‘Diversity is woven into the very soul of the story.’ If those words of praise from a rave review in a left-leaning journal sound to you about as inviting as a cup of cold sick, then my advice would be to stay well clear of The Sandman.
Neil Gaiman’s epic graphic novel series (launched in 1989), set in the world of dreams, was relentlessly inclusive long before it became the norm. ‘I wanted to change hearts and minds,’ Gaiman has said in an interview. ‘I had trans friends and still do, and it seemed to me that no one was putting trans characters into comics. And I had a comic.’
If this TV version had been made five years ago, it would probably have been considered very cutting edge. But thanks to recent developments in the world of screen comic book adaptations, it looks awkwardly dated. There’s a new mood in TV and Hollywood, exemplified by the shock cancellation of a $100 million superhero movie called Batgirl, which is widely being seen in the industry as part of a backlash against identity politics.
It reminds me of the turgid whimsy of a Tim Burton movie crossed with late-period Doctor Who
The man leading this backlash is David Zaslav, new studio boss of Warner Bros Discovery.
Get Britain's best politics newsletters
Register to get The Spectator's insight and opinion straight to your inbox. You can then read two free articles each week.
Already a subscriber? Log in
Comments
Join the debate for just £1 a month
Be part of the conversation with other Spectator readers by getting your first three months for £3.
UNLOCK ACCESS Just £1 a monthAlready a subscriber? Log in