In case the title wasn’t enough of a hint, Dead Boy Detectives wastes no time establishing its paranormal setting. There are demons, possessions, World War II and Victorian-era spirits, an evil witch, a larger-than-life snake, a glowing squid, and magical mirrors galore in the first episode alone. Netflix’s drama, which premieres April 25, also makes its connection to The Sandman clear as day. Kirby Howell-Baptiste reprises her role as Death in a far-too-brief cameo to remind audiences of the streaming platform’s budding Neil Gaiman universe. So, yes, DBD has an oversaturated beginning. But after that, it thankfully settles into a delightful, surprisingly sweet rhythm.
Developed by The Flight Attendant’s Steve Yockey, the show is immensely enjoyable once it finesses the tonal goofiness and character dynamics. What else did you expect when the comic book source material is equally beguiling? There are bumps along the way, but the eight episodes (which, to be honest, feel a tad long) have enough heart to make up for it. The credit goes to the core relationship between the “dead boys,” ghosts Edwin Payne (George Rexstraw) and Charles Rowland (Jayden Revri)—their exchanges are often aww-inducing—and the friends they make while running a detective agency for supernatural crimes.
The two leads will look different to anyone who saw the Doom Patrol season-three episode in 2021 that introduced Edwin and Charles. Back then, they were played by other actors (Sebastian Croft and Ty Tennant) with plans for the pair to lead a spinoff. Max then canceled Doom Patrol, with Netflix acquiring that follow-up, Dead Boy Detectives. But don’t worry, despite minor tie-ins, watching Doom Patrol or The Sandman isn’t a prerequisite to devouring this new series, which stands on its own two feet.
Rexstraw and Revri are a wonderful duo even if they look nothing like high schoolers. In a drama full of bizarre plot twists, portals to dimensions, a murderous sea creature, and a walrus who turned into a man, the greatest suspension of disbelief here is that both protagonists are teenagers. This also applies to their castmates Kassius Nelson and Yuyu Kitamura. It takes away from Dead Boy Detectives’ youthful appeal, as these characters come up as four full-blown adults, not adolescents having major experiences for the first time. That said, the co-stars develop a naturally warm camaraderie onscreen.
But back to the show’s setup: Edwin and Charles have been dead BFFs for decades, trying not to get dragged into Hell. When DBD begins, their bond appears to be well-defined, but the script finds incredible new ways to deepen it. Are they just friends? Do they have romantic feelings? Where is their chemistry going? As these questions bubble up, it allows Rexstraw and Revri to layer their performances beyond the initial descriptors of Edwin being uptight and Charles acting as his lighthearted counterpart.
The pair meet a psychic named Crystal (Nelson) who loses her memory after a demon invasion. In trying to figure out her identity, she becomes a de facto member of their cute little agency, using her clairvoyance to help their ghostly crime-solving. The London trio gets stuck in a small town in Washington, U.S., with Crystal’s new roommate, Niko (Kitamura), and landlord, Jenny (Briana Cuoco), joining the bandwagon. The group’s affectionate friendship is the biggest draw of the show, maintaining the momentum during narrative lulls.
As for the cases, Dead Boy Detectives has a fascinating procedural setup. They untangle new mysteries in each episode—a serial killer in a time loop, a fishy siren, jock-bro murder victims, and dragons, to name a few—that are gripping to varying degrees. At least the sets, visual effects, and Tony Wohlgemuth’s creepy production design commendably aid the scope. And DBD boasts one of the most fun opening credits of the year. However, the overall stakes feel lower with unserious recurring villains, played by Ruth Connell, Jenn Lyon, and Lukas Gage, although the latter’s persona of the Cat King is effectively endearing.
The series isn’t flawless, but it is ridiculous in the right way. And as with other Gaiman adaptations like Good Omens and Lucifer, genuine emotions lie under the veneer of eccentric, awkward comedy and situations. (The ending of episode five is a lovely example of this.) The show is sure to please fans of the author’s work as well as those of escapist YA sci-fi along the lines of Netflix’s dearly departed Lockwood & Co. Let’s just hope Dead Boy Detectives, which nicely sets up a potential second season, doesn’t bite the dust too.
Dead Boy Detectives premieres April 25 on Netflix