In a bit of a genteel British humblebrag, Gaiman answered Meyers praise for the 20-years-early timeliness of American Gods’ apocalyptic vision of a too-rapidly and chaotically evolving America by saying, “I would have been perfectly happy for it to feel less of the moment.” But when you’re right about a comparatively young, all-consuming culture devouring, digesting, and excreting human beliefs at a rate seemingly destined to bring about the end of all things, you’re right, as viewers of the Gaiman-based Starz TV adaptation can attest. Pulling a bit of a Grant Morrison in the real world himself, Gaiman told Meyers how the cast and crew of American Gods are now pretty blasé (and vice-versa) about seeing their all-knowing creator “mooch around at craft services” on the set. The same can’t be said, however, about Gaiman’s visits to the actually, finally active set of Netflix’s long-gestating, COVID-delayed Sandman series, where running into the show’s Dream, Death, Destiny, and other mysterious figures starting with “D” still elicits an appropriately gooseflesh-raising “very peculiar experience indeed.”


Noting—again bit of a humblebrag—that it took this long (Gaiman’s seminal adult comics creation being first published in 1989) for television to catch up, Gaiman explained that he’d been shooting down Warner Brothers’ attempt to turn Gaiman’s sprawling, epic tale into a single movie for 30 years. The author told Meyers that, finally, “the changing nature of television and film” and how people experience them is finally sophisticated and “novelistic” enough to take on what he assured was “85 hours of Sandman pre-written and existing.” “It’s a feature, and not a bug,” said Gaiman of the evolving media’s ability and willingness to fully embrace the expansive, gloriously mad Sandman in its entirety.