Bring me a dream.
But “adaptation” is almost an insult to what the creators achieved. The series is perhaps the best-screen adaptation of big concept fantasy literature since Peter Jackson’strilogy. Beat for beat, iconic frames, lines of dialogue, performers’ makeup and wardrobe — all of it followed the books, except for a few changes.
Trapped and naked in a stunningly designed glass cocoon, Dream refuses to reveal anything to the mortals around him. For more than a century, Dream never utters a word, refusing to provide any details to his captors — whose lives are extended as a result of their proximity to his powerful tools. Rose is on a mission to find her missing brother, currently held as a prisoner by a cartoonishly evil foster father. At the same time, she is discovering her powers as the vortex.
One of the reasons I loved the book franchise was that it is first and foremost a psychological horror story, but it’s one painted on a canvas of the cosmic with a fragile brush made of hope. Intimate stories occupy as much, if not more, space than the ones dealing with beings more powerful than gods. For example, Rose Walker is trying to find her missing brother, confronting serial killers and talking ravens, but is also on the verge of destroying the universe.
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