The Four Color Media Monitor

The Hollywood Reporter recently published another interview with TV producer Heinberg, with more to say about the conclusion, and, this is what's told about the conclusion for the live action TV program:

In Vol. 2, multiple characters point out the fact that Dream wants to be punished for what he did to Orpheus. Can you give more insight into what makes Dream tick in the back half of the season?

Dream realizes he has grievously hurt the people he claims to love. He sees that his own behavior up until that point has been terrible, selfish, manipulative. [He’d thought] he was being honorable and the leading light of all the Endless, and he finds out that, in fact, he’s the bad guy in all these people’s stories. It completely guts him, and contributes to his decision to end this version of his reign and come back as a more human Dream.

Lucienne [Vivienne Acheampong] says there’s only so much that Dream knew he could change, and he couldn’t be the Dream he wanted to be [as] this version of himself; he needed to be reborn as Daniel in order to be more human. In the end, he kills his own son, and I just don’t think he can recover from that. He says to Death, “Ever since I killed my own son, the Dreaming is not what it was to me. I just can’t go through this and do this the way that I’ve been doing it, and there’s nothing left for me here.” He’s just stricken by grief and guilt, and the belief that he’s not the Dream the world deserves at that point.

But the disgraced Neil Gaiman doesn't feel any guilt, and is only sorry his past returned to haunt him? Again, there's just so many oxymorons at work here, and unlike this fictional story, there's no going back for Gaiman at this point after his sexual assault scandal in real life. Some "human" he was being all these years. All that aside, from what's told next, it doesn't look like this adaptation is going to be seeing any sequels any time soon:

You first read The Sandman in college decades ago, and closing the six-year journey of adapting Dream’s story must have been a bittersweet feeling for you. Have you had any conversations with Netflix about expanding The Sandman universe? Is that something you would even want to do at this stage?

I am leaving this job reluctantly. I’ve never had a job where every episode is like a little movie, and you get to write about the most important things in a human life — and not just a human life, but gods’ lives. No comic book property I’ve ever encountered goes as deep or as wide as Sandman. It’s not an inexpensive show to make. And if we had a viewership that really demanded it and it made financial sense for Netflix, I could happily go on writing Sandman forever because you can write about anything. You can tell any kind of story in any genre, and you can do it intelligently, elegantly and passionately. It has been literally a dream job for me, but it was a blessing to be able to bring Dream’s story to a close and then hint at what the future could be if the numbers were there.

So, is the door open for you to revisit this universe at some point down the line with Netflix?

I mean, we have no plan [for more]. But if we had Stranger Things numbers, if we had Wednesday numbers, you can be sure people would be knocking on our doors saying, “OK, we need more!” But The Sandman’s appeal is a bit more limited than those shows. It’s not for everyone. It’s a miracle that they allowed us to make it in the first place, because it is so weird. I mean, Lady Johanna Constantine [Jenna Coleman] falls in love with a disembodied head and ends up spending the rest of her life with him! It’s an odd show. So I feel very lucky to have had these two seasons, and it’s a miracle that it happened.

Presumably, Heinberg won't be there to oversee it, or there won't be more to come? Well, I just don't see what there is to miss. The original comic series felt so empty, like a dream, or worse, a nightmare, and anybody familiar with Gaiman's sexual assault scandal is going to be looking more for the clues to his mindset than anything meaningful, which the 1989-96 series didn't have. I suppose Mr. Heinberg's also implying superhero comics in general don't offer much to think about? Well if they don't today, that's mainly because people like him have long injected PC wokeness into the narrative, at the expense of anything meaningful. One could assume upon reading this that Heinberg doesn't think Stan Lee's 1971  Spider-Man story tackling the topic of drug trafficking is in any way "deep", and if not, it shows how far common sense has fallen these days. Which could explain why the original Gaiman Sandman comic looked more like a bizarre exploration of drug addiction around 1992, in the storyline titled, "A Game of You". With that kind of approach, no wonder Lee's lessons have sadly failed. So Heinberg's right about something: this Sandman TV show isn't for everyone.

This interview also alludes to Heinberg's comics work in the mid-2000s, another reason I thought of highlighting this item:

A lot of people don’t know that, shortly before your career as a TV writer took off, you actually co-created the Young Avengers. Have you had any conversations with Marvel about making a live-action adaptation of those comics?

I did have a really lovely meeting right after we wrapped and I got back to Los Angeles. I had a really nice meeting over at Marvel, and we talked about how they make TV and how they’re approaching movies now, and they definitely expressed an interest in a continued collaboration. I’m at Warner Bros for the next several years, which makes working at Disney impossible. So I think any continued comic book stuff will probably stay on the DC side, as long as I’m at Warner Bros. But I’m very happy at Warners. I love DC comics, as you know, and I love James Gunn and Peter Safran and the team that they have there. So I hope that whatever comes next is as much fun and as beautiful as The Sandman has been.

Young Avengers, launched not long after Brian Bendis' atrocious Avengers: Disassembled, was an early example of wokeness in the post-2000 era, with characters like Hulkling and Wiccan presented as a gay couple, and look how things really sank into the LGBT obsession since. All that aside, I'm not buying Heinberg's claim he "loves" DC, and don't think he "loves" Marvel either. Otherwise, he wouldn't be concocting certain comics for the sake of woke brownie points. This Sandman TV show is best forgotten, and the Gaiman scandal's certainly capable of ensuring it will be.

Labels: Avengers, dc comics, dreadful writers, golden calf of death, golden calf of LGBT, history, marvel comics, misogyny and racism, moonbat writers, msm propaganda, politics, violence