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Fridge / The Sandman

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As a Fridge subpage, all spoilers are unmarked as per policy. You Have Been Warned.

Fridge Logic

  • In Calliope, Ric Madoc buys the eponymous muse from Erasmus Fry for the price of a bezoar, a magical...thingie that is generated in something's digestive system. Its most famous property is the ability to remedy poison effects. Erasmus says he'll put this new one with the rest of them, implying that he has several. Years later, Ric finds out that Erasmus died last summer by poisoning himself. That could mean a lot of things.
  • The Endless refer to Destruction as "The Prodigal" but that only really works as a reference to the parable since the word prodigal refers to reckless spending on opulence (like the son did in the parable), which doesn't describe Destruction at all, especially given his vagabond existance after he left.
    • It’s impossible for them to be speaking English all the time, so it’s quite possible it’s just a translation for our benefit.

Fridge Brilliance

  • In A Doll's House, we are introduced to a serial killer called The Connoisseur, whose body count is lower than many of the other killers because he kills only a very specific group of people: pre-operative transsexuals. Much later, in ''A Game of You," Wanda has a conversation with Maisie Hill (the 'I don't like dogs' lady), who tells Wanda about her grandson note , a pre-operative transwoman who was murdered. The Connoisseur isn't mentioned by name but it's all too likely that he was responsible.
    • In the same issue that introduces The Connoisseur, there's a Running Gag about the absence of a killer known as "The Family Man". The reason for his absence is never revealed in the story itself, but if you were reading Hellblazer at around the same time, you'd know why he didn't make it. John killed The Family Man to avenge the murder of his father at The Family Man's hands.
  • In A Game of You, Thessaly apparently drinks soy milk. She's thousands of years old. She was probably born before the people in her part of the world developed the ability to digest lactose as adults.
  • In Dream of a Thousand Cats, Dream tells a cat that the universe can be changed when many beings fall asleep and have the same dream. The cat wants vengeance for its kittens that were killed by humans, and attempts to convince others to dream of a world where cats are larger than humans, rule the world, and hunt them for sport. Just more crazy rules of the dream world? No. Why the hell would many people dreaming the same thing make it true? Morpheus can force them to dream whatever he wants, and a world in which cats eat those that serve them couldn't be sustainable. He lied. He gave the cat just like Joshua Norton a goal that wouldn't really be achieved, but their dreams gave them both power, a reason to live, and perhaps joy.
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  • The second play that Morpheus requests from Shakespeare? The Tempest. The plot? A sorceror, through convoluted schemes and plots, conspires to end his life of isolation and entrapment, in the process destroying his magical gifts and ensuring himself an heir..... Does this sound... familiar? Which means that Morpheus is really playing the long game when it comes to his suicide.
  • Hob Gadling seems to suffer centuries of prosperity and failure designed deliberately to teach him valuable lessons about the nature of immortality. It seems awfully coincidental until you realize it's entirely possible Morpheus is arranging these streaks of bad and good luck.
    • Which might seem weird until you remember that despite his centuries of denialism, he really wants a friend. Friends need to be able to converse as equals. An immortal needs a friend who isn’t just immortal, but also understands it enough to understand Dream’s views.
  • I always kinda wondered why Wesley Dodds would fight crime if he's an avatar of Dream, since he never seemed to care much about human morality. Then The Corinthian makes a brief cameo in the Phantom Of The Fair arc & it all begins to make sense. The Corinthian tends to turn the people he doesn't simply kill into Serial Killers, which is the main sort of crime Wes fights. His true purpose is cleaning up the mess The Corinthian's been making since he escaped — biznizz
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  • I'm a little ashamed for not realizing this sooner, but as John Dee's final fight with Morpheus goes on, he slowly decomposes, eventually revealing an entirely skeletal face. See also his original costume
  • One of the the running gags in the Brief Lives story arc was Destruction being a terrible artist. Well of course! he's Destruction. One thing he would be bad at is creating.
    • This extends beyond his art. Note that just about everything he tries to create is either unappreciated or is terrible, like the meal he cooked that no one eats.
      • Except that according to the below interpretation, he ought to be the spirit of creation, as well. So why is he bad at it? Because he is no longer that being. Destruction brings change, and if he were fulfilling his role, he probably could create-but he no longer identifies as Destruction, so he can't do anything associated with that role!
  • In Endless Nights, Despair convinces Rao to create the planet Krypton inherently unstable, and to manipulate events so that there will be only one survivor who will carry the despair of the entire world's death. Instead, that survivor turns out to be Superman, who is practically the anthropomorphic personification of hope in the DC Universe. Why? Because despair, by its very nature, always fails.
    • Also, it is stated that the Endless, by their nature, also define and embody their opposite, like how Death is also the one who bestows life upon newborns, or how Desire can inspire love or hatred.
      • Further than this, there is another way to interpret Despair. In Dream's funeral, she notes that she will always grieve for him, and that she will never forget him, even when everybody (as in, all beings) forget him. This points out that a big part of Despair's nature is remembering past pains - a witness in a way. So in a way she won because Superman remembers the tragedy and acts as a witness for the destruction of Krypton. Despair may not just be about abandoning hope and purpose, but also about memory and survivor's guilt.
  • At first, A Doll's House seems to rely too much on Attemped Rape as Drama as a method of putting Rose in danger. The muggers threatening to rape her is one thing, but Funland's attempt to rape her when she's clearly much too old to interest him (and when she could have been attacked by any one of the "collectors" who wasn't a rapist as well as a killer) bordered on Gratuitous Rape. But of course everyone who sees her wants to have sex with her, consensual or no— she's Desire's granddaughter.
  • Desire's kindness toward Tiffany in Brief Lives seemed sort of odd to me at first, since it usually comes off as uncaring. What reason would there be for Desire to have any interest in some random stripper? Then I got it; it's because she was a stripper. She makes people want her for a living but they don't get her. As seen in Endless Nights Desire isn't interested in people getting what they want, because then they won't want it any more. Essentially, Tiffany is an agent of Desire and through her we get to see the kindest it ever is in the series.
  • Destiny appeared in comics before the other Endless. He's the ''first'' of the Endless.
  • In her very first appearance, Death perfectly described what is wrong with telling him about Mary Poppins.
    Death: There's this guy who's utterly a banker, and he doesn't have time for his family, or for living or anything. And Mary Poppins comes down from the clouds and she shows him what's important.
    • And keep in mind that Death is something of a Manic Pixie Dream Girl, that she often carries an umbrella, and that she spends the rest of that issue taking Dream along with her as she collects souls, which helps him out of his ennui and kickstarts his Character Development.
  • In Calliope the eponymous muse inspires both of her masters to write the same sort of terrifying horror stories. Given her position, it seems unlikely that she's in the mood to inspire anything else.
  • Why is Death always so nice to everyone? Because she's defined by her function like all the Endless, and death is famously impartial and all people equal before it. So she can either be nice to everyone or mean to everyone (and she apparently originally went with the former before deciding that being nice was more fun), but she can like some things better than others only to the same extent that Dream can be practical or Despair can cheer up - that is to say, it's not completely impossible, especially in limited amounts, but it's never going to be common or pronounced.

Fridge Horror

  • In 'Tales in the Sand', the narrator says, about Morpheus's and Nada's lovemaking: "All that night they stayed together, and every living thing that dreamed, dreamed that night of her face, and of her body, and of the warm salt taste of her sweat and her skin." It sounds romantic before you realize just what it means. And you thought naked pictures of yourself on the internet was bad...
  • After Lucifer turfs everyone out of hell in Season of Mists, a lot of the dead end up walking around on Earth as, well, zombies, basically. Among the dead shown to return are two babies- one just a few months old at most, the other a severely premature miscarriage. Yep. In this universe, babies too young to understand the concepts of right and wrong, let alone make any moral choices, can get condemned to eternal torture.
    • To be fair, it seems that there's some level of self-perception involved.
    • Even better: Remember that Luci turfs everyone out? Who's to say that those two "babies" aren't shapeshifting demons, tormenting the mother?
    • The never-born are stated to be inhabitants of Hell earlier in the book. At one point we even see ground covered in dead babies in Hell's landscape. This is a part of the long-standing Christian belief that unbaptized children can't enter Heaven. Of course just because it's this way doesn't mean that it can't simultaneously be other ways too, The Sandman being what it is.
    • What happens to people who aren’t just dead and their bodies aren’t just gone, but their entire universe is? How many souls were stuck floating in the empty black where the multiverse once was?
  • Remember how Delirium cursed the innocent policeman to experience imaginary bugs crawling on his skin FOREVER? Since she's an Endless, this may mean that the curse will linger even through his death into every reincarnation and afterlife that he'll ever have, unless Delirium some day changes her mind.
    • Or, once he belongs to Death, the other Endless (including Delirium) will have no power over him. They seem to have some power in each other's realms, maybe they just don't use it on each other out of politeness. Except Desire, who is a bitch like that.
  • There is one in perhaps one of the most harmless of books. In Delirium's Party every one of the Endless gives a present to Despair, everything is good and dandy until Desire gives her twin a locket that would make her the object of all hearts' longing, all they crave for. Imagine an entire universe craving for hopelessness!
    • Thankfully she never wore it.
  • In The Doll's House, when Funland attempted to rape Rose (which led to her summoning Dream), Dream only put him to sleep. Then Dream went to the Corinthian's speech and took away the self-heroic fantasies of the "collectors" that were in the room. But since Funland was elsewhere, having just been given a dream about all his "little friends" BY Dream, he missed it. And then can go right back to his "secret, special place" which is implied to be Disneyland (or Disney World), where his kills are covered up for him.
    • At least this one isn't a given. I don't see Morpheus letting him go so easily, especially once he realises that Funland's would-be victim is his grandniece.
      • Apparently it is a given, as well as Ascended Fanon — Funland shows up in Batman: The Widening Gyre, back to his old tricks.
      • Maybe not. Funland's dream is based on the final scene in Oscar Wilde's "The Selfish Giant," in which the children lead the Giant away to play in the gardens "which are Paradise," a.k.a. Heaven, i.e. the Giant is now dead. The later appearance in The Widening Gyre may be a retcon, or it may be that the Batman writers also interpreted the scene to mean that Funland was only sleeping.
      • It's also possible that Widening Gyre, not even being canon at the time it was written, has nothing to do with Sandman.
  • There's one particularly unsettling implication in "Men of Good Fortune" that isn't so much "horrific" as "incredibly depressing". In the course of that story, we learn that Hob Gadling managed to get fabulously wealthy at two points in his life by getting involved in two historically important business ventures: the printing business in the 15th century, and the Atlantic slave trade in the 18th century. Note that he predicts that printing will never be a truly profitable business ("There'll never be a real demand for it"), and only takes it up as a trade because he's a professional soldier who needs a steady job in peacetime, and because it's a relatively new business that doesn't require guild membership. On the other hand, he's absolutely certain that shipping slaves will net him a tidy profit, and (initially) considers it one of his best ideas. In other words, The Everyman Hob doesn't recognize the true potential of spreading and preserving literature through the printing press, but he has no trouble seeing the potential of buying and selling human beings as property. A subtle but effective Humans Are Bastards message.
  • The idea, lampshaded by both Death and Nuala (and never truly denied by Morpheus himself) that the events of the penultimate arc, The Kindly Ones had been carefully and subconsciously orchestrated from even before the main timeline of the comics. The various plotlines and adventures become Harsher in Hindsight when you realize they may have just been an outside perspective of Morpheus had been planning his suicide.

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