of all things beyond reality, is the third child in this dysfunctional family. Dream is perceived by most people as a wiry British goth with hair that looks like Robert Smith's from the 1980s. One of DC Comics' most frequently reprinted series, Dream, or the Sandman, and all his family, friends, and quirks (sometimes the same), amassed a sizable fan base.

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The Sandman has been fiercely protected by Gaiman for the past 30 years from subpar imitations and adaptations. However, The Sandman makes its Netflix debut this year with Dream played by Tom Sturridge, who uncannily looks like he jumped off the pages of the comics and whose voice sounds pretty much exactly like how you'd imagine the character's distinctive black and melty word balloons would sound. Sturridge is a perfect fit, and since Gaiman is in charge, just much everything else is as well.

The ten-episode season follows the first two comic book story arcs, Preludes and Nocturnes and Doll's House, which describe how Dream was apprehended and imprisoned by a renegade occultist named Roderick Burgess (GoT's Charles Dance), his subsequent escape, and dealing with the potentially apocalyptic threat of a dream vortex.

A vociferous minority who objected to the casting of Kirby Howell-Baptiste as Dream's older sister Death and Gwendoline Christie as Lucifer made minor complaints about the long-awaited adaptation. Christie, on the other hand, is a magnificent Lucifer, towering over Dream in stern robes and enormous, leathery wings, and generally coming across as just as threatening as they are nice. And Death is Howell-Baptiste. This statement is made by someone who once believed Chris Bachalo's white-skinned, tank-top-sporting, ankh-wearing goth lady in Doc Martens to be the pinnacle of beauty. Howell-Baptiste exudes the warmth one would hope to find in, well, death and epitomizes Death's upbeat, optimistic viewpoint.

The casting is flawless overall, with Dream's cosmic-reflecting eyes on Sturridge maybe being the only thing lacking. But it's a little adjustment that was made on purpose. Although Dream is the series' protagonist in the comics, he's kind of a jerk who occasionally even acts with disdain for people. However, Sturridge's Dream is a more relevant figure in terms of timeless anthropomorphized concepts. More crucially, his eyes contrast with the main enemy of the first season, the renegade nightmare known only as The Corinthian, in a way that a cosmic nothingness cannot.

Not that Dream has suddenly become Superman, mind you. He is still the same emo, mopey sadboi who needs his big sister to visit and wake him up; he is just less of a jerk. We're ready for Dream to snap out of his funk and resume living his Endless existence by the time Death appears in the sixth episode, "The Sound of Her Wings," which is when Death first appears. One of the funniest episodes ever, it also features the immortal Hob Gadling (Ferdinand Kingsley) and his reunion with Dream on Dream's 100th birthday. But aside from the abrupt change in pace in the fifth episode, the fun doesn't stop because the next two episodes take place at a convention for serial killers. Yes, just like ToyCon, but for serial killers who amass victims the same way some people do with toys. Even with the gory con attendees, you should be able to tell that it's all in good fun by the fact that it's promoted as a Cereal Convention.

The fourth episode, "A Hope in Hell," which involves what is essentially a rap war for the ages as Dream battles the demon Choronzon to retake his throne, also contains a subtle but crucial twist. In the comics, Choronzon serves as his adversary; but, in the adaptation, he squares off with Lucifer directly. The contest becomes more dramatic and the stakes are raised immediately, and it just works. Fans and non-fans alike will enjoy the small adjustments that Gaiman, who co-writes the show with David S. Goyer and Allan Heinberg, made from the script to the screen.

The mythos of The Sandman is unlike anything seen on television, and Dream's family is among the ensemble of characters that is most intriguing. If Howell-Baptiste properly personifies Death and Sturridge completely represents Dream, then Mason Alexander Park is the only person in the world who could have played Desire. Park plays Dream's younger sibling with a sugary deviousness that is quite entertaining to see. Park is Desire in every manner imaginable. Even their twin Despair is portrayed by Donna Preston with such purposeful, sad ordinariness that she emphasizes just how great Park is. You can't wait for the upcoming season to meet the other Endless because the casting is just too perfect.

Because Gaiman's stories have always been so imbued with so much hope—because what is a dream without hope?—The Sandman is not simply a series that fans have been waiting for for a very long time. —it's something we really need in these unsettling times.

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