Synopsis
Why the British fantasy comedy TV show »Good Omens« – co-produced by the BBC and Amazon Prime – has become such a hit is not at all »ineffable«. The series, based on the beloved novel by Neil Gaiman and Terry Pratchett, follows the angel Aziraphale and the demon Crowley in their attempts to prevent the Apocalypse and save humanity from both ›above‹ and ›below‹, while slowly falling for each other. »Good Omens’« unique blend of humor, fantasy, and biblical themes has captivated audiences. The lead performances by Michael Sheen (Aziraphale) and David Tennant (Crowley) have been particularly praised for their chemistry and ability to bring these iconic characters to life. The series has also been lauded for its clever writing, stunning visual effects, intricate costumes and set-design, and its exploration of profound themes such as free will, good vs. evil, friendship, the meaning of life, and the very nature of existence. Because of its subversive humor, the constant transgression of societal norms as well as its pointed intertextual references to popular culture, literature, and history, »Good Omens« gained a strong and dedicated fan-following, which centers around Aziraphale and Crowley. The contributions of this volume from literary, cultural, media, film, and television studies as well as related disciplines are concerned with a broad variety of aspects of this thought-provoking series regarding mythology, intertextuality, gender, and fandom in particular.
À propos de l?auteur
Vera Cuntz-Leng, Dr. phil., geboren 1979. Studium der Film- und Theaterwissenschaft in Mainz, Marburg und Wien. Magister 2007 an der Johannes Gutenberg-Universität Mainz mit einer Arbeit zu „Kalkulierter Schrecken: Standardsituationen in der Alien-Filmreihe“ (Remscheid: Gardez 2007), Promotion 2014 an der Eberhard Karls-Universität Tübingen mit der Arbeit „Harry Potter Que(e)r: Eine Filmsaga im Spannungsfeld von Queer Reading, Slash-Fandom und Fantasyfilmgenre“ (Bielefeld: Transcript 2015), ausgezeichnet mit dem Dissertationspreis der deutschen Gesellschaft für Fantastikforschung. Derzeit Wissenschaftliche Mitarbeiterin am Institut für Medienwissenschaft der Philipps-Universität Marburg und leitende Redakteurin der Zeitschrift MEDIENwissenschaft; davor Tätigkeiten an den Universitäten Mainz und Berkeley, CA. Herausgeberin des Sammelbandes „Creative Crowds: Perspektiven der Fanforschung im deutschsprachigen Raum“ (Darmstadt: Büchner 2014). Forschungsschwerpunkte: Gender/Queer Studies; Fan Studies; Serialität; Fantastik.
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