Dead Boy Detectives feels like a perfect fit for Steve Yockey (The Flight Attendant), who helped steer Supernatural to consistent success alongside Eric Kripke (The Boys) between 2017 and 2019. Perfect because these Neil Gaiman (Sandman) and Matt Wagner (Grendel) creations, who made their first appearance in Sandman 25 for a storyline called ‘Season of Mist’ are somehow similar. There is an inherent darkness that runs throughout this series that really embraces those elements, making these comic book characters compelling people.
That uber-producer Greg Berlanti (Supergirl) is onboard has a lot to do with the failed 2021effort that never made it past the pilot stage at HBOMax. That these Dead Boy Detectives also made an appearance in Doom Patrol is also worth mentioning, if only to give audiences context as this latest Netflix version hits the platform from April 25th.
Bouncing around modern-day London as the eponymous detectives, Edwin Paine (George Rexstrew) and Charles Rowland (Jayden Revri) harbour their fair share of secrets. Killed in 1989 and 1916 respectively, these spectral super sleuths are driven to help ghosts unable to pass over and find peace. That they soon team up with Crystal Palace (Kassius Nelson), a psychic with her own special kind of problem, not only provides them with an essential link to the living but makes for an impressive opening episode.
There is the same level of invention audiences have come to expect from Neil Gaiman adaptations, and a connection early on that links through to Sandman. For early adopters and evergreen fans alike, Dead Boy Detectives feels like an on-going Sherlock Holmes mystery with an awesome afterlife twist. In many respects, it also comes across as a spiritual companion to Lockwood & Co, since these teenagers are battling supernatural forces and dodging Death (Kirby) themselves for reasons that soon become apparent.
However, there is one minor quibble that scuppers this show after only a few episodes. Despite all the plus points on display Dead Boy Detectives soon falls into a formulaic trap. The world Charles and Edwin inhabit might feel grounded, but there is also a very straightforward structure running throughout, that makes it feel samey on occasion.
That little niggle aside, stand outs from this impressive ensemble cast include Jenn Lyon (Esther), who chews scenery at every opportunity, Lukas Gage (The White Lotus) as the predatory Cat King, who rules the roost amongst his clowder of cats and lays ownership to Edwin early on. Alongside the exceptional leads and their supporting players, Dead Boy Detectives is elevated by some solid production design that really leans into its comic book roots. With infinite opportunities open for a sophomore season, this is one series audiences should track down as soon as possible.
Dead Boy Detectives is available on Netflix from 25 April.
