#what in the tv detective show is this

[alocalfrog]

Can you imagine suing Boeing and coming home to find Boeing's faulty plane parts washed up in your backyard?

[viktorpartner]

Haven't been able to think about anything other than the victorian/edwardian/WW1 twink and his 80's punk almost-boyfriend for a week, send help

[rivvyve]

Why Chopping Dead Boy Detectives is a Mistake™ in a Single Image:

[e-vasong]

Interview With the Vampire (2022-) is one of the best adaptations of anything ever because it is clearly made with so much love for the original text but it also is very open about critiquing the books while also existing in perfect, constant conversation with it. every change made is a strong writing choice on its own, but it is also made 10x stronger when viewed not just as an alteration of the original but an evolution.

louis being black and a brothel owner rather than a plantation owner is a really fucking smart idea all by itself. but it also directly furthers the differences in worldview between louis and lestat from the books. daniel being older, smarter, keener - much more obsessed with the truth - is an excellent conceit on its own, but its even better when we know that this is round 2 of the interview. he's learned from the awful way the interview went in the books, and now hes here for the truth. devils minion being a dance that arguably stretches decades (even if there wasnt a chase arc in the 70s!) only heightens their game of cat and mouse. armand being an adult physically and also being a POC is fucking inspired, both for how it places him in contrast to louis, and also because it allows them to avoid casting a minor in a very sexual role while still keeping the same dynamic (i.e. the frequent infantilization/fetishization of POC, especially asians).

The fact that some people are mad about its adaptation style boggles my mind, because I honestly think this set a new fucking standard for what adaptations should be. I'm insane about it. If they aren't changing the game like IWTV 2022 who even cares anymore.

[unpaidnapper]

[dead-patrol]

"charles didn't die alone" (bittersweet, was comforted by a ghost who'd become his best friend and sleuthing partner for the next 30 years)

"edwin didn't die alone" (jesus fucking christ)

[mas-cot]

[many-gay-magpies]

god what really gets me about dead boy detectives and what i think i love so much about the show and the relationships in it is that like. the romantic and sexual relationships aren't portrayed as being more unique or important than the platonic relationships. they're all just RELATIONSHIPS.

charles and crystal's attraction to each other and eventual hookup isn't this big end-all be-all relationship that shatter charles and edwin's friendship and draws charles' attention away from edwin; it's just a THING that happens. they're just two people that care about each other and happen to also be attracted to each other, and a hook-up happens, then they decide that neither of them are in the right place for it and it's nothing awful. crystal kisses charles, but it isn't some big spectacle of her declaring her love for him; it's just her saying goodbye and that she cares about him, like her hugs with niko and jenny and her handshake with edwin.

edwin realizes he loves charles romantically and tells him, and charles says he doesn't really love edwin romantically BACK, but it's okay, because they still love each other so much in so many other ways that this one tiny difference could never change them—and it doesn't!! they're still just as close, still care for each other just as much, still SHOW that care for each other just as much. their relationship didn't completely end because edwin loved charles in a way charles couldn't reciprocate, but at the same time it isn't "solved" by edwin getting over it, because there's nothing TO solve. it's just another type of love, added to everything that already exists between them. and they have LITERALLY FOREVER to figure out what it means.

the relationships between edwin & niko, crystal & niko, and crystal & edwin aren't given any less weight for being solely platonic, just as charles & crystal's relationship and edwin's feelings for charles aren't given (that much) MORE weight for being romantic. crystal and charles' conflict in the closet is about EDWIN, about how they're BOTH his friend and BOTH want to get him back; it has very little to do with the feelings between THEM, romantic or otherwise. similarly, the weight of charles' and edwin's relationship isn't diminished in the LEAST by charles not reciprocating the romantic side of his feelings (or SAYING he doesn't reciprocate, at least—we can all argue about the legitimacy of that in the notes).

i'm sure there are more examples than this, as well as probably some examples that CONTRADICT this, but like... by and large, it feels like dead boy detectives is a show where all the relationships are given equal weight regardless of platonic, sexual, romantic, or familial status, and as someone on both the asexual and aromantic spectrums who has struggled time and time again with shows casting out the importance of all other relationships in favor of prioritizing romance, that is INCREDIBLY refreshing to see.

[did-sm1-say-catfish]

i love crime shows where the main characters go around being absolutely ridiculous in professional settings due to an ongoing feud in their (non)personal lives. like

"MOvE AWAY fromTHE DeaD BOdy! oh also dude yo mama is fucking gay cuz i slept with her and ALSO dude ur eyes are so pretty i wanna kiss you. oh yeah strangulation?? cool cool this'll be an easy case."

[missfisherandjack]

DI Jack Robinson In The Episode “Murder In Montparnasse”

Miss Fisher’s Murder Mysteries (2012-2015) ↳ 1x07 Murder In Montparnasse

[not-the-living-ghost]

i was making small talk with a complete stranger and somehow managed to make the conversation about dead boy detectives. it’s over for me y’all; i am the weakest link, i fear

[perseidlion]

This is why streaming is dying.

I'm Canadian, and I used to watch Star Trek on Crave. Crave saved us for awhile from the fracturing of the streaming landscape because it stayed as an umbrella service for quite some time. I used to get Star Trek, HBO, WB shows, Starz, Sony stuff...basically Hulu + HBO + Paramount. That was actually worth it because for the same monthy fee I could get House of the Dragon, Star Trek and more.

But that wasn't going to last forever. When Paramount+ launched in Canada, Star Trek got taken off Crave. I'm a huge Star Trek fan but even I couldn't justify a FIFTH streaming service just for Trek.

So I waited until Discovery was finished. And then I binged it and season 4 of Lower Decks. And then I cancelled. I won't get it again until S3 of Strange New Worlds and Season 4 of Lower Decks are finished, then I'll binge and cancel again.

There is literally nothing else on P+ I want to watch. I looked, because if there was something I'd cancel Netflix for a bit. But it's all movies I've seen and don't want to rewatch, shows I already have access to on other streamers, or things I have no interest in.

When the networks were working together to put lots of tasty treats under one streamer, it was absolutely worth it. I'd pay $20 a month for Crave if HBO kept making good shows (instead of cancelling them, RIP Our Flag Means Death) and if P+ had lots of Trek (and...didn't keep cancelling those shows like they did Lower Decks and Discovery.) Between that and Trek that would mean I always had a show releasing on the platform that I wanted to watch.

As long as there isn't a steady diet of things that appeal to me, I WILL keep subscribing, binging, and cancelling. Churn is the reason these networks aren't profitable. But there is literally no incentive for me to NOT do that when the things I want to watch are scattered across 5-6 different streamers, each charging $15+ a month.

In trying to get their slice of the pie, the networks have guaranteed there isn't enough food on their buffet to keep people coming back for more.

It creates a vicious cycle. This fracturing means there's not enough budget to support the flagship shows/franchises. Then, they get cancelled and/or budget reduced. So they take away or vastly reduce the thing I want to watch the most.

PLUS none of the networks are nurturing the cult hits/franchises of the future. Shows that have the potential to be the reason I subscribe are being cut off at the knees after virtually no promotion.

I watch every new show like Dead Boy Detectives knowing there is a very high likelihood that this will be the only season I'll get to watch. So much potential is left on the table. If there were four or more shows like Dead Boy Detectives and Kaos getting ongoing commitments from Netflix I wouldn't even consider cancelling my subscription. Instead, I know that any show that isn't an immediate cultural moment is probably getting the axe, or getting two seasons, max. Especially if it's SF&F. Especially if it's queer.

We live in the world where even the critically-acclaimed and franchise-based House of the Dragon is getting truncated episode runs and reduced support.

Regardless of how you feel about how Game of Thrones ended, that franchise is a cultural juggernaut. House of the Dragon is legitimately good and packed with talent. The rough patches of Season 2 can be easily traced back to reduced budgets/cut episode run at the last minute that forced the production team to scramble and adapt.

Honestly. Is there anyone actually committing to their series other than FX, AMC, and Amazon with Rings of Power? Although RoP can also be considered a sunk cost fallacy since Amazon invested a SHIT TON into the IP and the series, so they need it to work. They also have a wobbly track record supporting other shows. (I will never forgive them for cancelling A Leage of Their Own.)

FX and AMC are the only networks that feel like they're actually supporting their content. And what do you get for that? Shogun, one of the best shows in recent memory. The show absolutely swept awards season (and rightfully so) and is now setting itself up to be a tentpole show in the mold of such classics of the historical fiction genre like Deadwood, The Tudors, and Rome.

Interview With the Vampire, is an AMC show which has a very active and passionate fandom eager for more of it and Anne Rice's Immortal Universe. This is a rare example of a new franchise (albeit based on an existing, well-know IP) is really finding its feet and its audience. The audience for it is not of the size of something like House of the Dragon, but AMC is feeding the audience it does have unapologetically, with queer camp horror full of messy, toxic relationships.

Then there's What We Do in the Shadows, which seems to be ending on its own terms this year. FX is a Disney subsidary which somehow manages to commit to the series it creates, which proves it can still be done.

I do hope that FX and AMC continues to support their weird and wonderful shows, and I hope they keep getting rewarded for it with high ratings and awards so that the rest of the networks will smarten up.

If we hadn't just come out of a golden age of streaming where every network was producing excellent TV, all of this heavy cancellation and fragmentation wouldn't be quite so devastating.

Entertainment seems like it's constantly in a feast or famine churn. Right now, we're careening toward famine, which is full of one-season shows, overextended franchises, flagship shows being cut/restrained and a whole lot of cheap dreck.

It's the reality TV heyday all over again and I hate it.

[dayscapism]

I really want to watch Dead Boy Detectives, it looks very good and like everything I would love in a paranormal tv show, but have been burned before, by many networks but specifically by Netflix. I will not watch any new fantasy shows by them until we have guaranteed at least 3 seasons or we already have them out. My heart cannot be broken like this again, like it did with Lockwood & Co and Shadow and Bone.

(I'm currently watching House of the Dragon and making my way through the Ghibli catalogue instead.)

[captainfairygodmother]

Decided now that the only show I will watch is Doctor Who because Doctor Who will never die

[aroacespacerock]

quickly realizing that my favorite trope in media is codependent levels of homoerotic friendship

[fisherrprince]

the problem is I’m such a staunch believer in the slow buildup, the earnest enjoyment of meandering through terrible story decisions and weird nothing subplots to build up into a conclusion that explodes out from all that as fantastic storytelling and intrigue based on all that buildup, such that it makes it necessary to get through all that or you’re missing something essential, that I’m also a terrible person to talk to about what makes a story good. I can tell you plenty of what actually makes something tight and well-written and all that technical speak but how could anyone take my advice when I so so so love excruciatingly long unnecessarily complex fumbling and weird nonsense that spirals into, inexplicably, weird nonsense that makes you cry your lungs sore