Multiple women have come forward with allegations of sexual assault against Neil Gaiman, the acclaimed author known for works like “The Sandman” and “Coraline,” in a recent cover story by New York Magazine. The article, titled “There Is No Safe Word,” features eight women who detailed their experiences with Gaiman, marking a significant escalation in public scrutiny following earlier reports by Tortoise Media.
The earlier investigation from Tortoise Media had already revealed allegations from two women surrounding misconduct by Gaiman, alongside a six-part podcast titled “Master” that included testimonies from five women, many of whom chose to remain anonymous for safety reasons. New York Magazine corroborated these claims with additional accounts from women who felt compelled to speak out.
One prominent accuser, Scarlett Pavlovich, described a disturbing encounter with Gaiman where she alleges he sexually assaulted her while babysitting for him and his wife, Amanda Palmer. In her account, Gaiman reportedly coerced her into sexual acts, violating her consent in multiple instances. Similar allegations were echoed by other women, including Caroline, who detailed an inappropriate advance involving Gaiman and a child present.
Gaiman has continually denied the allegations, stating that all interactions were consensual and suggesting that misunderstandings surrounding BDSM practices may have contributed to the complaints. His representatives labeled the accusations “false” and “deplorable” and described instances of the alleged abuse as consensual acts that were later misconstrued.
The repercussions of the allegations have already begun to affect Gaiman’s professional projects. Following Tortoise Media’s report, production on Season 3 of “Good Omens” was altered, and Disney temporarily halted its film adaptation of “The Graveyard Book.” There has not been similar scrutiny yet on the releases of “The Sandman” Season 2 or “Anansi Boys,” set to debut soon, as producers have not commented on the ongoing situation.
This troubling situation highlights the complexities surrounding consent, especially within consensual BDSM dynamics, as Gaiman’s representatives pointed out, insisting that practice must involve prior negotiation and clear agreement—elements they argue were not present in the accusations.
As this story unfolds, it will remain critical for the industry and the public to consider the broader implications of these allegations on discussions about consent and accountability in creative spaces, advocating for safer environments. The testimony of these women underscores the importance of listening and believing those who come forward with their experiences, potentially leading to greater awareness and change in the industry.