‘The Sandman’ Star Ruairi O’Connor Breaks Down That Fatal Choice

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“Warning: This story reveals significant plot twists from Episode 5 (The Song of Orpheus) and Episode 6 (Family Blood), Part 1 of Season 2 of The Sandman.”

In the realm of The Sandman, the Endless are bound by a rule not to shed family blood. However, in the initial installment of the second and last season of the popular Netflix fantasy series, the main character Dream (Tom Sturridge), also known as Morpheus, chooses to disregard this ancient oath due to his affection for his long-lost son Orpheus (Ruairi O’Connor). This act might compel Dream to face a grave consequence.

The seventh collection in DC Comics’ Sandman series, titled Brief Lives, as well as standalone stories like The Song of Orpheus and Thermidor, provide insights into the poignant yet affectionate relationship between Dream and Orpheus. This connection is further explored in the fifth and sixth episodes of Part 1, with Orpheus being the son of the Greek muse Calliope (Melissanthi Mahut).

1700 BC saw the Endless siblings assemble in Greece, where Orpheus was set to wed Eurydice (Ella Rumpf). However, on their wedding night, Eurydice succumbed to a venomous snakebite and passed away. Overwhelmed by sorrow, Orpheus disregarded his father’s wishes and struck a bargain with his aunt, Death (Kirby Howell-Baptiste). In exchange for the chance to venture into the Underworld to beg for Eurydice’s revival, Orpheus unwittingly promised eternal life. Whenever he spoke with others, Orpheus expressed a willingness to sacrifice anything for just one more moment with his beloved. Even in the Underworld, Orpheus managed to captivate Hades and Persephone with his love song. Regrettably, Orpheus’ inability to adhere to their solitary condition — he was forbidden from looking back at Eurydice until they both had returned to the world of the living — resulted in an eternal separation between the two lovers.

In a state of despair with no reason to carry on, Orpheus sought out the Sisters of the Frenzy, a brutal cult dedicated to Dionysus. These women brutally attacked him, leaving him only as a severed head. Desperate for an end to his suffering, Orpheus implored his father to take his life, but Dream hesitated. Instead, he placed Orpheus’ head on an unknown island off the coast of Greece, under the care of priests, and forbade his son from ever seeing him again.

In simpler terms, Orpheus was optimistic about rescuing Eurydice from the Underworld, but what he didn’t anticipate was their permanent separation. This was something O’Connor, who already knew a lot about Greek mythology before auditioning for The Sandman, shared with The Hollywood Reporter. Normally, if Orpheus had died in ordinary circumstances, he might have been able to be with Eurydice even in the Underworld. However, due to the peculiar circumstances, it’s almost certain that Orpheus will never see Eurydice again, and his body can no longer move because it has disappeared. His father had previously warned him about this fate.

Like Father, Like Son

For years, as an ardent fan of the original Sandman comics, I’ve longed to see the intricate bond between Dream and Orpheus, a connection hinted at during the promotional phase for season one. Speaking with The Hollywood Reporter, showrunner Allan Heinberg shares that Dream exhibits a softer, more exposed side with Orpheus compared to even his interactions with Calliope. Dream’s attempt to dissuade Orpheus from sacrificing himself for Eurydice echoes the protective instinct any parent would have in Dream’s place. (For more insights from Heinberg about volume one, check out THR’s full interview here).

Following Orpheus’ decapitation in the comics, Heinberg portrays Dream as a God reminiscent of the Old Testament, seemingly meting out punishment for a disobedient son who defied an order. However, in his two-season adaptation of Neil Gaiman’s comics, Heinberg has focused more on delving into the emotional toll of Dream’s role as a king on his relationships as a brother, lover, and father. To align with this theme, while the dialogue in the series remains almost identical to that in the comics, the showrunner aims to convey Dream’s grief over his inability to save his son, emphasizing the emotional impact of his position.

In my perspective, Dream’s statement, ‘We won’t meet again,’ arises from his inability to bear the sight of Orpheus in his current state, according to Heinberg. This suggests that as Dream departs from Orpheus, he appears to be utterly devastated instead of maintaining a stoic, punishing facade. It becomes clear how deeply this ordeal is affecting him.

Via numerous conversations with Heinberg, O’Connor realized that Orpheus’ early hostility towards Dream was rooted in the feeling of being abandoned, as his father had chosen to fulfill his duties to mankind above his own family. As O’Connor puts it, “It’s a bit like if Abraham Lincoln were your father – he’s yours because he’s your dad, but he belongs to everyone else too. I think that can be tough for a child.” O’Connor adds, “It’s shocking for Dream to be at Orpheus’ wedding, and it’s almost too much – not just joyful, but also ominous because he is there as well.

Heinberg points out that the dialogue between Dream and Orpheus in episode six is noticeably different from their interactions in episode five. In episode five, they exhibit a dynamic akin to a father and son, with Dream giving orders and Orpheus following due to his perceived authority and wisdom. By the end of it, however, they’ve evolved into two individuals deeply in love, who care for each other immensely.

When acting alongside Sturridge, O’Connor experienced the sense of a strong father-son bond. Previously, he had observed Sturridge perform opposite Jake Gyllenhaal in the 2019 Broadway production of “Sea Wall/A Life“. Despite Sturridge being just a few years older, O’Connor felt as though he was working with someone significantly more experienced. “It seemed like I was playing with someone who was a few levels above me,” O’Connor recalls. “I felt a deep respect, almost like ‘This man is centuries older than me in certain aspects.'” O’Connor believes that the tension – the effort to meet Sturridge’s standard – that he experienced, although unsuccessful, helped to enhance their scenes together.

He comments on Sturridge, “He appears outstanding. Just gazing at his features makes you think, ‘I wish my face could look like that!’ I admire him greatly and envy him in numerous aspects. I hope this aligns with what we aimed to achieve.

The Song — and Disembodied Head! — of Orpheus

On several occasions, O’Connor expresses to THR that he feels fortunate during his time on ‘The Sandman’. Last year, following a series of self-tape auditions, the Irish actor, recognized for his roles in ‘The Spanish Princess’ and ‘The Conjuring: The Devil Made Me Do It’, secured the part merely weeks before filming was set to commence. In preparation, he became deeply engrossed in every comic featuring Orpheus. He even mastered playing the lyre, although he never needed to showcase his character’s preferred instrument on screen.

The hardest part of the job was figuring out how to sing in Greek. “It was tough, so I resorted to chanting and memorizing it. It became a sort of trance-like repetition, similar to mantras,” O’Connor reflects. “I felt like I was losing my mind trying to learn the Greek, and then knowing that I would have to sing it flawlessly on the day, matching my mouth movements as closely as possible.

Apart from performing live that day, the actor also recorded the final renditions of Orpheus’ songs at Abbey Road Studios. He shares that he’s not spiritual but considers music as his closest equivalent. On the day of recording, his voice was a bit hoarse, and so they suggested he visit Studio Two where the Beatles recorded to warm up. Embarrassedly, he admits that he brought his friend along on that day, and the two of them played “Hey Jude” on the piano as a warm-up. He muses that perhaps this experience made him believe that music does have the power that Orpheus speaks of – the ability to transform lives.

To replicate Orpheus’ decapitated head for his role, O’Connor needed a mold of his own skull. “What’s fascinating about these casts,” he jokes, “is that they have all the other heads they’ve created over time. I held Brad Pitt’s head in my hands and examined its shape to understand why he’s so attractive. ‘It’s a deceptively small head!’ I exclaimed. ‘Perhaps that’s the secret.’

In a fascinating twist, three versions of me were crafted for the show, and one of them remarkably resembled my likeness while the others were for broader framing. Catching sight of myself, I chuckled, ‘I hope that’s not what people imagine I look like!’ However, the primary version was undeniably an enhanced reflection of me. The experience was exhilarating as my previous costume, prior to the decapitation scene, was adorned with slender extensions. Dressed like a character from a fairy tale on top of a mountain, I often stumbled over the layers. But now, I was simply donning a green bodysuit, albeit confined by a device around my neck to prevent movement.

As a devoted fan, I can’t help but marvel at O’Connor’s unique acting experience. Unlike some others who might have been intimidated, he discovered the process of acting with just his head to be surprisingly empowering. The team ingeniously preserved the illusion of a speaking head, carving holes into tables at precise angles and having his co-stars act as if lifting his head while he gradually rose. This was further enhanced in post-production, making the final product even more captivating.

O’Connor mentions that since his hands didn’t need to be visible on-screen at all, it gave him free rein to do as I please because the editors would handle the rest. This freedom significantly reduced potential errors or overdoing it. He also expresses a desire for another similar role, stating that if ‘Return to Oz 2’ ever comes about or a project needing a shapeshifting king, he might find his perfect fit there,” he quips.

A Bittersweet Reunion

Episode six started as Dream reached out to Lady Johanna Constantine (Jenna Coleman) during the late 1800s, urgently asking for her help. He wanted her to travel to Paris and recover Orpheus’ head, which Maximilien Robespierre had seized during his Reign of Terror as a means to destroy it, considering it an artifact of superstition and immorality. Once discovered, Johanna was imprisoned and faced the grim possibility of beheading by guillotine. However, she had cunningly concealed Orpheus among a pile of heads belonging to Robespierre’s other victims. In response to Dream’s advice, Johanna asked Orpheus to perform in front of Robespierre and his followers, causing them to become motionless, providing the perfect opportunity for Johanna to escape with Orpheus’ skull.

On their way back to Orpheus’ temple, Johanna and Orpheus developed a strong bond of friendship. Interestingly, all Johanna wanted upon accomplishing her task was to spend more time with Orpheus, which Fate graciously provided as she was laid to rest near the temple following her passing.

According to O’Connor, Johanna observed that the character of Orpheus appeared to have discovered a tranquility, a wisdom, and an acceptance to continue existing perhaps indefinitely, without any power to act on his own behalf.

O’Connor remarks that Johanna admires what he’s achieved as being inspiring. He had recently watched a documentary featuring Christopher Reeve, who suffered a horse accident and struggled for years. Despite the hardship, there was a sense of liberation in seeing him overcome such adversity. Orpheus, much like Reeve, has faced challenges for thousands of years, and O’Connor believes that Johanna appreciates her because she represents the opposite. She’s full of life and energy, constantly moving and deceiving people. It seems they each admire what’s different about the other.

Heinberg notes, “At that moment, Orpheus seems quite philosophical about his destiny, making the most of each day. Despite yearning for the tranquility of death, he’s not a miserable man. He’s not in pain, and Dream has been suffering since parting ways with him on the beach.

Currently, Dream is compelled to seek out Orpheus, as he’s the sole individual still alive who can find Dream’s long-lost brother, Destruction (Barry Sloane), who disappeared from his realm about 300 years back. Despite the potential for anger or resentment towards their father, Orpheus opts to be “compassionate, tolerant, and forgiving,” according to Heinberg. This comes as a great relief to Dream at that moment because he’s been dreading confronting the biggest mistake he’s ever made.

In return for Orpheus’ aid in finding Destruction, Dream promises him a long-desired wish. Once they verify with Destruction that he won’t rule his domain anymore, Dream, moved by affection, ends his son’s life within the temple.

According to O’Connor, what mattered most in Orpheus’ last words, ‘I’m ready now, father,’ was giving him autonomy. It wasn’t about pleading to be killed, but rather making a choice and taking responsibility. He was essentially asking his father to perform an act only a parent would do for their child. Unfortunately, Orpheus’ father had been deprived of his role as a father due to his circumstances, but in this moment, it’s evident that he’s fulfilling the role of a loving father.

In a quiet, dignified manner, Dream takes leave from Delirium and heads back to his palace. There, he orders Lucienne, his librarian and estate manager (played by Vivienne Acheampong), to discharge the priests of their duties once they have interred Orpheus’ head in an unlabeled grave. After that, Dream retreats to his own chambers, where he can no longer hold back tears as he washes the blood of Orpheus from his hands.

In an unexpected turn of events, Heinberg discloses that the scene where Dream concealed himself behind a bookcase during the delivery of orders to Lucienne was not originally planned. The creative inspiration for this spontaneous action came from their Director of Photography (DP), Will Baldy, who suggested it on the spot: “Perhaps he’s overwhelmed and can’t confront her. And his absence from her sight breaks her.” This impromptu idea added a touching layer to the scene where Dream is washing off blood from his hands in a poignant manner.

In the second installment, Dream will undoubtedly face consequences from the Fates, or as we know them, the Furies, due to the shedding of family blood. However, staying true to his character, he won’t simply accept his fate. Instead, he’ll strive tirelessly to protect his life, kingdom, and those working alongside him. As Heinberg suggests, Dream has made preparations for the Dreaming to endure, even if he doesn’t. In essence, he’s gearing up for a five-episode battle because that’s who he is. So, the story isn’t ending, and there are plenty of unexpected twists ahead.

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Currently, the Sandman series is available for streaming on Netflix. The final five episodes of this captivating tale, which follow Dream’s journey, will be released on July 24. An extra episode focusing on Death is scheduled to premiere on July 31. For a comprehensive look at Part 1, be sure to read the interview with Heinberg in THR.

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2025-07-08 03:25