Entertainment
How the Cat King in 'Dead Boy Detectives' captures a familiar queer dynamic
This article contains spoilers for Netflix’s “Dead Boy Detectives.”
When the Dead Boy Detectives Edwin Paine and Charles Rowland are first summoned by the Cat King, the shape-shifting feline just wants retribution after they break his rules.
But after whisking Edwin away to privately discuss his crime and potential punishment, the Cat King is quick to admit that the handsome teen ghost fascinates him. He turns up his seductive charm — while shirtless in a fur robe — and then magically traps Edwin in his small town.
“Because Edwin has his walls up so much, it’s suddenly a game to him,” said Lukas Gage, the out actor who portrays the Cat King in the supernatural drama. “Edwin is very guarded and well put together so that entices the Cat King. He wants to rough him up a little bit and see him get angry and get kind of messy.”
Based on the comic book characters created by Neil Gaiman and Matt Wagner, “Dead Boy Detectives,” now streaming on Netflix, follows Edwin (George Rexstrew) and Charles (Jayden Revri), the show’s solvers of supernatural mysteries.
Edwin and Charles’ longstanding routine and dynamic are shaken up after they meet Crystal (Kassius Nelson), a very much living teenager with a demon ex-boyfriend and no memories of her past.
The Cat King (Lukas Gage), left, is fascinated by Edwin (George Rexstrew) in “Dead Boy Detectives.”
(Netflix)
“We always knew that part of the Season 1 journey for all three of our core characters was going to be an exploration of identity,” said Steve Yockey, who developed the series.
“All of our characters are trying to figure out who they are,” added Beth Schwartz, who served as co-showrunner with Yockey. “They’re teenagers and they’re having a coming-of-age story, just in a nontraditional way because two of our main characters are dead.”
For Charles, who died in the 1980s after being attacked by school bullies, this involves confronting why he is so outwardly happy and positive all of the time. While Crystal, with no memory of herself, has to both figure out her actual identity and who she wants to be in the aftermath of a toxic relationship.
“For Edwin, we wanted to hit him from all sides,” said Yockey. “The Cat King is that older experienced man that maybe doesn’t have the best intentions, but is also charming and seductive. Monty [a younger supernatural suitor], who you think has nefarious intentions, really just tries to honestly be affectionate with Edwin. We’re just giving him all of these different eye-opener experiences and context as he slowly realizes, ‘Oh, wait, this is something that I am and it’s OK.’”
In addition to realizing he is attracted to men, Edwin has to sort through his feelings for his best friend over the course of the season. According to Yockey, the relationship between Cat King and Edwin was of particular interest for the gay writers on the show because it was a dynamic many of them were familiar with.
“When you first are starting to come out, you always find a more experienced gay man who’s happy to hold your hand and walk you into that world and not always with the best intentions,” said Yockey. Their aim was “capturing that in a supernatural way.”
Crystal (Kassius Nelson), from left, Charles (Jayden Revri), Edwin (George Rexstrew) and Monty (Joshua Colley) in “Dead Boy Detectives.”
(Netflix)
While “Dead Boy Detectives” is set within the broader “Sandman” universe (as played up by a couple of cameos), the Cat King is an original character Yockey created for the series. A longtime fan of the “Dead Boy Detectives” comic books, “The Flight Attendant” showrunner explained that they wanted the Cat King “to be as fun as possible.”
“And then we got Lukas and that fun was realized,” said Yockey.
Gage, who has played a string of memorable roles in buzzy shows like “The White Lotus,” “You” and “Fargo,” said he didn’t have much time to really prepare for the Cat King since it immediately followed his wrap on this year’s remake of “Road House.” It wasn’t until he put on the Cat King’s robe and makeup for the wardrobe test that he figured out the character.
“He has a bunch of fur on and I remember [thinking] there’s a bit of a sensuality to this character,” said Gage. “He feels very comfortable in a robe and seducing this ghost in his lair.”
Gage admits he was primarily drawn to the project for the opportunity to work with Yockey, though he does describe himself as an animal person who loves both cats and dogs.
“I’ve been fascinated by cats and how they kind of just play hard to get and give you a little bit [of affection] and then they’re like ‘OK, I’m done with you, leave me alone,’” said Gage, who says his time as the Cat King was a joy. “I always love to play these kind of complicated characters that you can’t tell if you hate them or like them.”
Lukas Gage says the Cat King is untrustworthy, even to himself.
(Netflix)
For Gage, part of the excitement in playing characters like the Cat King where his backstory is a mystery is “the creative freedom to fill in the blanks for yourself.” So although he describes the Cat King as a brat, he believes it stems from past heartbreak.
The Cat King “clearly has a lot of wisdom and has been around for a long time, but there was a lot of idiosyncrasies with him,” said Gage. “He came off so cold and heartless, but I think it came from a place of getting his heart broken for hundreds of years.”
What made the Cat King particularly fun for Gage is that he is untrustworthy and a liar, even to himself. So in crafting the character, Gage was interested in exploring the Cat King’s rage as well as his narcissism.
“He loves hearing the sound of his own voice,” said Gage. “He loves the way he looks. He loves his body. I wanted to get in touch with that and [explore] how much of that was actually a lie, how much of that was a mask, how much of that was a front.”
For Gage, the Cat King’s thirst for attention, at least, was something he could relate to as an actor.
“I can connect to that as a kid who didn’t feel like he got enough attention growing up and [chose] this career where he essentially was going to have the world give him attention,” said Gage, with a laugh. The role also brought new challenges, such as acting opposite tennis balls that were stand-ins for cats that would be digitally added later. (Yockey and Schwartz said only two real cats were used during the production.)
Niko (Yuyu Kitamura), left, and Crystal (Kassius Nelson) searching for the Cat King. Only two cats in the show were portrayed by actual felines.
(Netflix)
And although he starts off just toying with Edwin, “there’s something kind of beautiful about this person that’s been around for hundreds of years but still has the giddiness and the butterflies of having a crush and falling in love again,” said Gage.
The showrunners credit Gage’s performance for the Cat King’s unique appeal.
“Lukas brought this fully realized performance,” said Yockey. “He has this sort of wink in what he does, and I think it’s really fun to see a character be playful about sexuality in a show that can be very serious on the topic sometimes.”
“Even though it’s this nefarious character that is a full-on predator, people come away from the show loving him because of Lukas’ charm,” said Schwartz. “He brought a different side to the Cat King, where the Cat King does start to really learn something about himself as well.”
Gage describes the Cat King’s arc as going from “jaded to open to possibilities.”
He also recognizes that “aspiring to be a supernatural creature is cornerstone queer culture in a way,” said Gage, who was so obsessed with “True Blood” in middle school that he wanted to be a vampire. “From my experience in the queer community, we love a form of expression other than dialogue. There’s something akin to drag in supernatural things.”
“There’s a part of my emo punk preteen [and] teen self that would have just devoured this show and the queerness of it all.”
Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
Entertainment
Review: Monica Lewinsky, a saint? This devastatingly smart romance goes there
Book Review
Dear Monica Lewinsky
By Julia Langbein
Doubleday: 320 pages, $30
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First loves can be beautiful or traumatic, sometimes both. They are almost always intense, with emotions on speed dial and hormones running amok. Nothing like the durable consolations of late-life romance, but headier, more exciting and, in the worst cases, far more damaging.
Even decades later, Jean Dornan, the protagonist of Julia Langbein’s smart, poignant and involving novel “Dear Monica Lewinsky,” can’t recollect her own first love in tranquility. Its after-effects have derailed her life, and an unexpected email invitation to attend a retirement party in France honoring her former lover sends her into a tailspin.
An agitated Jean finds herself praying to none other than Monica Lewinsky, the patron saint of bad romantic choices, or as Langbein puts it, “of those who suffer venal public shaming and patriarchal cruelty.” In Langbein’s comic, but also deadly serious, imagination, this is no mere metaphor. The martyred Monica has literally been transfigured into a saint. And why not? Surely, she has suffered enough to qualify.
Jean and Monica have in common a disastrous liaison with an attractive, powerful, married older man. Monica was humiliated, reviled, then merely defined by her missteps. Meanwhile, her arguably more culpable sexual partner survived impeachment, retained both his political popularity and his marriage and enjoyed a lucrative post-presidency.
Jean’s brief fling during the summer of 1998 coincided with the public airing of Monica’s doomed romance. Jean’s passion took a more private toll, but she still lives with what Monica calls “this deepening suspicion that your existence is a remnant of an event long since concluded.”
Though framed by a fantastical conceit, “Dear Monica Lewinsky” is at its core a realist novel, influenced by the feminism of #MeToo and precise in its delineation of character and place. Langbein’s Monica — having finally transcended her past and ascended to spiritual omniscience — becomes Jean’s interlocutor. Together, they relive the fateful weeks that Jean spent studying the Romanesque churches of medieval France and charming David Harwell, the Rutgers University medieval art professor co-leading the summer program.
Every now and again, Monica, as much savvy therapist as all-knowing seer, interrupts Jean’s first-person account to offer guidance. Threaded through the narrative, as contrast and commentary, is a martyrology of female saints. These colloquially rendered portraits, reflecting a punitive, patriarchal morality, describe girls and women who would rather endure torture or even death than sully their sexual purity — stories so extreme that they seem satirical.
The portraits play off the novel’s milieu: a series of churches, as well as the medieval French castle that is home to an eccentric and mostly absent prince. The utility of religious doctrine and practice is another of the book’s themes. One graduate student, Patrick, is a devoted Roman Catholic, unquestioning in his faith. Others are merely devout enthusiasts of medieval architecture. Judith, a doctoral candidate at Harvard, has an addiction of her own: an eating disorder that threatens to disable her.
A rising junior at Rutgers, Jean is one of just two undergraduates in the program. Her initial dull, daunting task involves measuring and otherwise assessing the churches’ “apertures” — windows and doors. Later, she is assigned to collaborate on a guidebook and write a term paper.
A language major unversed in art, architecture or medieval history, Jean feels overwhelmed at times. But she does have useful talents: fluent French and the ability to conjure delicious Sunday dinners for her bedazzled colleagues. (The author of the 2023 novel “American Mermaid,” Langbein has both a doctorate in art history and a James Beard Foundation Journalism Award for food writing, and her expertise in both fields is evident.)
As the summer wanes, Jean’s fixation on David grows. Langbein excels at depicting the obsessive nature of illicit, unfulfilled desire — how it swamps judgment and just about everything else. A quarter-century Jean’s senior, David is trying to finish a stalled book project, laboring in the shadow of his more prolific and successful wife, Ann. An expert on the erotically charged religious life of nuns and the art it produced, she shows up briefly in the story and then conveniently disappears.
David is smooth, seductive and, to 19-year-old Jean, far more appealing than the fumbling schoolboys she has known. But he turns out to be no more grown-up or emotionally mature. After the flirtation and its consummation, David beats a hasty (and unsurprising) retreat. Then he does something worse: He allows his guilt to shred his integrity.
In the aftermath of that summer, a wounded Jean stumbles through her last two years of college, “berserk, unfocused, humiliating.” She abandons her academic and career ambitions, takes a job as a court interpreter, and marries Michael, an affable nurse who has little idea of her emotional burdens.
Then that invitation, inspiring “a racy heat,” arrives, and Jean must decide whether to confront her past or keep running from it. Is there really much of a choice? Fortunately, she has the saintly Monica as her guide. More clear-eyed now, Jean must reject her martyrdom and reclaim her own truth and agency. If she does, David, at least in the realm of the imagination, may finally get his comeuppance.
Klein, a three-time finalist for the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing, is a cultural reporter and critic in Philadelphia.
Movie Reviews
‘I Swear’ Review – Heart Sans Sap, Cursing Aplenty
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
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