Natalie Le Clue is currently teaching in the department of Media and Communication at Nelson Mandela University in Port Elizabeth, South Africa. Her research focuses on television studies with a particular emphasis on fan studies, fairy tale mythology, and elements of new media.Janelle Vermaak-Griessel is a Senior Lecturer in the Department of Media and Communication at the Nelson Mandela University, South Africa, and teaches in a varied range of disciplines including, but not limited to, scriptwriting, film Studies, communication studies and written communication.

• Introduction; Natalie Le Clue and Janelle Vermaak-Griessel GenderChapter 1. “‘To destroy. To hate. To sow seeds of chaos. You know, just girly things’”: Evil Queens, Femslash Fandom and Monstrous Happiness; Alice M. KellyChapter 2. Scary Good: Queering the Villain-Hero Dichotomy in Contemporary Fairy Tale Retellings; Alba Morollón Díaz-FaesChapter 3. A Tale of Two Mothers: Recombining Villainy and Motherhood in Maleficent: Mistress of Evil (2019); Rebecca RoweChapter 4. When the Magic Mirror Lies: Gender, Vanity, Body Dysmorphia, and the Wicked Queen; Sara AustinScreen NarrativesChapter 5. ‘Pretty ballads hide bastard truths’: Patriarchal Narratives and Female Power in Netflix's The Witcher; Kirsty WorrowChapter 6. Positioning Mrs. Coulter in BBC/HBO His Dark Materials; Giulia BigongiariChapter 7. Female Power and Corruption: Snow White and the Evil Queen Through the Ages; Sarah FaberChapter 8. The Reimagined Female Villain in George R.R. Martin’s A Song of Ice and Fire; Amit KardoshCharacter ReformationsChapter 9. The Stepmother Problem: How an Information Deficit in Film Creates Female Villains; Rebecca GaddChapter 10. These Violent Delights’: Remodeling the fembot archetype in Ex Machina and Westworld; Kirsty WorrowChapter 11. The Fairest Evil Looming over Earth: Representations of the Evil Queen in 21st Century “Snow White” Adaptations; Svea HundertmarkChapter 12. “Evil isn’t born, it’s made”: Redefining the fairytale villain for contemporary television storytelling; Natalie Le CluePhysicalityChapter 13. Maimed Wings and Broken Hearts: Physical Disability, Social Exclusion, and Maternal Love in Disney's Maleficent and Maleficent: Mistress of Evil; Hannah HelmChapter 14. “Poor, unfortunate souls”: Fan Perception of Ursula the Sea Witch from Disney’s The Little Mermaid (1989); Janelle Vermaak-GriesseChapter 15. A Rhetoric of Evil: The clichéd motif of the Evil Queen; Natalie Le Clue and Janelle Vermaak-GriesseConclusion

Natalie Le Clue is currently teaching in the department of Media and Communication at Nelson Mandela University in Port Elizabeth, South Africa. Her research focuses on television studies with a particular emphasis on fan studies, fairy tale mythology, and elements of new media.Janelle Vermaak-Griessel is a Senior Lecturer in the Department of Media and Communication at the Nelson Mandela University, South Africa, and teaches in a varied range of disciplines including, but not limited to, scriptwriting, film Studies, communication studies and written communication.

• Introduction; Natalie Le Clue and Janelle Vermaak-Griessel GenderChapter 1. “‘To destroy. To hate. To sow seeds of chaos. You know, just girly things’”: Evil Queens, Femslash Fandom and Monstrous Happiness; Alice M. KellyChapter 2. Scary Good: Queering the Villain-Hero Dichotomy in Contemporary Fairy Tale Retellings; Alba Morollón Díaz-FaesChapter 3. A Tale of Two Mothers: Recombining Villainy and Motherhood in Maleficent: Mistress of Evil (2019); Rebecca RoweChapter 4. When the Magic Mirror Lies: Gender, Vanity, Body Dysmorphia, and the Wicked Queen; Sara AustinScreen NarrativesChapter 5. ‘Pretty ballads hide bastard truths’: Patriarchal Narratives and Female Power in Netflix's The Witcher; Kirsty WorrowChapter 6. Positioning Mrs. Coulter in BBC/HBO His Dark Materials; Giulia BigongiariChapter 7. Female Power and Corruption: Snow White and the Evil Queen Through the Ages; Sarah FaberChapter 8. The Reimagined Female Villain in George R.R. Martin’s A Song of Ice and Fire; Amit KardoshCharacter ReformationsChapter 9. The Stepmother Problem: How an Information Deficit in Film Creates Female Villains; Rebecca GaddChapter 10. These Violent Delights’: Remodeling the fembot archetype in Ex Machina and Westworld; Kirsty WorrowChapter 11. The Fairest Evil Looming over Earth: Representations of the Evil Queen in 21st Century “Snow White” Adaptations; Svea HundertmarkChapter 12. “Evil isn’t born, it’s made”: Redefining the fairytale villain for contemporary television storytelling; Natalie Le CluePhysicalityChapter 13. Maimed Wings and Broken Hearts: Physical Disability, Social Exclusion, and Maternal Love in Disney's Maleficent and Maleficent: Mistress of Evil; Hannah HelmChapter 14. “Poor, unfortunate souls”: Fan Perception of Ursula the Sea Witch from Disney’s The Little Mermaid (1989); Janelle Vermaak-GriesseChapter 15. A Rhetoric of Evil: The clichéd motif of the Evil Queen; Natalie Le Clue and Janelle Vermaak-GriesseConclusion

Natalie Le Clue is currently teaching in the department of Media and Communication at Nelson Mandela University in Port Elizabeth, South Africa. Her research focuses on television studies with a particular emphasis on fan studies, fairy tale mythology, and elements of new media.Janelle Vermaak-Griessel is a Senior Lecturer in the Department of Media and Communication at the Nelson Mandela University, South Africa, and teaches in a varied range of disciplines including, but not limited to, scriptwriting, film Studies, communication studies and written communication.

• Introduction; Natalie Le Clue and Janelle Vermaak-Griessel GenderChapter 1. “‘To destroy. To hate. To sow seeds of chaos. You know, just girly things’”: Evil Queens, Femslash Fandom and Monstrous Happiness; Alice M. KellyChapter 2. Scary Good: Queering the Villain-Hero Dichotomy in Contemporary Fairy Tale Retellings; Alba Morollón Díaz-FaesChapter 3. A Tale of Two Mothers: Recombining Villainy and Motherhood in Maleficent: Mistress of Evil (2019); Rebecca RoweChapter 4. When the Magic Mirror Lies: Gender, Vanity, Body Dysmorphia, and the Wicked Queen; Sara AustinScreen NarrativesChapter 5. ‘Pretty ballads hide bastard truths’: Patriarchal Narratives and Female Power in Netflix's The Witcher; Kirsty WorrowChapter 6. Positioning Mrs. Coulter in BBC/HBO His Dark Materials; Giulia BigongiariChapter 7. Female Power and Corruption: Snow White and the Evil Queen Through the Ages; Sarah FaberChapter 8. The Reimagined Female Villain in George R.R. Martin’s A Song of Ice and Fire; Amit KardoshCharacter ReformationsChapter 9. The Stepmother Problem: How an Information Deficit in Film Creates Female Villains; Rebecca GaddChapter 10. These Violent Delights’: Remodeling the fembot archetype in Ex Machina and Westworld; Kirsty WorrowChapter 11. The Fairest Evil Looming over Earth: Representations of the Evil Queen in 21st Century “Snow White” Adaptations; Svea HundertmarkChapter 12. “Evil isn’t born, it’s made”: Redefining the fairytale villain for contemporary television storytelling; Natalie Le CluePhysicalityChapter 13. Maimed Wings and Broken Hearts: Physical Disability, Social Exclusion, and Maternal Love in Disney's Maleficent and Maleficent: Mistress of Evil; Hannah HelmChapter 14. “Poor, unfortunate souls”: Fan Perception of Ursula the Sea Witch from Disney’s The Little Mermaid (1989); Janelle Vermaak-GriesseChapter 15. A Rhetoric of Evil: The clichéd motif of the Evil Queen; Natalie Le Clue and Janelle Vermaak-GriesseConclusion