DC’sDead Boy Detectivesseries is jumping platforms from HBO Max to rival streaming service Netflix at the behest of recently appointed DC execs Peter Safran and James Gunn. The move is likely a result of several factors directly related to the new content roadmap for the franchise.
First appearing in 1991’sSandman #25via the mind of Neil Gaiman,DC’sDead Boy Detectivesare a duo of investigative heroes with a twist. Both boys are deceased and have forestalled leaving with Death to remain in the mortal world and work as sleuths. From that point onwards, the two kid detectives Charles Rowland and Edwin Paine would appear in other series and annuals withintheVertigoimprint of DC Comics, known for telling some of the best and darkest stories in comics. The two would eventually get their own limited runs and manga-style graphic novel. They were also portrayed in live-action during the third season of the popular live-actionDoom Patroladaptation.
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While theDead Boy Detectiveshave mixed it up with some of the biggest names in DC, including the Swamp Thing and The Endless, the announcement of the HBO Max-bound adaptation still had manyfans wondering whatDead Boy Detectiveswas about, despite the self-explanatory title. NowThe Hollywood Reporterhas learned that the series is being shipped to rival platform Netflix because the IP does not mesh with Peter Safran and Gunn’s vision for the DC Universe. This comes after the revelation of Chapter 1 by Gunn and Safran, with five feature films and five HBO Max original series planned out with potentially tight narrative ties.
Gunn and Safran have made many radical changes, from moving forward without Henry Cavill toworryingly canceling projects on the level ofWonder Woman 3. These sweeping changes have done much to frustrate fans, despite frustration with the direction and quality of projects under the previous Snyder-led team. The previous films had a notably dark, melancholy tone that began withMan of Steeland lasted up to the Snyder cut ofJustice League.This tone was not well-received, especially because it affected Superman’s characterization.
While giving out a potential draw to a competitor might seem strange in Warner Bros.' bid to rival Marvel Studios, it is worth noting that there might be no merit to diluting the overall tone of their planned universe with superhero genre non-conforming titles like the ones that made up Vertigo. This strategy has famously beenKevin Feige’s approach to the MCUto beat audience fatigue, so refusing to go down that path directly might be a smart move by the DC execs. Whether or not the ploy will play out for the best remains to be seen, but eyes will be onDead Boy Detectivesas fans form first impressions about the relatively obscure characters.
