Gaiman & Pratchett's GOOD OMENS TV show (2018)
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First Look at David Tennant & Michael Sheen in 'Good Omens'

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Good Omens is on its way to the small screen, and the series' two stars are looking pretty fantastic in costume.

 

Neil Gaiman, who co-wrote the book with Terry Pratchett, recently shared a first look photo of David Tennant (Doctor Who, Jessica Jones) and Michael Sheen (Masters of Sex) in costume for the series.

 

It is unknown exactly when Amazon's Good Omens series will premiere, although it's safe to assume that it will have a rather poignant 2018 release date.

 

The six-episode Amazon series will follow Aziraphale and Crowley, an angel and a demon who set out on a mission to locate the misplaced Antichrist in a near-apocalyptic 2018. Tennant will play Crowley, while Sheen will play the "somewhat fussy angel" Aziraphale. The pair were cast in the roles last month.

 

It is unknown exactly when Amazon's Good Omens series will premiere, although it's safe to assume that it will have a rather poignant 2018 release date.

 

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First look at John Hamm as Archangel Gabriel in Amazon's Good Omens

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 A great cast lined up, including Michael Sheen as Aziraphale, David Tennant as Crowley, and John Hamm as the Archangel Gabriel. In fact, here's our first official look at Hamm-as-Gabriel.

 

And here's what Gaiman had to say about Hamm:

 

Gabriel is everything that Aziraphale isn't: he's tall, good-looking, charismatic and impeccably dressed. We were fortunate that Jon Hamm was available, given that he is already all of these things without even having to act. We were even more fortunate that he's a fan of the books and a remarkable actor.

 

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Almost time! :bump:

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:ohnoez::ohnoez::ohnoez:

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Uh-Oh.

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“Good Omens.” Amazon, May 31. Six episodes (all screened for review).

 

Like Starz’s “American Gods” before it, Amazon’s newest limited series attempts to adapt the philosophically lofty, theologically-infused work of British novelist Neil Gaiman. In his 1990 novel “Good Omens” (co-written with Terry Pratchett), an odd-couple angel and demon attempt to avert the apocalypse in order to continue enjoying their unusual partnership. Onscreen, this pairing — between a saintly being played by Michael Sheen and a fallen angel played by David Tennant, both seeking to save the world for their own reasons — is the best part of the new “Good Omens” limited series. But it’s not enough: This six-hour journey towards the end of time comes to feel grindingly slow by the end, more anticlimax than fight for Earth’s future.

 

It’s not a road without obstacles, though: The plot, here, is a mire, with the pair seeking to preserve their balance of power on earth by fighting off an Antichrist whose identity is, at first, concealed. We don’t know which child will bring about the end of days at first, thanks to a laborious game of three-card monte played with babies in a nunnery, one of whom will grow up to bring about the end of days — a device whose convoluted, showy nature gets at what makes “Good Omens” quite so frustrating. Much like “American Gods,” with its high-toned concept bearing little fruit in the way of plot or insight, this show feels above all relentlessly proud of itself, burnishing all it knows about religion and philosophy in service of a story that simply doesn’t move. To wit: One episode begins with a montage of Aziraphale and Crowley influencing humanity through history — at the building of Noah’s ark, at Shakespeare’s Globe. It’s a point that’s made so laboriously and repetitively that the opening credits drop some 28 minutes into the episode. Elsewhere, deities representing, say, War (Mireille Enos, doing her best) or Pollution (Lourdes Faberes) drop into and out of a story that didn’t strictly need them to bulk out its running time in the first place, and seems to have little real room for them as it stands.

 

Appetites for logic puzzles about the intentions of God and practices of worship will vary. After having known some philosophy majors my freshman year of college, such debates evoke in me a prickling desire to leave the room as soon as I can. But my openness to a show with two charming, underplayed performances at its center working through such a complicated thing as partnership with one’s ideological opposite was real, and it faded as the hours of increasingly exhausted showmanship and patter about religion wore on. In cramming in quite so much incident and varyingly successful attempts at humor, “Good Omens” traverses a great deal of ground. That it ends up saying so little feels like a missed opportunity.

:whatthe:

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