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Transformative Works and Cultures, special Supernatural issue,
No. 4 (March 15, 2010)
Editorial
Catherine Tosenberger, Love! Valor! "Supernatural"!
Praxis
Catherine Tosenberger, "Kinda like the folklore of its day": "Supernatural," fairy tales, and ostension
Lisa Schmidt, Monstrous melodrama: Expanding the scope of melodramatic identi$cation to interpret
negative fan responses to "Supernatural"
Melissa N. Bruce, The Impala as negotiator of melodrama and masculinity in "Supernatural"
Berit Åström, "Let's get those Winchesters pregnant": Male pregnancy in "Supernatural" fan $ction
Line Nybro Petersen, Renegotiating religious imaginations through transformations of "banal religion" in
"Supernatural"
Laura E. Felschow, "Hey, check it out, there's actually fans": (Dis)empowerment and (mis)representation of
cult fandom in "Supernatural"
Monica Flegel&Jenny Roth, Annihilating love and heterosexuality without women: Romance, generic
difference, and queer politics in "Supernatural" fan $ction
Symposium
Deepa Sivarajan, "Tlon, fandom, and source texts: The effect of fan works on the narrative of "Supernatural
Louisa Ellen Stein, "What you don't know": "Supernatural" fan vids and millennial theology
Kristin Noone, What are little ghouls made of? The "Supernatural" family, fandom, and the problem of
Adam
Suzette Chan, "Supernatural" bodies: Writing subjugation and resistance onto Sam and Dean Winchester
Babak Zarin, Infernal redemption
Melissa Gray, From canon to fanon and back again: The epic journey of "Supernatural" and its fans
Katharina Freund, "I'm glad we got burned, think of all the things we learned": Fandom con>ict and context
in Counteragent's "Still Alive"
Jules Wilkinson, A box of mirrors, a unicorn, and a pony
Interview
TWC Editor, Interview with Keith R. A. DeCandido
Deborah Kaplan, Interview with the Super-wiki admin team
TWC Editor, Interview with Wincon organizer Ethrosdemon
Review
Alysa Hornick, "In the hunt: Unauthorized essays on 'Supernatural,'" edited by Supernatural.tv
Douglas Schules, "Supernatural role playing game," by J. Chambers
Germán Gil-Curiel, "Scare tactics: Supernatural $ction by American women," by Andrew Jeffrey Weinstock
Martin Fradley, "Contemporary Gothic," by Catherine Spooner
Linda Levitt, "Haunting experiences: Ghosts in contemporary folklore," by Diane E. Goldstein et al.
Christopher M. Moreman, "Pretend we're dead," by Annalee Newitz
Transformative Works and Cultures (TWC), ISSN 1941-2258, is an online-only Gold Open Access publication of the nonpro$t
Organization for Transformative Works. TWC is licensed under the Creative Commons Attribution-Noncommercial 3.0
Unported License. Download date: March 15, 2017. For citation, please refer to the most recent version of articles at TWC.
Transformative Works and Cultures,Vol 4 (2010)
Editorial
Love! Valor! Supernatural!
Catherine Tosenberger
University of Winnipeg, Winnipeg, Manitoba, Canada
[0.1] Abstract—EditorialforTransformativeWorksandCultures,No.4,special
issue,"SavingPeople,HuntingThings."
[0.2] Keywords—Fanstudies;TWC
Tosenberger,Catherine.2010."Love!Valor!Supernatural!"[editorial].
TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0212.
1. Introduction
[1.1] ThechoiceoftheCWseriesSupernatural(2005–)forTransformativeWorks
andCultures'firstfandomspecificissuecouldnotbemoretimely.Overthepastfive
seasons,theserieshasgrownfromastrugglingshowonatinynetworktoasolidcult
hit.Theshow'smixtureofhorrormovietropes,Americanfolkbeliefs,popularreligious
imagery,andanunusuallyintensesiblingrelationshipattractedlegionsoffanseager
toexploretheworldofthebrothersWinchester.InSeptember2009,Entertainment
Weeklylistedtheseriesasnumber11onitslistofthe"25GreatestCultTVShows
Ever"(http://www.ew.com/ew/gallery/0,,20302134_20304619_15,00.html),sharing
spacewithpowerhouseslikeDoctorWho(1969–1989,1996,2005–),TheXFiles
(1993–2002),andBuffytheVampireSlayer(1997–2003).Notably,despitethe
presenceofsomanyshowswithlarge,famousfandoms,Supernaturalwastheonly
showwhoseinclusiononthelistwaspredicatednotonthecontentoftheseriesitself,
butbythecreativeproductionsofitsfandom.EWremarkedontheintensedevotionof
thefansandsingledoutthefanfictionalgenreofWincestasproofoftheseries'status
asoneofthe"greatestcultshows."Normally,mentionofaspecific,andpotentially
controversial,subgenreoffanfictioninamainstreammediaoutletwouldbecausefor
muchchatter,discussion,andpossiblealarmamongfans,butinthiscase,EW's
snickeringaboutWincestraisedfeweyebrows.First,theyhadalreadydoneit,backin
April(http://www.ew.com/ew/article/0,,20270843,00.html).Second,andmore
importantly,Supernaturalhadalreadydrawnattentiontoitsfandom,anditsfic,within
theshowitself.
[1.2] Inseasons4and5,ridingawaveofincreasedratingsandvisibility,
Supernaturalstarteddepicting,withinthediegesisoftheshow,theactivitiesofits
fandom.Episode4.18"TheMonsterattheEndofthisBook"presentedreclusivedrunk
ChuckShurley,anunwittingprophetoftheLordwhoseworkswilleventuallybecome
knownasthe"Winchestergospel."Hehaswrittenaseriesofnovelsthataccurately
recordSamandDean'sentirelives;thisseries,alsotitledSupernatural,hasacquired
adevotedfanbasethatcritiques,analyzes,andrespondstoitinmuchthesameway
fansofthetelevisionshowdo—uptoandincludingthewritingofWincest.Episode
5.01"SympathyfortheDevil"introducedBeckyRosen,theWincestwritingfangirl
whoisfirstseenathercomputer,intheprocessofwritinganespeciallyturgidWincest
fic.In5.09"TheRealGhostbusters,"BeckyandChuckreturnedinthecontextofa
Supernaturalfanconvention.
[1.3] "Monster"sentashockwavethroughthefancommunity:notonlydidit
acknowledgetheshow'sfandomandpokefunatthelevelofdevotionandemotional
investmentintheseries,butitalsooutedthosefanswhowriteSam/Deanslash.Many
oftheessaysinthisissue,inboththePraxisandSymposiumsections,addressthe
mixedresponsesofthefandomtothisepisode,andtoitsfollowup,5.01"Sympathy
fortheDevil."LauraE.Felschow,in"'Hey,checkitout,there'sactuallyfans':
(Dis)empowermentand(Mis)representationofCultFandominSupernatural,"argues
thatthefandomepisodesareKripkeandcompany'sattempttoassertinterpretive
controlovertheseries:
[1.4] Thecultfanisremindedthats/hecannotdecidewhatistobe
includedandexcluded,whocanbecomplimentedorinsulted.Fandommay
feelacertainwayinresponsetotheepisode,buttheycannotchangeit.
Theycanpostabouttheirangerortheirdelight,buttheycannotcreatean
officialepisodeoftheirownwhereinthecultfanisdepictedinamannerof
theirchoosing.
[1.5] Thethirdfandomepisodethusfar,5.09"TheRealGhostbusters,"airedtoolate
foressaywriterstoincludeitintheirdiscussions,butIcanaddressithere.Insome
ways,thisepisodeisbyfarthemostmaddeningofthethree.Notonlydoesitdepict
fandom(infarmoredetailthansomefansarecomfortablewith),butitalsoreiterates
theshow'songoingproblemswithrepresentationsofwomen.BeckyhasluredSam
andDeantoaSupernaturalconventionatwhichChuckistheguestofhonor.The
conventionisfilledwithdiehardfans,manyofwhomareincostume,andfeaturesa
liveactionroleplayinggame.Thehotelinwhichtheconventionisbeingheldturns
outtobehaunted,andtwooftheroleplayers,DemianandBarnes,stepuptohelp
SamandDeandefeattheevilghosts.Chuckofferssomeminorhelpaswell,which
causesBeckytotransferhercrushonSamtoChuckhimself,tothedelightofboth
men.DemianandBarnesdeliverasweetarticulationofthejoysoffandomandreveal
themselvestobeacouple;SamandDeanrideofftocontinuetheirquest,presumably
wiserinthewaysofthosefreakyfans.
[1.6] Asseveralessaysinthisissueaddress,Supernaturaloftenexhibits
misogynisticovertones,whichwereespeciallyegregiousin"Ghostbusters."Manyfans
foundittellingthatintheepisodewherefansgettobeheroes,itisonlythemalefans
whodoso—inutterdefianceofthefactthatthemajorityoffanswhoattend
Supernaturalconventionsarewomen.Becky,theWincestwritingfangirl,isstill
presentedasdeviantandexcessive—and,unlikethemalefans,Beckyisneverallowed
tobeheroic.Sheisrewardednotwithhumanizationandvalorizationofher
fannishness,butinsteadwithChuck'ssexualattentions.Heraccesstoheroismis
confinedtosexwithaheroicman.Themessageof"Ghostbusters"appearstobe:
fanboys,keeponkeepingon—youaredorkybutlovable.Femalefans,youarecreepy,
butyoumightbewillingtofuckusrealwriters,soyouaren'ttotallyunacceptable.Or,
asfanGiandujaKissputit,"So,nowweknowwhatkindoffansKripkewisheshehad"
(LiveJournalblogpost,November13,2009).ItappearsthattotheSupernatural
producers,theonlygoodfanisamalefan,specificallyonewhoavoidsthosefannish
pathsusuallygenderedfemale—therebeWincest.
[1.7] Thefandomepisodesare,bydesign,overtlymetatextualandselfreferential;
whileBeckyisaparodyofSupernaturalfans,Chuck,whowritesunderthepenname
CarverEdlund(aportmanteauofwritersJeremyCarverandBenEdlund),pokesfunat
thewritersthemselves.Giventhis,Becky's"reward"ofsexwithChuckstartstolook
likeamasturbatoryfantasyaboutthefandomasahordeofhorny,availablewomen
whojustlovetheworkofthemalecreatorandthemostlymalewritingteam.
GiandujaKiss'vid"BlisterintheSun,"settoViolentFemmes'odetoonanism,isa
scathingcommentaryonthewankiness(inthemasturbatorysense)oftheshow,as
wellasaslynodtothewank(inthefannishkerfufflesense)thatthe"fandom"
episodesgenerated.
FindmorevideoslikethisonBAMVidVault
Vid1.GiandujaKiss,"BlisterintheSun"(2009).
2. Praxis
[2.1] Becauseeveryarticleinthisissueisconcernedwiththespecifictextand
fandomofSupernatural,alloftheacademicessaysfallsunderPraxis.Theessaysin
thissectionanalyzeboththeseriesandfannishresponsestotheseries;acommon
themeishowboththeshowandthefanproductionsrespondtoavarietyofpopular
discoursesconcerninggender,religion,folklore,andtransformativework,among
others.LisaSchmidt,in"MonstrousMelodrama:ExpandingtheScopeofMelodramatic
IdentificationtoInterpretNegativeFanResponsestoSupernatural,"discussesthe
fandomepisodesandthereactionstheyspawnedthroughthelensofIenAng'stheory
ofmelodramaticidentification.MelissaN.Brucealsodrawsonthediscursivegenreof
melodramatoarticulatetheroleDean'sbelovedChevyImpalaplaysintheseries,in
"TheImpalaasNegotiatorofMelodramaandMasculinityinSupernatural."Monica
FlegelandJennyRoth,aswellasBeritÅström,turntheirattentiontounderstudied
genresoffanfiction.FlegelandRoth,in"AnnihilatingLoveandHeterosexuality
WithoutWomen:Romance,GenericDifference,andQueerPoliticsinSupernaturalFan
Fiction,"discussdarkerWincestfic,whichbecamemoreprevalentastheseriestooka
turnfortheapocalypticinseasons4and5,inrelationtorealpersonslash(RPS)
aboutSupernaturalactorsJaredPadaleckiandJensenAckles,whichoftenfollowsthe
generictropesofheteronormativeromanticcomedy.(Warning:thisessaycontains
ChadMichaelMurray.)Furtherexplorationofheteronormativetropescanbefoundin
Åström's"'Let'sgetthoseWinchesterspregnant':MalePregnancyinSupernaturalFan
Fiction,"whichdiscussestheunderstudiedsubgenreofmpreg.Malepregnancy
narrativesareoccasionallyderidedinfandom,butÅströmdemonstratesthecomplex
negotiationssuchstorieshavewithdiscoursesofdomesticityandpregnancyinpopular
culture.Inmyownessay,"'Kindalikethefolkloreofitsday':Supernatural,Fairy
Tales,andOstension,"Iexaminetheuseoffairytalesinepisode3.05"Bedtime
Stories"andinfanfiction.Intheessaythatismostfocuseduponthecanonofthe
seriesitself,LineNybroPetersen,in"RenegotiatingReligiousImaginationsThrough
Transformationsof'BanalReligion'inSupernatural,"examinesthemediatizationof
religionandreligiousimageryinpopularculturetoanalyzeSupernatural'sdepictionof
theChristiannarrativeoftheapocalypse.
3. Symposium, Interview, and Review
[3.1] DrawingonthestrongtraditionofmetawithintheSupernaturalfandom,the
Symposiumpiecesinthisissuecombinefannishandacademicperspectives.Melissa
GrayprovidesabriefoverviewofthedevelopmentoftheSupernaturalfandom,while
DeepaSivarajanandJulesWilkinsonrevisittheissueofcreator/actorfandomoverlap.
LouisaEllenStein,KatharinaFreund,andBabakZarindiscussseveralimportantfan
vids,includingCounteragent's"StillAlive,"Luminosity's"TheFifthCircle,"and
Obsessive24's"FallofMan."SuzetteChanreadstheseriesandfanworksthroughthe
lensofFoucauldiantheory,andKristinNoonediscussesthetroublingoftheWinchester
familydynamicin4.19"JumptheShark."
[3.2] Ourinterviewsbridgethegapbetweenamateurandprofessionalfannishness:
wespokewithtieinnovelistKeithR.A.DeCandido,WinconorganizerEthrosdemon,
andtheadminteamfortheinvaluableresourceSuperwiki.Reviewsinthisissue
includetextsthatarespecificallylinkedtotheseries,suchasAlysaHornick'sreviewof
theSupernaturalessaycollectionIntheHuntandDouglasSchules'sreviewofthe
SupernaturalRolePlayingGame,byJamieChambers.Otherreviewsarefortextsthat,
althoughnotaboutSupernaturalitself,touchonissuesofinteresttoSupernaturalfans
andscholars,includingGothicandghostlyfiction(Spooner,Weinstock),ghostsin
folklore(Goldsteinetal.),andmonstersinpopularculture(Newitz).
4. Acknowledgments
[4.1] IwouldliketothankGiandujaKissforpermissiontoembedanddiscusshervid
andtocitehermeta.TimSmith,SuzetteChan,SaraM.Hines,JoannaShearer,
KennethKidd,AndreaWood,AlysaHornick,MurrayEvans,LouisaEllenStein,Mavis
Reimer,HeatherSnell,PaulineGreenhill,HintonBradbury,andAnneKustritzprovided
moralsupportfortheissueasawhole.Ofcourse,KristinaBusseandKarenHellekson
wereendlesslypatientandhelpful,andtheiradvicehasbeeninvaluable—thankyou
forthinkingthisissuewasagoodidea!Ithasbeenanhonorworkingwithyou.
[4.2] ThefollowingpeopleworkedonTWCNo.4inaneditorialcapacity:Kristina
BusseandKarenHellekson(editors);CatherineTosenberger(guesteditor);Lorraine
Dubuisson,AlexisLothian,andSuzanneScott(Symposium);andVeruskaSabucco,
MafaldaStasi,andTishaTurk(Review).
[4.3] ThefollowingpeopleworkedonTWCNo.4inaproductioncapacity:Karen
Hellekson(productioneditor);ShoshannaGreenandMaraGreengrass(copyeditors);
WendyM.Carr,AllisonMorris,KristenMurphy,andRrainPrior(layout);andSarah
Hazelton,VickieWest,andLizaQ.Wirtz(proofreaders).
[4.4] TWCthanksthejournalproject'sOrganizationforTransformativeWorksboard
liaison,RebeccaTushnet.OTWprovidesfinancialsupportandserverspacetoTWCbut
isnotinvolvedinanywayinthecontentofthejournal,whichiseditorially
independent.
[4.5] TWCthanksallitsboardmembers,whosenamesappearonTWC'smasthead,
aswellastheadditionalpeerreviewerswhoprovidedserviceforTWCNo.4:Mark
Chen,SuHolmes,MaryIngramWaters,MikelJ.Koven,LineNybroPetersen,Lisa
Schmidt,andDouglasSchules.
Transformative Works and Cultures,Vol 4 (2010)
Praxis
"Kinda like the folklore of its day": Supernatural, fairy tales, and
ostension
Catherine Tosenberger
University of Winnipeg, Winnipeg, Manitoba, Canada
[0.1] Abstract—Thisessayconsiderstheuseoffolkloreinthetelevisionseries
Supernatural:theshowdoesnotsimplyretellfolknarratives,butperformsthem
bothdiegeticallyandmetatextuallyinaprocessknownasostension.Intheprocess
ofperformance,maincharactersSamandDeanoftenresearchandanalyzethe
storiesthemselves,andperformportionsofthefolknarrativeinordertobringabout
aresolution.Thisessayfocusesuponepisode3.05"BedtimeStories,"whichdoes
notsimplydepictthefolknarrativegenreoffairytales,butalsodirectlyengages
withthediscoursesurroundingfairytalesinpopularculture;inparticular,the
episodereproduceswidespreadunderstandingsoffairytalesasagenderedgenre.
Theessayconcludeswithadiscussionoffanfictionthatusesfairytales,seeingitas
atransformativeresponsetoSupernatural'sowntransformationoffolknarratives.
[0.2] Keywords—Fanfiction;Television
Tosenberger,Catherine.2010."Kindalikethefolkloreofitsday":Supernatural,
fairytales,andostension.TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0174.
doi:10.3983/twc.2010.0174
1. Introduction
[1.1] OneoftheappealsofthetelevisionseriesSupernaturalisthewayinwhichit
usesfolklore.Folknarrativesandbeliefsinformthemajorityofepisodes;moreover,
protagonistsSamandDeanWinchesterarethemselvespresentedascarefulfolklore
researchers—eachepisodedepictstheboyscombingthroughlibraries,archives,public
recordsoffices,andtheInternet,investigatingthefolklorerecord.Theseriesdisplays
amorethoroughknowledgeoffolkloristicsthanmanypopculturetexts(note1);
episodessuchas1.05"BloodyMary"and2.04"ChildrenShouldn'tPlaywithDead
Things"featureintelligentdiscussionsofnarrativevariantsandthemultiplicityoffolk
beliefs,whilesimultaneouslytransformingfolknarrativestobestservethepurposesof
thestorytheserieswishestotell(note2).AsHenryJenkins(2007)andI
(Tosenberger2008)havediscussed,theshowdoesnotsimplydepictfolklore,butuses
itthematically,asawayofreflectingandcommentinguponSamandDean's
relationship.JustasSupernaturalmakestransformativeuseoffolknarratives,fansof
theseriescreatetransformativeresponsestotheshow,intheformoffanfiction,fan
art,vids,andsoforth,inordertofurtherexploreboththeuniverseandthe
characters.
[1.2] Inthisessay,IwanttodiscussnotjustSupernatural'srepresentationof
folklorebutalsothewayitengageswithdiscussionsaboutfolklore—andthewayfans
respondtothefolkloreintheshow.Theseriesbothreproducesandsubvertspopular
discoursesaboutfolklore,oftensettingtraditionalistviewsagainstmorenuanced,
postmodernunderstandingsoffolkmaterial,folkgroups,andfolkloreresearch.And
becauseSupernaturaladheresmuchmorecloselytotheexistingfolklorerecordthan
doothernotableshowsinfluencedbysupernaturalfolklore,suchasthemytharc–
heavyBuffytheVampireSlayerandTheXFiles(bothofwhicharefarmorefocused
upontheirrespectiveinventedmythologicalnarrativesthantheyareon"realworld"
folklore),itencouragesfansoftheseriestodotheirowninvestigations—and
transformations—ofboththeseriesandthefolklorethatinspiresit.
[1.3] Iwillfocusuponepisode3.05"BedtimeStories,"whichis,inmanyways,a
typicalSupernaturalepisode:SamandDeaninvestigatemysterioushappeningsthat
seemtobeconnectedtosupernaturalfolkbeliefs.Inthisepisode,thefolklorein
questionistheEuropeanfairytalecanon,which,ascreatorEricKripkeputit,is"the
folkloremostpeopleknowbest"(Rudolph2007,36).However,thisepisodewasnot
simplyaboutfindingamonsteranddefeatingitusingfolkloricmethods."Bedtime
Stories"explicitlyengagesnotjustwiththefairytalesthemselves,butalsowiththe
storieswetellaboutfairytalesinourculture—thefolkloreaboutthefolklore.Fairy
talesareaprimetestinggroundforquestionsswirlingaroundthedisciplineoffolklore,
abouttherelationshipbetweenoral,literary,andmediaforms,thenatureofthe
"folk,"andthemeaningof"authenticity."Sincethisepisodeissoconcernednotjust
withfolknarrativesthemselvesbutalsowithwhatwethinkaboutthosestories,itis
anidealplacetobeginconsiderationoftheuseoffolklorewithintheshow.Fairytales
arelikelytobemostfamiliartoviewersthroughmediarepresentations,particularly
thoseofDisney,and"BedtimeStories"tacklesnotjustthefolklorerecordbutalso
mediatransformationsoffolklore.
[1.4] MyapproachisinformedbyMikelJ.Koven'sfoundationalworkinFilm,
Folklore,andUrbanLegends(2008),whichisthefirstfulllengthworktocombine
folkloristicswithfilm,television,andmediastudies.Kovenarguesthat,ifwewishto
discussfolkloreinpopularculture,itisnotenoughsimplytonotefolkloricmotifsand
narrativesinpopularculturetexts:"Tounderstandhowpopularfilmandtelevision
usesfolkloremotifs,wemustdigdeepertoseewhathappenswhensuchmotifsare
recontextualizedwithinthepopularmediatext"(Koven2008,70).Accordingto
Koven,thefolkloricprocessofostensionisthemostusefulwaytoapproach
representationsoffolkloreinmedianarratives;thepremiseandstructureof
SupernaturalmakeitaparticularlyrichtestinggroundforKoven's"ostensive
methodology"(2008,153).
[1.5] OstensionisdefinedbyLindaDéghandAndrewVázsonyias"presentationas
contrastedtorepresentation(showingtherealityitselfinsteadofusinganykindof
signification)"(1983,6).Or,asJanHaroldBrunvanddescribesit,"sometimespeople
actuallyenactthecontentsoflegendsinsteadofmerelynarratingthemasstories"
(2001,303).Supernaturaldoesnotsimplyretellfolknarratives,butactuallyperforms
thestories.Kovenexpandsthesedefinitionsfurther,inawayobviouslyrelevantto
Supernatural:"anylegendtextdramatizedthroughpopularculture…isalsoakindof
ostension,particularlywhenweareshownthenarrativethroughactionsratherthan
havingthestoryretoldtousthroughnarration";hecallsthisphenomenon"mass
mediatedostension"(2008,139).Ofcourse,everyfilmortelevisionseriesthat
dramatizesfolklegends,asKovenpointsout,commitsmassmediatedostension.But
Supernaturalisunusual:theseriesnotonlyusesostensionbecauseitisamassmedia
textthatdramatizesfolknarratives,italsoactivelyandconsistentlydepictsostension
asaprocess.Almosteveryepisodefeaturesthemajorityofthecharactersperforming
ostensiveacts—andSamandDean,atleast,arefullyconsciousofthisostension.
Supernaturalreliesheavilyuponexistinglegendtexts,andthemajorityofevery
episodeinvolvesSamandDeaninvestigatingthefolklorerecordtodeterminewhich
ostensiveactionwillbemostefficaciousindefeatingthecreatureoftheweek.
Supernaturaldramatizesthe"practical"in"practicalfolkloristics":likeZoraNeale
HurstontrainingasahoodoodoctorinMulesandMen(1935),SamandDeandonot
simplyresearchfolkbelief,butactivelyputthosebeliefstouse.
[1.6] Ostension,inmostdiscussionsoftheterm,usuallyinvolvesfolknarratives
definedaslegends.Legendsarebestdefinedasstoriesthatmakeaclaimtoreal
worldorhistoricaltruth:"atthecoreofalegendisanevaluationofitstruthstatus…In
alegend,thequestionoftruthmustbeentertainedevenifthattruthisultimately
rejected"(Oring1986,125).Thisisincontradistinctiontothecategoriesofmyth
(storiesunderstoodtocontainsacred,ifnotnecessarilyliteral,truth)(note3)and
folktale(storiestoldasfiction).Itisnotsurprisingthatostensionusuallyoccurswith
legends—sincetheperformanceofostensiveactsisintendedtoproducerealworld
results,itmakessensethatthenarrativeschosenforperformanceusuallymakesome
claimtorealworldtruth.Furthermore,Kovenarguesthatlegendostensioninpopular
culturetextsencouragesaudiencestoengagein"someformofpostpresentation
debateregardingtheveracityofthelegendspresented"(2008,139)(note4).Thisis
reflectedinSupernatural;mostepisodesengagewithnarrativesthatareusuallytold
intheirfolkcontextasiftheywere"true."Vampires,werewolves,shtrigas,theHook
Man,LaLlorona,witches,RobertJohnson'srumoredpactwiththeDevil,zombies,
djinn,changelings,evilclowns,andghostsofallkindshavebeenfeaturedonthe
show.Moreover,SamandDean'smethodsofdefeatingthesecreaturesarethose
whichfolkbelieflikewisedeems"true":saltingandburningremains,performing
exorcisms,helpingghostsresolveunfinishedbusiness,castingmagicspellsattestedto
bythefolklorerecord,andsoforth.
[1.7] However,onSupernatural,fairytales—asubgenreoffolktales,whichare
understoodwithinthefolkcontextasfictional—arealsosubjecttoostension.This
ostensionfunctionsratherdifferentlythanitdoesfornarrativestheshowandfolklore
understandas"true."In3.05"BedtimeStories,"fairytalesretaintheirfolklore
classificationasfictions:thefairytalesarenot"really"happening,butareinstead
beingusedasscriptsbythevillainofthepiece,achildwhoisforcingothersto
performfairytalesinordertocallattentiontotheabuseshehassufferedatthehands
ofherstepmother.SamandDeanmustreplacethefictionalfolknarrativewithone
understood,withinbothpopularcultureandthediegesisoftheshow,as"real":spirits
canbeputtorestifthelivingarewillingtolistentoandresolvetheirpain.
[1.8] Thedepictionoffairytalesbecomesevenmorenuancedinfanfictionforthe
series.AsInotedinanearlierarticle,"fans…oftenusefolkloremuchastheshowitself
does:asawayofreflectingandcommentinguponSamandDean'srelationship"
(Tosenberger2008,5.4).Whilefanwritersdrawinguponfairytalesdousethese
narrativesasawayofilluminatingtherelationshipbetweenSamandDean,theyoften
usethetalesthemselvesinamannermarkedlydifferentthantheshowdoes.Inmost
Supernaturalfairytalefanfiction,SamandDeandonot,asintheepisode,comein
afterthefacttoresolvethestoryfromtheoutside.Instead,theymustassumethe
roleofacharacterinthefairytale,playingoutthenarrativefromthebeginning.
Sometimestheroleisthrustuponthem,asinQuarterwhore's"TheFrogPrincess"
(November2,2007,LiveJournalpost),whereSamisturnedintoafrog.Inother
stories,oneorbothbrothersdeliberatelytakeontheroleoftheheroonafairytale
quest,asinSweetestdrain's"SwearbyAllFlowers"(June18,2007,LiveJournalpost).
Inthesestories,fairytalesaretreatednotasfictions,butasnarrativesasdiegetically
"true"aslegends.
[1.9] Themajorityofthescholarshiponfanfiction,especiallyslashfanfiction,
understandsitasawayforwomentointervenecreativelyinmaledominatedpop
culturetexts.Fairytalescanbesaidtofollowaparalleltradition—likefanfiction,fairy
talesareagenderedgenreofstorytelling.AsMarinaWarnernotes,"althoughmale
writersandcollectorshavedominatedtheproductionanddisseminationofpopular
wondertales,theyoftenpassonwomen'sstoriesfromintimateordomesticmilieux"
(1995,17).PostmodernfeministwriterssuchasAngelaCarter,AnneSexton,and
EmmaDonoghuereworkedthe"oldwives'stories"collectedbyPerrault,theGrimms,
andothers,seeinginthemaspacetoarticulatefemaleexperiencesanddesires—a
movenotdissimilartothoseperformedbyfanwriters,mostofwhomidentifyas
female.Thestatusoffairytalesasagenderedgenredirectlyaffectstheirostensive
performancewithinSupernatural;fanwriters'reworkingsofboththeseriesandits
depictionoffairytalesthuscombinestwostrainsofgenderedstorytelling.
[1.10] Beforegettingintothespecificsof"BedtimeStories,"itisnecessarytospeak
moregenerallyaboutSupernatural'sengagementwithfolklore—anengagementthat
canbeilluminatedmostefficientlythroughcomparisonwithitstelevisionancestorThe
XFiles,withwhichitsharesnotonlyathemeandaesthetic,butalsoalargeportionof
itsproductionstaff(note5).
2. Supernatural's "folklore files"
[2.1] LikeTheXFiles,Supernaturalisdividedbetweenmytharcepisodes,which
advancethelongtermplotoftheseasonorseriesasawhole,andstandalone
"monsteroftheweek"(MOTW)episodes;Supernatural,however,hasamuchhigher
proportionofMOTWepisodes,becauseofKripke'sstatedfrustrationwiththewaythe
mythologyofTheXFiles(andothermytharc–heavyshows)became"totally
befuddling,"untilviewers"collapse[d]undertheweightofit"(Kripke2008a)(note6).
Koven,speakingofTheXFiles,notes,
[2.2] TheMOTWepisodescanbefurtherbrokendownintoepisodesof
"literaryfantasy,"thosethatfeaturemonsterscreatedbytheshow'swriters
andbasedwithinthetraditionsofhorrorandsciencefictionliterature(rather
thanoraltradition),andthoseepisodesof"legendry,"thosemonstersthat
arebasedwithinadistinctoraltradition.ItistothislastcategorythatI
applythetermfolklorefiles.(Koven2008,70)
[2.3] ThiscategorizationofepisodesisalsoappropriateforSupernatural,andIhave
adoptedit.However,whileKoven'sepisodecategoriesareusefulforbothseries,there
aresignificantdifferencesinthewaysthatthetwoseriesapproachfolklore.
[2.4] BothTheXFilesandSupernaturaldisplayaninterestingcombinationof
progressiveanddecidedlytraditionalistconceptionsofwhatfolkloreisandwhohasit,
althoughthetwoseriesmanifesttheseattitudesindifferentways.WhatIamcalling
"traditionalist"folkloristicsisthecollectionofconceptionsandattitudesaboutfolklore
andthe"folk"thatweredominantinfolklorestudiesfromthebeginningofthe
disciplineintheearly19thcenturyuntilaboutthe1960sorsointheUnitedStates,
andforabitlongerintheUKandEurope.BarreToelkendescribesthistraditionalist
perspective:
[2.5] Theearliest"schools"offolkloreweremainlyantiquarian;thatis,
theyconcernedthemselveswiththerecordingandstudyofcustoms,ideas,
andexpressionsthatwerethoughttobesurvivalsofancientcultural
systemsstillexistinginthemodernworld…Theassumptionseemstohave
beenthatonlyawayfromtheinfluenceoftechnologyandmoderncivilization
couldonefindthoseantiqueremnantsoftraditionthatmightrevealtous
theearlystagesofourculturalexistence.(Toelken1979,4)
[2.6] Inotherwords,totraditionalistfolklorists,the"folk"werebestunderstoodas
"illiterate,rural,backwardspeasants"(Dundes1980,6),who,isolatedfrommodern
culture,retained"rural,quaint,or'backward'elementsoftheculture"(Toelken1979,
5).Underpinningthiscondescensionwasthetheoryof"culturalevolution,"alate
19thcenturyadaptationofthethencuttingedgetheoryofDarwinianevolutionto
fieldsthathadnothingtodowithbiology.Thistheory,whoseprimaryexponentswere
E.B.TylorandAndrewLang,positedthatcultures,justlikeindividualhumans,
proceededinaunilinearfashionthroughthestagesof"savagery"(infancy),
"barbarism"(childhood),andfinally"civilization"—withupperclassEuropean
patriarchalChristianculturerepresentingthepinnacleofcivilization(andadulthood),
ofcourse.Europeanpeasantswere,naturally,barbarians,andtheirfolklore
representedtracesofearlier"stages"ofcivilization;informationontheancestorsof
civilizedpeoplescouldbesupplementedwithstudiesofcontemporary"savages,"such
asAfricantribespeople(Dundes1980,2).Lang,inparticular,arguedthatthechildis
themicrocosmoftheculture,andtherefore,logically,thestoriesoflowerclass
"barbaric"adultsweresuitablematerial—afterextensivebowdlerization—forupper
classchildren,astheywereallonthesamelevelofdevelopment(seeSmol1996).In
otherwords,thestillpervasivenotionthatfolktales,especiallyfairytales,are
primarily"kids'stuff"owesagreatdealto19thcenturyracism,classism,andreligious
bigotry.
[2.7] Endemictothislineoftheorizingistheassumptionthatthefolklorist,theone
collectingandinterpretingfolklore,isnotofthefolk:thefolkarealwaystheOther.
Traditionalfolkloristswereeducatedbourgeoisoutsiderswhotraveledtoruralareasin
theirownlands—or,betteryet,foreignlocales—sinceonecannotfindfolkloreamong
one'sowngroup,becauseonly"they"havefolklore—"we"haveCulture(Toelken1979,
3–7,265).ThisdidnotchangeuntilAlanDundesredefinedthefolkas"anygroupof
peoplewhatsoeverwhoshareatleastonecommonfactor"(Dundes1965,2)—thus
includingeveryone,includingeducatedbourgeoisfolklorists,inthecategoryofthe
"folk."Thisredefinition,andthemovementawayfromculturalevolution(and
antiquarianschoolsofthoughtingeneral),openedupvastnewrealmsofinquiryfor
folklorists,includingthestudyof"urbanlegends"(note7).
[2.8] NeitherTheXFilesnorSupernatural,forthemostpart,depictfolkloresolelyas
tracesofancientbeliefsthathavesurvivedamongignorantpeasants—Supernatural,in
particular,reliesheavilyuponurbanlegends,whichoftencirculate,bothinreallife
andontheshow,amongcontemporarymiddleclasseducatedWesterners.Wherethey
differisinhowtheprotagonistsarepresentedinrelationtothefolklorethey
investigate.TheXFileshewscloselytothetraditionalistbourgeoisoutsider
perspective:MulderandScullyarehighlyeducatedrepresentativesofanofficial
institution,theFBI.ThechiefaxisofdiscussionaboutfolkloreinTheXFilesisbelief:
ScullytheskepticsparsconstantlywithMulder,whosebeliefinextraterrestrialsand
thesupernaturalisconsideredincompatiblewithhisclassbackgroundandeducation,
andthereforedeemedirrational.ManyepisodesdepictMulderandScullyenteringa
communitythatholdssupernaturalbeliefs,whichScullyresistsandMulderaccepts;
"Spooky"Mulderraisesamonghiscolleagues,Scullyincluded,thetraditionalist
anthropologist'sspecterof"goingnative"—thatis,adoptingtheworldviewofthe
primitivepeopleyou'restudying,ratherthanmaintainingyourrationalbourgeois
distance.ForTheXFiles,ashowcenteredaroundcompetingattitudestothe
supernaturalheldbyeducatedbourgeoissortswhoarenot"supposed"tobelievein
suchthings—muchliketraditionalistfolklorists—thisisappropriate.However,this
particularconcerndoesnottranslatetoSupernatural,whereSamandDeanfully
believeinthesupernatural,andtheirbeliefcausesconflictonlywhentheyneedto
convinceeducatedbourgeoisScullysofimminentdanger.Moreover,theWinchesters
areembeddedinamilieufarclosertothatofthetraditionalistfolkthanofthe
traditionalistfolklorists.
[2.9] UnlikeMulderandScully,theWinchesters,evenbeforeMary'sdeath,are
decidedlyworkingclass;John,priortobecomingahomelessdrifter,wasamechanic.
JuliaM.Wright,inaperceptivearticleonclassintheseries,arguesthat"tohuntin
Supernaturalistobeimmersedinthelocal,notthemultinationaldrivencultureof
brandrecognitionandglobalizedconsumerism,andthisisunderstoodintheseriesas
aninsistentlyclassedmove"(Wright2008,¶15).AlthoughSamandDeanoften
behavelikeprofessionaltraditionalfolklorists—notjustbydoingresearch,butalsoin
thefactthattheyarealmostalwaysgeographicoutsiderstothesitestheyvisit—they
areactuallyamateurs,autodidactswithnoformalacademictraininginthefield(note
8).(Whileanumberof19thcenturyfolkloristswerethemselvesamateurs,mostof
thesewereclergymen,whowerethusdistinguishedinbotheducationandperceived
religiousorthodoxyfromthefolk.)Moreover,theWinchesters—aswanderingoutlaws
andconmen,asheroesonaquest,and,onSam'spart,asapossessorof
supernaturalpowers—embodythosearoundwhomfolkloretraditionallycollects,rather
thanthecollectorsorinterpretersthemselves(note9).Thisisdemonstratedonthe
show:thefolklorethatcirculatesinthehuntingcommunityaboutSam'spowers
forciblyalignstheWinchesterswiththefolkloricentitiestheyhunt,inoppositiontothe
hunters.ThisinseriesfolkloreputsSamandDeanindangerfromfellowhunter
GordonWalker,amongothers(in2.10"Hunted"and3.07"FreshBlood").
[2.10] Gordon'stranslationofnarrativeintoactionisoneofmanyexamplesofthe
folkprocessofostensionontheshow;infact,Ibelievethatostensionisperhapsthe
mostusefulmeansfordiscussingSupernatural'suseoffolklore.
3. Ostension, or "A reenactment? That's a little crazy"
[3.1] Asdiscussedearlier,ostensioninfolkloreistheenactment,ratherthansimply
thenarration,ofafolknarrative,usuallyalegend.Theconceptwillbefamiliarto
anyonewhohasexaminedHalloweentreatsforrazorbladesandpoison,mixedPop
RocksandCocaCola,orplayedPinkFloyd'sDarkSideoftheMoonwhilewatchingThe
WizardofOz(note10).Themostcommonformofostention,whatCarlLindahlcalls
"ostensiveplay"(Lindahl2005,164),is"legendtripping":visitingalocalsitereputed
tobehauntedorotherwisesupernaturallyunusual(suchas"gravityhills,"wherecars
rolluphill),inhopesofaspookythrill(note11).Teenagersareespeciallylikelytogo
onsuchlegendtrips(Ellis1983;Bird1994;Brunvand2001,238–39;Koven2008,
154–56).InSupernatural,wewitnessseveralinstancesofadolescentlegendtripping,
notablyin1.10"Asylum,"1.17"HellHouse,"and3.13"Ghostfacers";ineverycase,
SamandDeanhavetorescuethehaplessthrillseekersfrommalevolentspirits.The
Winchestersareimpatientwithunpreparedcivilianswhodeliberatelyseekout
supernaturalexperiences:in"Asylum,"Deanadvisesoneoftherescuees,"When
someonesaysaplaceishaunted,don'tgoin"(note12).
[3.2] However,itisnotsimplythrillseekingteenswhocommitostensiononthe
show.SamandDeanperformostensiveactsinjustabouteverysingleepisode,albeit
foralargerpurpose:whenSamperformsthetitularslumberpartyritualin1.05
"BloodyMary,"heisnottryingtoscarehimself,butdrawingouttheghostinorderto
destroyher.TheWinchesterbrotherstraveltolocationswheresupernaturaldoings
haveoccurred,andoncethere,theyoftenperformthefolkloricactreputedtobethe
bestwayofdefeatingthesupernaturalforceinquestion—afterdiscerningwhichact
thatis.
[3.3] Whilemanyformsofostensionareharmless—inreallife,ifnotonSupernatural
—othersarefarmoresinister.AsBillEllisobserves,folknarratives"arealsomapsfor
action,oftenviolentactions"(1989,218).Inotherwords,somepeopleusecirculating
folknarrativesasscriptsforantisocialorcriminalacts.Whatcanbecalled"criminal
ostension"isprobablythemostwelldocumentedformofthephenomenon,ifonly
becausethecasestendtobesospectacular.DéghandVázsonyi(1983),Ellis(1989),
Lindahl(2005,164),andGrider(1984)alldiscussnotableexamplesofcriminal
ostension,particularlytheinfamous1974caseofRonald"CandyMan"O'Bryan,who
poisonedhissonwithacyanidelacedPixieStick,hopingthattheurbanlegendof
poisonedHalloweencandywouldconcealhiscrime(DéghandVázsonyi1983,11–15).
InSupernatural,severalvillainsconsciouslyusefolknarrativesasmodelsfortheir
criminality,particularlytheghostin1.05"BloodyMary":Mary,agirlmurderednextto
amirror,latchedontothenarrativeasameansofmanifestingherselfanddolingout
punishmenttothosewho,likehermurderer,hadescapedretributionforcausingthe
deathofanother.
[3.4] Mostdiscussionofostension,criminalorotherwise,focusesuponlegends:
becauselegendsoperatearoundquestionsofbelief,theostensiveactengageswith
thepossibilityofrealworldeffects.However,onSupernatural,ostentionisnot
confinedtolegends;inepisode3.05"BedtimeStories,"thevillainenactsfairytalesto
violentends.
4. Disney flicks and bedtime stories
[4.1] Inthisepisode,aclassic"folklorefile,"SamandDeanheadtoMapleSprings,
NewYork,toinvestigateaseriesofbizarre,unprovokedmurders:threeheavyset
brothers,arguingovertheproperconstructionofhouses,areattackedbyananimal
likeman;acouple,hikingthroughthewoods,comeuponahousewhereanoldlady
feedsthemdruggedsweetsandthenattacksthem,killingtheman.Thewomanwho
survivedthesecondattacktellsSamandDeanshespottedabeautifullittlegirl—black
hair,paleskin—standingjustoutsidethewindowwhiletheattackwasgoingon.Sam
arguesthattheattacksarebasedonfairytales,andDeanagreestoinvestigatethis
theory.Theydiscovernodeadchildrenfittingthatdescription,butdofindabeautiful
youngwoman—blackhair,paleskin—whohasbeeninacomasincetheageofeight.
Thiswoman,namedCallie,isthedaughterofDr.Garrison,aphysicianatthehospital,
andhehasbeenreadingtoherfromtheGrimms'fairytales.AfterSamandDean
rescueawomanwhohasbeenattackedbyherpreviouslylovingstepmother—the
miceandpumpkinsonherfrontporchalertthemtoherplight—thelittlegirlappears
toDeanandhandshimanapple.SamandDeanconcludethatCallieidentifieswith
SnowWhite:herfrustrated,angryspiritisfrozenattheageofeightandisforcing
otherstoreenactfairytalesasawayofcallingattentiontohertrauma.Calliewent
intothecomafromwhatwasthoughttobeanaccidentalingestionofbleach;herfairy
talereenactmentsindicatethatshewas,infact,poisonedbyhernowdeceased
stepmother.Afterthemurderofanoldwomanandthekidnappingofher
granddaughter(whoiswearingaredhoodie)bythesame"wolf"involvedinthe
"ThreeLittlePigs"attack,Samconvincesthedoctortolistentothespiritofhis
daughter.ThedoctoracknowledgesCallie'sstoryandaskshertostoptheattacks.
ThissceneisintercutwithimagesofDean,intheroleofhuntsman,fightingthe"wolf"
tosave"LittleRedRidingHood."Callieagreestostopandisfinallyabletodie;with
herdieshercontroloverthe"wolf,"andhecomestohimselfjustintimetoconvince
Deannottokillhim.Thoughthecaseissolved,bothbrothersareleftfrustratedand
unsatisfied.Attheendoftheepisode,whichwillbediscussedinmoredetaillater,
SamsneaksoutandcallsupthecrossroadsdemonwhoholdsthecontractonDean's
soul;afterfindingoutthatshenolongerholdsDean'scontractandcouldn'tgetDean
outofthedealevenifshewantedto,Samkillsher.
[4.2] Beforegettingintothisepisode'spresentationoffairytales,somebackground
informationisinorder.Fairytales,asagenre,areconsideredtobeasubcategoryof
folktales.Thecategoryof"folktale"isabroadone,definedbymostfolkloristsas"a
narrativewhichisrelatedandreceivedasafictionorfantasy"(Oring1986,126),as
opposedtomythsorlegends,bothofwhicharemakingtruthclaims;theGermanterm
Märchenisoftenusedinterchangeablywith"folktales."Withinthatgroupofstories,
fairytalesareusuallyunderstoodasfolktaleswhichinvolvemagic,particularlymagical
acts,objects,andtransformationsthatarenotremarkeduponasunusualwithinthe
story:nooneinafairytalestopsandcries,"Waitaminute,frogsdon'ttalk!"
[4.3] Themostfamousandinfluentialcollectionsoffairytalesincludethoseby
CharlesPerrault(in1697),AleksandrAfanas'ev(in1855–64),and,ofcourse,the
BrothersGrimm.ThefirsteditionoftheGrimms'KinderundHausmärchen(Children's
andHouseholdTales)appearedin1812.Thoughthecollectionwaspresentedasan
unvarnishedrecordingoforaltalesdirectfromthemouthsofrudeGermanpeasants
—"themythicaldreamofautocthonouspurity,"asMarinaWarner(1995,193)putsit—
thetruthismorecomplicated.Foronething,themajorityoftheGrimms'informants
wereeducatedmiddleclasspeople,who,aswehaveseen,wouldnothavebeen
consideredtheauthentic"folk"bythestandardsofthetime(Rölleke1986).While
initiallypublishedforscholars,theGrimms'collectionachievedsomesuccessasa
bookforchildren,andsubsequenteditions(sevenintotal,withthefinalandmost
widelyavailableeditionappearingin1857)wereextensivelyrevisedbyWilhelm
Grimmtobetterconformtochangingideasofwhatwasappropriateforyoung
readers.Thismarkedamajorshiftintheperceivedaudience,aspriortothisfairy
talesweregenerallytoldasstoriesforeveryone,ratherthanexclusivelyoreven
primarilychildren:Perrault'stales,forexample,werewittyconfectionsaimedatthe
sophisticatesinthecourtofLouisXIV,withwhomhewasengagedinintellectual
warfareaboutthevalidityofmodernFrenchcultureversusthatoftheancientGreeks
andRomans(Warner1995,165).AsMariaTatar(1987)hasdemonstrated,Wilhelm
Grimm,inamovethatwouldpleaseeventhemoralwatchdogsoftoday,downplayed
oreliminatedreferencestosexandincreasedthosetoviolence,particularlypunitive
violence.Otherrevisions,documentedbyTatar(1987),JackZipes(1991,45–70,
2002a,2002b),andRuthBottigheimer(1986),reflectasystematicimpositionof
bourgeoismores,particularlyintherealmofgender:thisincludedcurtailingthe
proactivityanddirectspeechofheroines,whileincreasingthemforfemalevillains
(becausegoodwomenarepassiveandsilent).Thiswasespeciallynoteworthyin
storiesthatfeaturedwickedstepmothers(note13),asthetextsoften,inanexception
tothegeneralruleofharshjustice,bendoverbackwardtoexoneratefathersfortheir
failuretoprotecttheirchildren(Tatar1987,36–37)—mostegregiouslyinthecaseof
"HanselandGretel,"wherethefatherwholedhischildrenintothewoodsand
abandonedthemthereisrewardedwithmoundsofjewelsthatthechildrenhave
liberatedfromthewitch'scottage(Zipes1992,64).
[4.4] Thishistoryofcollectionandrevision,ofthetensionbetweentheoralnarrative
andtheliterarytale,whileitisbestdocumentedfortheGrimms,istrueoftheentire
genreofthefairytale.Overtheyears,fairytalesbecamemoreandmoreidentified
withchildren,andtheoralandliterarynarrativesbecameevenmoretangledasthey
weredeliberatelyadaptedtocontemporarynotionsofwhatwassuitableorappropriate
forchildren.Disneyfilmsaddanotherlayertothemix,astheyoftenbecomethemost
widelyknownversionsofagivenstory;readingtheGrimmsafterbeingraisedon
Disneyflickscanbe,asTatarmildlyputsit,"aneyeopeningexperience"(Tatar1987,
3)(note14).JaredPadalecki,whoplaysSam,reportsasmuch:"WhenIwentback
andreadtheoriginalstories,theywerecreepyandfreaky…Iwasactuallyalittle
spooked.IgrewupontheDisneymovies,andI'mgoing,'Oh,myGod,thisiswhatit
camefrom?'"(Rudolph2007,36).
5. Full of sex, violence, cannibalism
[5.1] Padalecki'scommenthighlightsanessentialdichotomyaboutfairytalesinour
culture.Weallknowwhatfairytalesare,orthinkwedo.Butreally,wehavetwo
storiesaboutfairytales—storiesaboutstories,storiesthatmatterinsomewaysas
muchasthetalesthemselvesdo.First,there'sthestorythatmanyofusabsorbed,
whichisusuallyblamedonDisneyfilms(note15):fairytalesaresweet,innocent,
adorablestoriesforchildren—orourculture'smostsaccharineideaofchildren.Allis
cute,alliscuddly,unpleasanteventsaretemporaryandeasilyfixed,girlsaredocile
princessesandboysarebraveprinces,and,ofcourse,everyonedeservinglives
happilyeverafterinacandycoloredutopia.Also,thevillains—olderwomen,mostly—
gettheirjustdeserts,usuallyafallfromacliff,althoughwearesparedthesplat.As
DonaldHaaseremarks,"ThenormativeinfluencesofDisney'sanimatedfairytaleshas
beensoenormous,thattheDisneyspirit—alreadyonceremovedfromtheoriginals—
tendstobecomethestandardagainstwhichfairytalefilmsarecreatedandreceived"
(1988,196).
[5.2] Butthereisanotherstoryaboutfairytales.Farfrombeingadorabledelightsfor
children,fairytalesaredark,bloody,murderous—"fullofsex,violence,and
cannibalism,"infact.Postmodernwritersofliteraryfairytales,suchasAngelaCarter,
AnneSexton,RobertCoover,DonaldBarthelme,EmmaDonoghue,OlgaBroumas,and
TerriWindling,arepraisedforgettingbacktothe"roots"ofthefairytale,forpeeling
awaytheDisneyfiedlayerstogetatthetruthaboutthe"original"stories.Thisstory
aboutfairytales—wecancallitthe"recoverystory"—isarescueoperation,uncovering
the"real"fairytaleandliberatingitfromDisneyoppression,andtheoreticallyalso
recoveringthe"true"voicesofthe"original"tellers,usuallyfiguredasfemale.
Versionsofthisapproachhavealonghistoryinfolklorestudies,which,intheearly
days,tendedtotreatallfolkloreasbrandsrescuedfromthefire:inthiscase,the
"fire"destroyingaoncepurefolkproductisnoturbanizationandmechanizationper
se,butthestultifyingeffectsofmalecollectorsandmaledominatedpopularmedia.
BarbaraKirshenblattGimblettcallsthis"eleventhhour"folklore(1998,300).Thisis
whywehavescholarlyworksonfairytaleswithtitleslikeBreakingtheMagicSpell
(Zipes2002a)andTheHardFactsoftheGrimms'FairyTales(Tatar1987)andLittle
RedRidingHoodUncloaked(Orenstein2002).Whilescholarshaveforthemostpart
rejectedtheproblematicdiscourseoftraditionalistnotionsoffolk"authenticity"—such
aslaudingtheGrimmsfortheirclosenesstothe"folk"or,conversely,denouncing
themfortheirrelianceonmiddleclass(andtherefore"nonfolk")sources—the
"authenticity"narrativeisstillwithusinpopularculture,andintherecoverystory,the
bloodyisauthentic.
[5.3] Idon'tmeantosuggestthatthisapproachisinvalidormistaken,becauseitis
onethatI(mostly)support.Fairytaleshaveabsolutelybeensanitizedtoridthemof
elementsdeemedunacceptable,whetherthoseelementsbeviolence,sexuality,
nonnormativegenderroles,insufficientrespectforauthority,orwhateverbugaboos
moralguardianswishtopreventyoungreadersfromencountering.Inaddition,female
tellers,writers,andcollectorshaveabsolutelybeenignored,silenced,andsubsumed
underthetotalizingcategoryoftheanonymous"folk"bymaleauthorities—andthose
maleauthoritiessuchasPerraultsometimeshadtoturnaroundanddefendfairytales
asworthwhile,despitetheperceivedfeminine(oreven,inthecaseoftheFrench
femalesalonwriters,feminist)"taint"ofthegenre(Warner1995,168–70).Imerely
wanttopointoutthat,intherealmofpopularculture,the"recoverynarrative"isa
storywetellaboutfairytales,andit'sonethatbothcontradictsandreliesuponthe
existenceofthe"fairytalesaresweetandinnocent"narrativeforitspower.Disney's
"normativeinfluence"issopervasivethatanyliteratureormediathatconcernsitself
withfairytalesmustnegotiatethereceivedDisneyunderstanding,evenifonlyto
dismissit.
[5.4] Thegenreofhorrorhasbeenparticularlyeffectiveatminingthecontradictions
ofthesecompetingnarratives,focusingespeciallyontheaxisofchildhood.One
expectstofind"sex,violence,cannibalism"inmaterialforadults;whatmakesfairy
tales'adultlevelnaughtinesssoenticingisthetransgressionofculturalconstructions
oftheinnocenceofchildhood—andofitsstories.Therecoverynarrativeisexciting
preciselybecauseitreliesuponthe"innocent"storyaboutfairytalesinordertowork.
AsJamesR.Kincaid(1998)mightputit,thebestthingaboutinnocenceisthethreat
ofitsviolation,androughingupastoryforkidsisthrillinginawaythatpreroughed
upstoriesforadultsarenot.Thus,itisunsurprisingthatthereareanumberofhorror
filmsbasedexplicitlyonfairytales,includingSnowWhite:ATaleofTerror,Suspiria,
Freeway,andTheCompanyofWolves.Whenhorrorturnstofairytales,aninteresting
dancebegins.Fairytales,astherecoverynarrativerightlyasserts,doinfactalready
containanenormousamountofmaterialourculturedeemsunsuitableforchildren:
simplybystickingcloselytoanuncensoredversionofatale,thehorrorgenrecan
haveitscakeandeatittoo.Fairytalehorrordoesn'tsimplyemphasizethehorrific
episodesinfairytales,butalsomakesatruthclaimaboutthenatureofthetales
themselves:thisiswhatfairytalesreallyare.
[5.5] Aboutfifteenminutesinto"BedtimeStories,"anoteworthyexchangetakes
placebetweenSamandDean.Whilenearlyeveryepisodefeaturesascenewhereone
brother—usuallySam,butsometimesDean—floatsatheoryontheidentityofthe
monsteroftheweek,thisepisode'stheorizingperfectlyencapsulatesthecultural
perceptionsanddebatesswirlingaroundthegenreoffairytales.AfterSamannounces
thathistheoryinvolvesfairytales,Deanresponds,
[5.6] Dean:Ohthat's,that's…nice.Youthinkaboutfairytalesoften?
Sam:No,Dean,I'mtalkingaboutthemurders.Aguyandagirl,hiking
throughthewoods,andanoldladytriestoeatthem?That'sHanseland
Gretel.Thenwe'vegotthethreebrothers,arguingoverhowtobuildhouses,
attackedbytheBigBadWolf.
Dean:ThreeLittlePigs.
Sam:Yeah.
Dean:Actually,thoseguyswerealittlechubby.Butwait,Ithoughtallthose
thingsendedwitheverybodylivinghappilyeverafter.
Sam:No,no,nottheoriginals.See,theGrimmBrothers'stuffwaskinda
likethefolkloreofitsday,fullofsex,violence,cannibalism.Anditgot
sanitizedovertheyears,turnedintoDisneyflicksandbedtimestories.
Dean:So,youthinkthatthemurdersare,what,areenactment?
[5.7] There'salotgoingonhere—andnotjustthemislabelingof"TheThreeLittle
Pigs"asaBrothersGrimmstory,either.First,thereisDean'sline"Youthinkoffairy
talesoften?"whichJensenAcklesdeliverswithcontemptuousamusement:fairytales
areadodgy,unmanlyformoffolklore.Later,DeanwillmockSam'sknowledgeofthe
genreas"gay"—again,unmanly.TheironyofDeanmockinganyoneformasculinity
failurewillbereinforcedattheendoftheepisode,whenthecrossroadsdemon
characterizeshimas"desperate,sloppy,[and]needy";moreover,asCox(2006)andI
(Tosenberger2008)note,theseriespositivelythrivesonflirtationwiththepossibility
thatSamandDean'sloveismorethanbrotherly.(WhenDeanwondersin2.11
"Playthings"whysomanypeoplethinkthey'regay,Samretorts,"Well,youarekindof
butch;theyprobablythinkyou'reovercompensating.")
[5.8] Dean'ssnide,defensivecommentsspringfromthecenturieslonglinkageof
fairytaleswithwomen:thefairytaleisagenderedgenreoffolklore.Moretothe
point,fairytalesoftensufferthesamefateasotherfemaleidentifiedartisticgenres
suchasromance,"chickflicks,"andfanfiction—widespreaddismissalanddenigration.
Itisnoaccidentthattheterm"fairytale"iswidelyusedasasynonymfor"childish,
unrealisticfantasy"—thekindwomenmustbediscouragedfromhaving,atallcosts.
[5.9] Inresponse,Saminvokestherecoverynarrative,which,inthecontextofthe
restofthescene,suggestsaproblematicconclusion:itisthegorinessandsexualityof
fairytalesthatrendersthemappropriateformasculineinterest.Samdefendshis
interestbyclaimingthattheGrimms'storieswere"kindalikethefolkloreof[their]
day"(emphasismine)—astatementthatmakesasmuchsenseas"theEarthkinda
revolvesaroundthesun."Withintheshow,fairytalesdonotautomaticallypossessthe
statusof"real"folklore,butmustbeshowntobeboth"scary"and"sexy"—asthe
show'sUKtaglinepromises—tobeworthyofthebrothers'attention.
[5.10] ThefactthatCallieisdepictedasachild,whilereinforcingtheproblematic
genderingoffairytalesasthenarrativesofchoiceforayoungwomanstuckin
childhood,enablesSupernaturaltocallattentiontothejuxtapositionofinnocenceand
horror.TheGretelfigurewhofirstalertsthemtothepresenceofCallie'sspiritsays,
"Shewasabeautifulchild;itwasoddtoseeherinthemiddleofsomethingso
horrible."Asitturnsout,this"beautifulchild"isnotaninnocentwitnesstohorrific
violence,butisactuallycausingit.Evilchildreninfesthorrorfilms,withnotable
examplesincludingTheBadSeed,TheExorcist,TheGoodSon,VillageoftheDamned,
ChildrenoftheCorn,andRosemary'sBaby(note16).SusanStewart,speakingof
horror,remarks,"Themonstrouschild…thechildwhosequalitiesareexaggerated
inversionsofourculturalnotionsofchildhood,frightensinthismanner"(1982,42).
Supernaturalcertainlybelievesinthepowerofthistrope:evilchildrenshowupin1.03
"DeadintheWater,"1.15"TheBenders,"1.19"Provenance,"2.11"Playthings,"3.02
"TheKidsAreAlright,"3.12"JusinBello,"3.16"NoRestfortheWicked,"4.06"Yellow
Fever,"4.11"FamilyRemains,"and5.09"TheRealGhostbusters."(Jesse,the
Antichristin5.06"IBelievetheChildrenAreOurFuture,"isasubversion.)Overthe
courseoftheseries,SamandDeanhaveprobablyencounteredmoreevilchildren
thantheyhaveinnocentsinneedofrescuing.Callie,liketheghostlyPeterin1.03
"DeadintheWater,"isoutforrevengeandiswillingtoexactretributiononinnocent
people;however,Peterconfineshimselftotherelativesofhismurderers,whileCallie
attacksrandompeoplewhocanbemadetofitherscripts.Calliethuscombinestwo
sourcesofdiscomfort:sheisnotonlyanevilchildherself,butsheshowsfairytalesto
usashorrorstories.Onechild,a"badseed,"isamutant,ananomaly.Butwhenwe
troublethemoreabstractartifactsofchildhood,suchasfairytales,weourselves
becomeimplicated;weareforcedtoquestionthecollectionofculturalfantasyand
memorythatmakesupourideaofchildhooditself—includingourownmemories,our
assumptionsaboutourownpasts.
6. Fairest of them all
[6.1] Callie,thevictimofattemptedmurderbyherstepmother,identifieswithSnow
White.Allofherostensiveactionisdesignedasacryforhelp,awaytotellherstory
eventhoughshehasbeenrobbedofhervoice.WhileCallieisundeniablythevillainof
theepisode,she,likePeter,isalsoavictim,tryingtobeheardintheonlywayshe
knowshow.ItisinterestingthatCalliefixatesuponSnowWhite,whois,accordingto
CristinaBacchilega,theepitomeofthe"passivelybeautifulfemalecharacterwithvery
limitedoptions"(1999,29);"SnowWhite,"alongwith"Cinderella"and"Sleeping
Beauty,"formedthecenterpieceofsecondwavefeministobjectionstothefairytale
(Lieberman1986;GilbertandGubar1986;Rowe1986).Callieisabletomentally
escapetheprisonofherbody,andsheusesthispowertolashout,wreakinghavoc
accordingtothenarrativeconventionsofthefairytalessheknows.Itisadesperate,
andultimatelysuccessful,attempttogetherfathertorecognizetheabuseshehas
suffered;farfromlettingDr.GarrisonoffthehookHanselandGretelstyle,oreven
enablinghisoblivion,sheallowsresolutionofthestoryonlywhenhelistensand
believesher(note17).Freud,in"TheOccurrenceinDreamsofMaterialfromFairy
Tales,"remarks,"Inafewpeoplearecollectionoftheirfavoritefairytalestakesthe
placeofmemoriesoftheirownchildhood"(1997,101).Callie,however,isdoingthe
opposite—theonlywayshecancommunicatethetruthofherchildhoodisthroughthe
mediumofthefairytale.Callie'sostensiveactsweirdlyresemblethetherapeuticuses
offairytalesdescribedbyBrunoBettelheim(1991),ClarissaPinkolaEstés(1995),and
ofcourseFreud,inthe"WolfMan"case(1996),thoughtheylikelydidn'tenvisiona
bodycount.Fairytaletherapyaimstohelpthepatientworkthroughanxietyand
traumathroughidentificationwithfairytaleprotagonistsandnarratives;forCallie,the
taleof"SnowWhite"isnotsimplyameanstoworkthroughherpain,butanecessary
signifierofherownfairytaletragedy,whichsheclaimsinordertocommunicatewith
theonewhoneedstohear:herfather.
[6.2] Inkeepingwiththetherapeuticmetaphor,fairytalesinSupernaturalcarryover
theirfolkloricclassificationasfictions—theyarenottruestoriesinandofthemselves,
buttheybothmaskandrevealrealanxietiesandproblems.ThoughtheSupernatural
universeischockfullofthekindofmagicandbrutalitythatwouldnotbeoutofplace
inafairytale,thefairytale'ssenseofjustice—anditshappyending—arenotably
absent."BedtimeStories"endsonafarlesshopefulnotethanitsthematic
predecessor,1.03"DeadintheWater,"whichlikewisefeaturedthespiritofachildon
arevengefueledkillingspree.However,inthatepisode,Peterwasable—admittedly
afteragreatdealofcollateraldamage—toexactjusticeuponhismurderer.Moreover,
Deanbondedwithanothersweet,terrifiedchildandrescuedhimfirstphysicallyand
thenpsychologically,byhelpingthelittleboycometotermswithhisfather'smurder.
Thereisnosuchsolacein"BedtimeStories."Calliesimplydies.Therearenoredhot
ironslippers(Zipes1992,204)forherwickedstepmother,assheisbeyondthereach
ofmortalpunishment.Herfather,thesolesurvivor,isleftalonewithhiscrushing
guilt.EveninthemonsterfilledworldofSupernatural,thefairytaleisstillafantasy.
[6.3] Thefinalsceneoftheepisodedrivesthepointhome.Samsummonsthe
crossroadsdemonwhoholdsthecontractonDean'ssoul.Hethreatenstokillher
unlessshereleasesDeanfromhisdeal.Sherefuses,andtauntsSam:"Aren'tyou
tiredofcleaningupDean'smesses?Ofdealingwiththatbrokenpsycheofhis?…Admit
it:you'rehere,goingthroughthemotions,buttruthis,you'llbeatinybitrelieved
whenhe'sgone…Nomoredesperate,sloppy,needyDean."Sam,increasinglyagitated,
demandsthatshebreakthedeal.Shecannot;sheis"justasaleswoman,"andit'sher
boss(Lilith,aswelearnlaterintheseason)whoactuallyholdsthedeal.Sam,
prefiguringhismoraldisintegrationinseason4,killsher,andtheinnocentwomanshe
ispossessing,eventhoughheknowstheactwilldonogood.Throughoutthisepisode,
Samfailsintheroleofprince:hedoesnotrescueanyone,merelystopsthevillains
fromharmingfurtherinnocents—agooddeedthathethennegatesbykillingan
innocentpersonhimself.Ofallthecrimescommittedintheepisode,Sam'sisthe
worst:Callieisadesperatechild,the"witch"andthe"wolf"arevictimsofpossession,
butSamisanadultwithchoices,andheconsciouslychoosestomurderaninnocent
womandespitethefactthatkillingherwillnothelpDean.Theroughjusticeoffairy
talesisoverturnedhere:the"good"arenotrewarded,the"bad"arenotpunished,
andeveryonesuffers,notjustthedeserving.Thereisnohappy,orevenhopeful,
ending,justsadnessandfutility.Sam,likeDr.Garrison,isunabletolethislovedone
go;Dr.Garrison'sstubbornrefusaltopulltheplugonCallie'slifesupport,evenwhen
itharmsherandothersaroundher,mirrorsSam'sdesperateattemptstobreakDean's
deal—andDean'sowninabilitytoacceptSam'sdeath,whichledhimtomakethedeal
inthefirstplace.
[6.4] Despitethisepisode'soverallstatusasa"folklorefile,"Sam'smurderofthe
crossroadsdemonisanimportantstepintheseries'overallmytharc:wegetourfirst
intimationofLilith,theBigBadforthisseasonandthenext,andSamtakeshisfirst
stepontheroadtoselfdestructivevengeanceforhisbrother,whichwillculminatein
accidentally(!)raisingLuciferhimselfattheendofseason4.Inthis,"BedtimeStories"
bearsastrikingresemblancetothefilmSnowWhite:ATaleofTerror(1997);John
StephensandRobynMcCallumarguethatthefilmdisplays
[6.5] apenchantforpostmodernistpasticheasfamiliarfairytaleelements
arereshapedasGothichorror(especiallyinitsuseofgrotesqueparanormal
elements)linkedtocontemporaryfilmsdealingwithevilandsubjectification
bymeansofitsaffiliationwithdystopianapocalypticnarratives.Thusthe
filmincludesseveralthemescharacteristicofapocalypticnarratives:the
politicalpowerlessnessofcentralcharacters,persecution,serialkilling,and
subjectivealienation.(2002,206)
[6.6] Likethefilm,Supernaturalusesthebreakdownoffairytalesasathematic
foreshadowingoftheapocalypse.However,whatinthefilmisametaphorforfamilial
andsocialbreakdownis,onSupernatural,alsoquiteliteral:duringseason4,Deanand
SambetweenthemmanagetosettheChristianapocalypseinmotion.
7. In the beds of ghosts: Fairy tales and fan fiction
[7.1] ItisnotjustSupernaturalitselfthatenjoys"apenchantforpostmodern
pasticheoffamiliarfairytaleelements";fanwritershavemadeextensiveuseoffairy
talesinordertopushatthereceivednarrativeoftheseriesandexplorethespaces
containedwithinthetext.Sincefanfictionisusuallyunderstoodasaprimarily(ifnot
exclusively)femalespace,fanfictionalresponseseffectivelypullSamandDeanoutof
theircanonicalmaledominatednarratives(note18)—theCampbellianhero'squest,
Byronic(andBeat)wanderings,theChristianapocalypse—andrecontextualizethem
withinafemaledominatedartform.Whenfanfictionwriterstakefairytalesastheir
subject,thefemaledominatednarrativemovesfrommetatexttodiegesis.Andthey
usuallydo"BedtimeStories"onebetter:inmostSupernaturalfairytalefanfiction,
SamandDeanparticipateasactorsintheactualfairytalenarrative,insteadof
standingasrationalmaleoutsiderstotheirrationalfemaleidentifiedstory.
[7.2] ManyfanstoriesusefairytalestoexplorewhathappenswhenSamandDean—
complexcharacterswithacomplexrelationship—areplacedinsidethestylized,one
dimensional,fairytaleplot.Somestories,suchasLazyDaze's"DerHirsch"(May26,
2008,LiveJournalpost)andMalcolm_stjay's"SubRosa"(July9,2008,LiveJournal
post),removeSamandDeanfromtheirSupernaturalmilieuentirelyandplacethemin
analternateuniverse,wheretheyunselfconsciouslyenactthefairytaleplot."Der
Hirsch"is"looselybasedon/inspiredbySwanLake,"whichisitselfbasedinparton
"TheWhiteDuck"(Afanas'ev1973,342–45)and,moreobliquely,on"Brotherand
Sister"(Zipes1992,41–46);"DerHirsch"actuallymorecloselyresemblesthelatter
talethanitdoesSwanLake.Dean,ahuntsmaninpursuitofamagnificentstag,meets
ayoungwoodsman,Sam;theybecomefriends,andeventuallylovers.Flashbacks
revealthatSamandDeanarebrothers,althoughtheydon'tknowit;afterthedeathof
hiswife,Johnwasoverwhelmedbythetwoboys,andgaveinfantSamawaytobe
raisedbywhathethoughtwasakindlyneighbor,butwasinrealityanevilwitch.At
theendofthestory,Deanfinallyshootsthestag—whichchangesbeforehiseyesinto
Sam,whohadbeencursedtobehumanbyday,stagbynight.Dean,indespair,kills
himself,but,asintheballet,theirsoulsareunitedindeath."SubRosa"isafairly
straightforwardretellingof"BeautyandtheBeast"that,liketheDisneyfilm,borrows
elementsfromRobinMcKinley'sYAnovelBeauty.Malcolm_stjaytellsthelovestoryof
Sam(asBeauty)andDean(asapielovingBeast)—inthisstory,unrelated—inalow
keystylethatevokesthelanguageoffairytales.OtherSupernaturalcharactersfillout
thesupportingroles,includingBobbyandGordonasJohn'semployees,andEllenand
Joasvillagerswhobefriendthemafterthefamily'sfinancialdownturn.
[7.3] StoriesthatremainwithintheSupernaturaluniverseoftenborrowfairytale
motifsinordertoexploretheireffectsonSamandDean'slives."TheFrogPrincess,"
byQuarterwhore(November2,2007,LiveJournalpost),usesanimaltransformationas
comedy.Samisturnedintoafrog,toDean'scombinedhorrorandamusement.Sam,
ofcourse,isreturnedtohisproperformbyakiss,althoughthismethodofspell
breakingowesmoretopopularculturethantotheGrimms(in"TheFrogKing,orIron
Heinrich"[Zipes1992,2–5],theprincesshurlsthefrogagainstthewall).Fairytale
motifscanalsobeusedfortragedy:inI_am_negotiable's"LyingintheBedsof
Ghosts"(June22,2009,LiveJournalpost),Samfallsintoanenchantedsleepfrom
whichhecannotbeawoken,nomatterwhatDeandoes,andthestorytracksDean's
spiralintodespair.Here,fairytalespellsexist,butfairytalecuresdonot.
[7.4] Otherfanstoriesfullyintegrateafairytalenarrativewiththeuniverseof
Supernatural,inwaysthatmorecloselyresemblethestructureoftheshow:fairytales
providetheimpetusandnarrativelogicofthestory,andSamandDean'sknowledge
offairytalesenablesthemtoperformostensiveactsthatbringaboutthestory's
resolution.Russianfairytalesformthebasisoftwoexcellentlongerstories:ReiC's
"L'oiseaudefeu"(July14,2007,LiveJournalpost)andSweetestdrain's"SwearbyAll
Flowers"(June18,2007,LiveJournalpost).In"L'oiseaudefeu,"theYellowEyed
DemonsendsSamandDeanonanostensivequestfortheFirebirdinordertorescue
theirfather.Whileinspiredinpartbythefairytale"PrinceIvan,theFirebird,andthe
GreyWolf"(Afanas'ev1973,612–24),"L'oiseaudefeu"ismoreatourthroughthe
worldofRussianfairytalesandlegends(SamandDeanencounteranalkonost,aband
ofvila,adragon,KoscheitheDeathless,andBabaYaga)thanareworkingofaspecific
story,althoughitfollowsthegeneralfairytalepatternofaquestandimpossibletasks.
SamandDeanspendtimeresearchingRussianfolkloreinordertoknowhowbestto
proceedwhendealingwithsuchtrickycreatures.Intheend,thebrothershandover
theFirebirdtothedemoninexchangefortheirfather,butSam,Dean,andthe
Firebirdknowsomethingthedemondoesnot:"anoldlegend"warnsthatoneshould
neverputacollarontheFirebird,because,asSamsays,"bindingitbringsabout
destructionforthecaptor."TheFirebirdallowsitselftobehandedover,knowingthe
demonwillputacollaronit—thuscommittinganactofunwittingostensionthatwill
ensureitsdestruction.
[7.5] "SwearbyAllFlowers"ismoretightlyfocuseduponaspecificclusterofRussian
fairytalesthatcenteraroundthegreatwitchBabaYaga;thesestoriesinclude"Baba
YagaandtheBraveYouth,""BabaYaga,""VassilissatheBeautiful,"and"Maria
Morevna"(Afanas'ev1973,76–79,194–95,363–65,439–47,553–62),amongothers.
Thoughacannibal,sheisnotaonedimensionalvillainlikethewitchof"Hanseland
Gretel";sheis,instead,morelikeagoddessoftheforestortheunderworld(Haney
1999,98),and,ifshefeelslikeit,shewillhelpheroes(rarelyheroines)ontheir
quests(Johns2004).Sweetestdrain,likeReiC,doesnotreproduceanyspecifictale,
butinsteadcombinesmotifsfromalltheBabaYaganarrativesandcreatesastorythat
followsthelogicofthosetales,whilesimultaneouslyusingthetalestoilluminateSam
andDean'srelationship.SamandDeanrelyuponfairytalesinordertonavigatea
trickyseriesofencounterswithBabaYaga,performingostensiveactsinorderto
secureherhelpinreleasingDeanfromacurse.
[7.6] Fairytaleliteraryfictionhaslongbeenaspaceforwriters,especiallywomen
writers,tointerrogateculture:AngelaCarter,AnneSexton,EmmaDonoghue,Olga
Broumas,andJaneYolen,amongmanyothers,haveusedthefairytaletoexamine
issuesofgender,race,familydynamics,andsexuality.Fanwriterstakethereceived
narrativesthatSupernatural'sadvertisingpresents—thisisamanly,heterosexual
showaboutmanly,heterosexualmenwhohuntmonsters—andinterrogatethem.
Respondingtotheostensiondepictedontheshow,fansinvestigatefolkloreandfairy
talesinordertoilluminateboththefolkloreitselfandSamandDean'srelationship.
JustasSupernaturaltransformsandcommentsuponexistingfolknarrativestotellthe
storyitwishestotell,fanwriterstransformtheseriesitselftocommentonboththe
narrativesandthecharactersoftheshow.
8. Conclusion
[8.1] Supernaturalcontainssomeofthemostinterestingdepictionsoffolkloreinthe
currentpopularmedialandscape,andconsiderationoftheseriesoffersmyriad
possibilitiesforexploringtherepresentationandtransformationoffolkloreinpopular
culturetexts.UsingKoven'sinnovativefusionoffolkloristicsandfilmandtelevision
studies,anchoredbyhisconceptof"massmediatedostension,"Ihopetosuggest
possibilitiesforfurtherresearchintothedepictionoffolklorenotjustintheseries
itself,butinpopularcultureingeneral.Ihavechosentofocusuponfairytales,as
boththeseriesanditsfanfictionengagewiththediscoursessurroundingthegenreof
fairytalesinourculture;bothfairytalesandfanfictionaregenderedmodesof
storytelling.Fanwriters,likefeministrevisersoffairytales(suchasAngelaCarter),
interrogateourreceivednotionsofpopulartexts.
[8.2] Iofferthisessayasastartingpointintofurtherdiscussionofthedepictionof
folkloreinSupernaturalanditsfanworks;whileIhavechosenfairytalesasmypath
in,therearemanypotentialplacestobegin.Ihopethatthisframeworkwillprove
usefulforfutureanalysesnotjustofSupernatural,butofthemultiplewaysinwhich
folknarrativesandbeliefsareusedbothinpopularcultureandinfannish
communities.
9. Acknowledgments
[9.1] Anearlierversionofthispaperwaspresentedattheconference"TheFairyTale
afterAngelaCarter,"UniversityofEastAnglia,April22–25,2009;traveltothis
conferencewassupportedbyanInternationalTravelGrantfromtheUniversityof
Winnipeg.IamindebtedtoTimSmith,LeniJohnson,JuliaBarton,HelenPilinovsky,
VeronicaSchanoes,LazyDaze,andespeciallySaraM.Hinesfortheirsupportand
commentaryonearlierdrafts.IwouldalsoliketothankI_am_negotiable,LazyDaze,
Malcolm_stjay,MissyJack,Quarterwhore,ReiC,andSweetestdrainforallowingmeto
discusstheirstorieshere.
10. Notes
1.Foranexcellentoverviewofthedepictionoffolkloreinfilmandtelevision,see
Koven's(2008,3–22)criticalsurvey.
2.SeeLineNybroPetersen'sessay"RenegotiatingReligiousImaginationsThrough
Transformationsof'BanalReligion'inSupernatural,"inthisissue,foranexcellent
discussionofthewaytheshowreproducesandtransformspopularattitudesabout
religionandthesupernatural.
3.Inseasons4and5,mythsbecameprominent,astheseries'mytharcengagedwith
theChristianapocalypse.However,myths,orpopularunderstandingsofmyths,had
alwayslurkedinthebackgroundoftheshow:Kripkehasstatednumeroustimesthat
theshowismodeleduponJosephCampbell's"monomyth"ofthehero'sjourney
(Kripke2008b).(SamandDean'smother'smaidennameisCampbell.)Campbell'sThe
HerowithaThousandFaces(1973),thoughbelovedofmalepopcultureauteurs,is
roundlydespisedbyfolklorists,anthropologists,andreligioushistorians.SeeMarc
Manganaro(1992)andAlanDundes(1997,17–18)forthebestknowncritiquesofthe
Campbellianmonomyth.
4.The"veracityofthelegends"themselvesisnottheonlytopicoffolklorediscussion
amongfans,asKoven(2000)hasalsodocumented.LikeTheXFilesfansKoven
studied,Supernaturalfansalsospendalotoftimeinvestigatingthefolklorerecord
itself,andcommentingon—andcorrecting—theshow'spresentationoffolkmaterial.
TheLibrarysectionoftheSuperwiki(http://supernaturalwiki.com/index.php?
title=Category:Library)isaprimerepositoryofsuchcommentary.
5.Supernaturalhastakenafewplayfulswipesatitspredecessor,withSamandDean
referringtoeachotheras"Mulder"and"Scully,"impersonatingFBIagents,andfirmly
denyingtheexistenceofextraterrestrials(2.15"TallTales").
6.Thispreferenceisprobablynotentirelyaesthetic:untilseason4,Supernatural,a
genreshowonasmallnetworkscheduledoppositeThursdaynightpowerhouses
Grey'sAnatomyandCSI,perpetuallystruggledintheratings,andapreponderanceof
"monsteroftheweek"episodesmakesitmoreaccessibletonewviewers.
7.Thisdistinctionbetweenthe"folk"andthe"notfolk"—aswellastherevisionof
thesedefinitions—isofobviousrelevancetofandomstudies.Fanshavetraditionally
beenfiguredastheOther,respondinginunofficialandoften"bizarre"waystothe
officialcultureindustry.Theriseofthe"acafan"asacategoryhasgonealongway
towarddispensingwiththeseproblematicassumptions.
8.ThechiefexceptiontoSamandDean'sgeneralalliancewiththetraditionalist"folk"
ratherthanthetraditionalistfolkloristsliesintheseries'treatmentofnonChristian
gods,whichwoulddoaVictorianculturalevolutionistproud.Thepagangodsin
episodes1.11"Scarecrow"and3.08"AVerySupernaturalChristmas"owefarmoreto
thelongdiscreditedmonomythicfantasizingofJ.G.Frazer'sTheGoldenBough—and
toFrazerianinspiredhorrorfilmssuchasTheWickerMan(seeKoven2008,25–36)—
thantothedocumentedbeliefsandpracticesofEuropeanpreChristianreligions(and
modernrevivalsofsame).Inaddition,themostplausibleculpritfortheshow'sbizarre
andinaccuratedepictionofthe"demonSamhain,"in4.07"It'stheGreatPumpkin,
SamWinchester,"isfundamentalistChristianpropagandasuchastheJackChicktract
"Spellbound?"(http://www.chick.com/catalog/comics/0110.asp).Icanonlyassume
thisisthecase,sinceafewsecondswithGoogleturnsupawealthofbasically
accurateinformationavailableevenonnonspecialistsitessuchasWikipedia.Samhain,
pronounced"SOWin"andmeaning"summer'send,"isanancientCelticfestival
markingthebeginningofwinter;itisalsocelebratedinmodernpaganreligionssuch
asWicca,Druidry,andCelticReconstructionism.SeeRonaldHutton,TheStationsof
theSun:AHistoryoftheRitualYearinBritain(Oxford:OxfordUniv.Press,1996),
360–70,formoreinformation.EventheTrickster,heretoforetheonlysemirespectful
treatmentofanonChristiandivinebeingontheshow,wasshoehornedintothe
Christiannarrative,asthearchangelGabrielindisguise.
9.ForacleverandhilariousexplorationofSamandDeanasobjectsoffolklore,see
MissyJack'sterrificfanfictionstory"WeCouldBeHeroes"(LiveJournalpost,
September9,2008).
10.TherecentSupernaturalepisode5.06"IBelievetheChildrenAreOurFuture"
playedwithostension.Folkbeliefsthatcirculateamongchildren(don'tmixPopRocks
andCoke,yourfacewillfreezelikethat,you'llgethairypalmsifyoumasturbate)start
comingtrue;thecauseistheAntichrist,ayoungboywhoisunawareofbothhisrole
andhisneargodlikepowers.
11.WhileLindahldefinessimplyvisitingalegendarysiteasanostensiveact,others,
suchasEllisandBrunvand,requirearitualactiontobeperformedbeforecallingit
ostension.Forexample,many"crybabybridge"legendsinmy(andKripke's)home
stateofOhiodemandthatyounotsimplygotothehauntedbridge,butthatyoupark
yourcaronthebridge,andsometimesleavethecar,inordertohearthewailsofthe
titularmurderedinfant.StephanieJ.LanehasagoodroundupofOhiocrybabybridges
forwouldbelegendtrippers(DeadOhio,
http://www.deadohio.com/CrybabyBridges.htm).
12.Episodes1.17"HellHouse,"3.13"Ghostfacers,"and4.17"It'saTerribleLife"
featureEdandHarry,parodiesofthehostsofparanormalinvestigationshowssuchas
GhostHuntersandMostHaunted.KovendiscussesMostHauntedextensively,arguing
thattheseriesitselffunctionsasaformoflegendtripping(2008,153–74);inits
depictionofEdandHarry,Supernaturalpresentslegendtrippingasafoolishactivity
fornonhunters,particularlywhendoneforprofit.
13.Mostofthesewickedstepmotherswere,intheoraltales,actuallywickedmothers;
WilhelmGrimmclearlyfoundthepresentationofmonstrousbiologicalmothers
incompatiblewithcontemporaryGermanidealizationofmotherhood,andsochanged
thevillainstothelessproblematicstepmothers.SeeTatar(1987,36–37).
14.Asmanyfolkloreandliteratureprofessorscanattest,assigningtheGrimmsto
Disneyraisedstudentsisanunderappreciatedsourceofmildlysadisticpleasure.
15.Disneyisthefocusofmanyargumentsaboutthemassmedia'sabilitytocirculate
folknarrative,forgoodorill(Koven2008,4–15).Inaddition,seeShortsleeve(2004,
1–2)foragoodoverviewof"Disneyfication."
16.SeeSkal(1993,287–306)forabriefhistoryoftheevilchildinhorrorfilms.
17.Theepisodedispenseswiththedwarves,who,asJanetSpaethremarks,serveas
SnowWhite'sprotectors(1982,21);Calliehasnoone.Theirinfluencemaybe
ironicallymarkedintwoways,however.InadarkparodyofSnowWhite'sroleasthe
goodlittlehousekeeper,Calliehasbeenpoisonedwithbleach;morehumorously,she
presentsherappletoDean,whoisoccasionallymockedforbeingtheshorterofthe
twobrothers.
18.EarlyepisodeswerefarmorewillingtoinvolveSamandDeanin"girls'"stories
withoutgenderbaitingcommentary,asin1.05"BloodyMary,"whereSamperforms
thetraditionalslumberpartyritual.However,startinginseason3,theshowbegan
grubbingforstraightmaleviewersinanincreasinglyunpleasantway.Thenadirofthis
campaignwasthewretched3.09"MalleusMaleficarum":thisepisode,namedafterone
ofthemostnotoriouspiecesofmisogynistpropagandainhistory,uncriticallyturned
SamandDeanintoPuritanicalwitchhunters.Women,innocentandotherwise,are
lecturedorgruesomelypunished,whileacheatinghusbandgetsoffscotfree;in
addition,asignificantportionofDean'sdialogueisdevotedtogenderbasedinsults,
usuallydirectedatRuby.Theepisodeiscappedwithadisplayofgratuitouslesbianism
thatcouldhavebeenfuninanotherepisode,butplaysinthiscontextasamean
spiritedappealtostraightmalevoyeurism.Anumberoffemaleviewers,myself
included,cameclosetoabandoningtheshowatthispoint,feelingthatwewere
consideredalessvaluableaudiencethanthesexistportionofthestraightmale
demographic.
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Transformative Works and Cultures,Vol 4 (2010)
Praxis
Monstrous melodrama: Expanding the scope of melodramatic
identification to interpret negative fan responses to Supernatural
Lisa Schmidt
University of Texas at Austin, Austin, Texas, United States
[0.1] Abstract—ThisarticleexaminesfanresponsestoanepisodeoftheCW
televisionseriesSupernatural;theepisodefeaturesametatextincludinganumber
ofshoutoutsandjokesaboutfandom.Themostcontroversialoftheshoutouts
relatedto"Wincest,"aformofslashfeaturinganincestuoussexualrelationship
betweenthetwoleadcharacters.IenAng'snotionofmelodramaticidentificationis
revampedforuseinrelationtocontemporarytelevisionreceptionandspecificallyto
interpretnegativefanresponsestothisepisode.Iarguethatthetheoryof
melodramaticidentificationcanbeemployednotonlytounderstandsoapopera
viewersbutalsoviewersofmanyotherkindsoftelevision,particularlycultTVwith
itsfrequentrelianceonserializedmelodramaticnarratives.Ifurtherarguethatnot
onlyisSupernaturalamelodramatictext,butalsothattextmustbeviewedas
extendingbeyondthenarrativeworldpropertothemultiplenarrativesortexts
comprisedbytheindustrialandculturalcontextoftheshow.Thesetogether
constituteamultilayeredmelodramawithwhichthefanidentifiesandtowhichshe
canalsocontributethroughextratextualfanactivities.Thatis,participationinslash
andWincestcommunitiescanbeviewedasexpressionofmelodramatic
identification.Thisaccountsforthestrongnegativeresponsesofsomefanswho
perceivethattheshow'sproducersareexposingand/ormockingthem.
[0.2] Keywords—Culttelevision;Fan;Melodrama;Slash
Schmidt,Lisa.2010.Monstrousmelodrama:Expandingthescopeofmelodramatic
identificationtointerpretnegativefanresponsestoSupernatural.Transformative
WorksandCultures,no.4.http://dx.doi.org/10.3983/twc.2010.0152.
doi:10.3983/twc.2010.0152
1. Introduction
[1.1] FansofcultTVhavefromtimetotimebeenaddressed,directlyorindirectly,
throughtheplotsordialogueoftheirshows.Inmanyinstancesthisaddressissubtle
orcoded;itrequiresspecializedknowledgetorecognizewhatis,infanlanguage,a
shoutout,orwhatSharonMarieRosshastermedanobscuredinvitationtoaudience
participation(2009,9).Rosshasherselfdocumentedseveralfanshoutoutswithinthe
textsofXena:WarriorPrincess(1995–2001)andBuffytheVampireSlayer(1997–
2003)(9),whilealsocategorizingotherformsofinvitation—forexample,theongoing
invitationtoengageinextratextual,Internetsupportedinterpretationandspeculation
onthenarrativeofABC'sLost(2004–9)(9).TheCWseriesSupernatural,which
debutedinfall2005andisoftendescribedasaculthitcouldbeaddedtothislistwith
ease.Certainly,manyfansoftheshowwouldagreethatthewritershavebeen
generouswithfanservice.
[1.2] Indeed,IwouldarguethatthewritersofSupernaturalhaveissuedinvitations
thattranscendmereofferstoparticipate.Theyhavewrittenfansintotheshow's
mythology,evengivingthemapartintheunfoldingofthebattlebetweendemonsand
angels.Theepisodethatbeganthistrend(4.18)istitled"TheMonsterattheEndof
ThisBook"("Monster"),a"dizzyinglymeta"episodeinthewordsofSeraGamble,
supervisingproducerandoneoftheshow'swriters(TVGuideNews2009).Theinitial
airingofthisepisode(April2,2009)spurredanintensereiterationofpositive
responseforashowthatalreadybasksintheaffectionsofahardcore,ifrelatively
small,fancontingent.However,"Monster"alsosparkedasimultaneousconflagration
ofnegativefanresponse.Amostlysimilarrangeofreactionshasbeeninvokedbythe
followupto"Monster,"5.01"SympathyfortheDevil"("Sympathy"),whichaireda
weekagoasofthiswriting.Itwasinthelatterepisodethatafanwasrecruitedto
deliveracriticalmessagetoSamandDeanWinchester,theshow'sleadcharacters.In
thecourseofbothepisodes,thewriterstooktheopportunitytodeliversome
messagesoftheirowntothefans,couchedintheformofaffectionateribbingabout
fanobsession,fancomplaints,andthenatureandqualityoffanfiction—specifically
Wincest.
[1.3] Theprimarypurposeofthisarticleisnottoaccountfortheseshoutoutsin
termsoftextualpractice.Rather,thisisanattempttointerpretfanreactions—both
approvalanddisapproval—tothesegesturesoftheshow'sproducerstowardtheir
fandom.Giventhattheshoutoutsarepresumablyderived,atleastinpart,from
affectionforthefans,itisworthinvestigatingthereasonsthatsomefansreceivethem
sonegatively.Indeed,thenegativeresponsesto"Monster"provideaninterestingcase
studyinthecontextofincreasinglyintimaterelationsbetweentelevisionproducers
andviewers,anintimacythat,generallyspeaking,ishighlydesirabletofans.What
interestsmeparticularlyisthatinsomecasesthisincreasedintimacyisnotdesirable;
forsomefans,andinsomecontexts,distanceispreferred.Forinstance,withrespect
tothereferencestoWincest,theshoutoutsinquestionrelatetofanpracticesthat,
despitebeingcommonknowledge,arecarriedonanonymouslyandsecretively.In
"Monster,"theshowopenlyacknowledgestheexistenceoftheWincestcommunity;in
"Sympathy,"thewritersintegrateaWincestwriterintotheplotandintroduceherin
theprocessofwriting(andreadingaloud)oneofherstories.Fanreactions
(particularlyamongthosewhoreadand/orwriteWincest)tothesemomentsoften
taketheformofstrongdiscomfort,althoughitisworthnotingthatdespitethe
exposure,thepredominantreactiontoalltheshoutouts,Wincestrelatedornot,is
enjoyment.Infact,thepleasureofbeingrecognizedseemstobetheoverridingfactor
amongallcontingentsofSupernaturalfans.Thusmyscholarlyinterestliespartlyin
theorizingthisdesireforrecognition,butevenmoreinthequestionofwhy,whenthe
majorityofafandomiscelebratingtheattentionreceivedfromtheirshow,aminority
shouldbeexplodinginoutrage.Toputthequestioninthefanvernacular—whythe
wank?
[1.4] Theanswertothisquestiondependsuponanunderstandingofmelodrama,one
thatissensitivetothegenericandculturalfunctionsofthismodeofstorytelling,and
thatalsosetsasideconnotationsofemotionalexcessandfemalehysteria.Previous
writingsaboutTVmelodramahavetendedtorestricttheiranalysistothoseshowsthat
wereselfevidentlymelodramatic—inotherwords,soapoperas—inordertoaccount
fortheirfemaleviewership.Supernaturalmayseemanoddcandidateformelodrama,
giventhatitisgenerallyassumedtobehorrororcultTV,butitdoesexhibitastrong
femalepresenceamongitsaudience(note1).Moreover,whentestedagainstthe
criteriagivenbyBenSingerinMelodramaandModernity:EarlySensationalCinema
andItsContexts(2001)andPeterBrooksinTheMelodramaticImagination(1976),
theshowwillrevealitstruenatureasmelodramaticthroughandthrough.
Furthermore,itwillalsobeclearthatthemanyextratextualnarrativessurrounding
Supernaturaltendtowardthemelodramatic.Thatis,themelodramaticmode
encompassesnotonlythetextoftheTVshowitself,butalsothevariousactivitiesof
fandomthatsurroundit,including,inthecaseofSupernatural,theWincest.
[1.5] Notcoincidentally,Iamarguingthatslashitselfisdeeplygroundedin
melodramaand,moreover,thatslashbasedontheincestuousrelationshipoftwo
brothersis,ifnothingelse,anexceptionallypowerfulformofit(note2).While
previousscholarlyattemptstocharacterizeslashgenericallyhavelinkeditto
fantasy/sciencefiction,romance,andagenretermedintimatopic,Ipreferthe
descriptivepowerofmelodramaasatype,anarrativestyle,andaculturalmode.AsI
willexplicatefurtherbelow,manyslashstoriesdwellonsituationsofintensepathos,
scenariosofemotionalsurfeitnearlyunmatchedinanyotherformofnarrative.Thisis
nottosaythatslashismelodramainanexclusiveanddefinitivesense.Itis,however,
toclaimthatthesestoriesaremelodramaticregardlessofplotdevice,betheycalled
utopian,romantic,dysfunctional,tragic,perfectlyplatonic,domestic,oranyother
categoryagainstwhichslashmightyetbemeasured.CatherineTosenbergerhas
suggestedthatWincestappealstosomefansbecauseitistheidealromance,invoking
thepossibilityofacompleteunionbetweentwolovers.Thismaybeanapt
characterizationofsomeWincest,butinmanymoreofthesestories—indeed,inthe
veryscenariooftwobrothersengagedinasexualrelationship—wehavetheperfect
melodrama.
[1.6] Inmakingthesearguments,IdrawuponIenAng'stheoryof"melodramatic
identification"(1997)andmodifyit;mineisatheoryofmelodramaticidentification
reshapedtoanerainwhichthenotionof"thetext"hasbecomeincreasinglybroad,
encompassingfans,producers,writers,andactors.Certainly,thetraditionaltextdoes
continuetoprovideanimportantpointofidentification—amplydemonstratedbythe
existenceofextensivefanexegesisoftheshow'scharacters,plots,andthemes,
broadlyreferredtoasmeta.However,itisclearthata"show"nowconsistsofmultiple
narrativesderivedfromnumeroustextual,intertextualandextratextualsources.This
isparticularlythecaseifweconsiderhowtheideaofshowisexperiencedbyfans;
sincetheyconcernthemselveswithalltheloresurroundingtheproductioninaddition
tothestorytellingprocess,theirtextconsistsofoverlappingandcontinuously
expandingnarrativesthatultimatelyalsoincludethebiography/biographiesofthefan
andhercommunity.Inshort,melodramaticidentificationcannotberestrictedtoan
affectiverelationshipwithacharacterorplotline;rather,itisarelationshiptoa
continuousinterweavingoftexts—includingbothfanfictionandthenarrativeofthe
fanherself—intoagreatertextthatthefanknowsas"myshow."Thisexpanded
identificationisthewellspringoftheintenselyexperiencedactsofreceptionthatare
somuchapartoffandom.Melodramaticidentificationcanaccountalsofortheacute
divergenceoffanresponsesthatfallonaspectrumofemotionalintensityranging
frommildamusementtoprofoundanger.Thisisparticularlysointhecaseof
Supernatural,inwhichtheshowhasmadedeterminedanddeliberateovertures
towardfans,attemptingsimultaneouslytoacknowledgeandmanipulateacomplex
affectiverelationship.
[1.7] ItisnotmyintenttodismissordiagnoseanyofthefanswhosereactionsIcite
herebycharacterizingthemasmelodramatic.Iturntomelodramaticidentification
becauseitisthebestexplanationofthemultiplepleasurestobehadasafanof
Supernatural—andmanyothershows,includingthosewhosefanswouldstrongly
resistthelabel.Indeed,melodrama,likemanyculturalformsassociatedwith"female
interests,"issimultaneouslyomnipresentintelevisionandyetcontinuously
undervalued;itisthatwhichmustbeavoidedifashowistobeconsidered"quality"
(note3).Atthesametime,Idonotproposetofocusonthemelodramatictothe
exclusionofotherpossiblecausesoffanbehavior;thereareaspectsofthenegative
responsetotheWincestshoutoutthataretheresultofasimultaneousanddiscrete,
morecommunityoriented,objection.Justlikefandomingeneral,slashservesmany
purposesandcouldneverbereducedtooneexclusively.Therearedimensionsofslash
thatapproachtheexpressionofqueerness,inthattheyarededicatedtothe
explorationofintimacyinallitsformsdespiteanysocialmoresorstandardsof
heteronormativity.Indeed,someformsofslasharecompletelycommittedtothe
explorationofintimaciesinthemosttaboo,fantastic,orsimplyimpossiblesituations.
Wincestmightbeanexampleofonesuchtype;certainlyincestisakindofimpossible
situation.
[1.8] Toinvokethetermqueerinrelationtoslashistoenterontocontroversial
ground.Evenso,itisthecasethat,forsomefans,aninvestmentinacommunityand
evenanidentitywaspartofthesmallbutvirulentnegativereactionto"Monster,"an
episodewhosecleverandoccasionallyaggressivemetatextualplaytriggeredfeelings
ofhurt,exposure,andoutrage.ItmustberecognizedthatErikKripke—theshow
runner(andalsocreatorandoccasionalwriterdirector)ofSupernatural—andhisteam
haveessentiallyoutedasubculturalgroupbychoosingtowriteWincestintocanon.
Thiskindofmisunderstandingisperhapsunderstandableenoughbutstillfrustrating.
Fromtheperspectiveofsomefans,itseemsthatthewritersarecondoningandeven
urgingonthosewhoprefertoassumethatWincestisweirdbehaviorofsome
particularlymarginalfans.Thisperspectivehassomevalidity,evenifitislikelythat
thewritersbelievedWincestfanswouldwelcomepublicacknowledgment.Indeed,
manyfansdidwelcomeit.
2. The "monster" show
[2.1] "Monster"beginswithDeanandSamWinchesterinvestigatingahauntingina
comicbookstore,wheretheyaremistakenforLARPers(liveactionroleplayers).The
clerk,uponhearingthemasktheirstandardinvestigativequestions,leapstothe
conclusionthattheyarefansofacertainseriesofbooks—aseriesthatbearsan
uncannyresemblancetotheirownlives.Accordingtotheclerk,thesebooks(much
likethetelevisionshow)neverhadmorethanacultfollowingandarenowlanguishing
inthebargainbin.SamandDeanthusdiscoverthatapseudonymousauthor(Carver
Edlund,anamecobbledtogetherfromthelastnamesoftwooftheshow'swriting
team,JeremyCarverandBenEdlund)haswrittenaseriesdetailingeveryaspectof
theirlives;coincidentally,everybookintheseriesisoneepisodeofSupernatural,
beginningwiththepilotandendingwiththelastepisodeofseason3.Inthisfinal
book,Deandiesandiscarriedoffbythehoundsofhellinaccordancewithadealhe
strucktobringSambackfromthedead.
[2.2] Afterfurtherinvestigation,DeanandSamencounterthebookseries'publisher
(SeraSiege)whoisalsothequintessentialfangirl.Notcoincidentally,shesharesa
firstnamewithSeraGamble(anexecutiveproducerandwriterontheshow)anda
lastnamewiththewriteroftheepisode,JulieSiege.ThepublisherSiegerantsabout
audienceswhoeschewqualitydramaforDr.McSexy(anallusiontoSupernatural's
ratherheavyweightThursdaynighttimeslotcompetition,Grey'sAnatomy).
Concurrently,thewriterSiegedisplaysakeenunderstandingoftheemotional
investmentsofalargesegmentofSupernatural'saudience,asthepublisherdrools
overSamandDean'smomentsofangst,sighing:"It'sjustthebestwhentheycry."
Lateronintheirmotelroom,DeanandSamdiscoverthattheyhaveanonline
fandom,whichistosaythattheydiscoverthereallifeSupernaturalfandom,even
identifyingaWebsiteandausername.Scanningthecomments,Deanobserves,"For
fans,theysuredocomplainalot."ThenSamintroducesDeantotheconceptofslash:
"Asin…SamslashDean…together."Deaninquires,"Don'ttheyknowwe'rebrothers?"
UponlearningfromSamthatit"doesn'tseemtomatter,"Deanrepliesinapotential
metacondemnationoftheexistenceofWincest,"that'sjustsick."
[2.3] Fanresponsesto"Monster,"asexpressedonTelevisionWithoutPity(TWoP)
andLiveJournal(LJ,wheremuchoffandomlivesnow),forthemostpartexpressed
thedelightoffansatbeingcalledoutandacknowledgedby"Kripke"(note4).Also,
manyfansfoundpleasureinthedizzyinginterpenetrationoffictionandreallife.For
instance,sinceChuckShurley,theauthorofthebooks,isrevealedtobeaprophet,
EricKripkeis,presumably,God.SamandDeanaremadetodisplaytheirreal,but
supposedlyimitation,tattoosbasedonthefictionalSamandDean'stattoos,asproof
oftheirdedicationtothefandom.Atonepoint,Deanreadsaloudfromarealfan's
actualcommentary:"Listentothis:Sympaticosays:'Thedemonstorylineistrite,
clichéd,andoverallcraptastic.'Well,screwyou,Sympatico,welivedit."Ifthisseems
atrifleharsh,itdoesappearthatKripkeetal.werewillingtotakeitaswellastodish
itout.TheprophetChuckapologizes,amongotherthings,forputtingtheWinchester
boysthroughsomeofhislesspolishedwritingefforts(1.08"Bugs,"1.13"Route666,"
and3.06"RedSkyatMorning"),whileinthesamebreathexpressingregretfor
subjectingthemtotheirdepressinglives.Inanycase,commentspostedshortlyafter
theconclusionoftheepisodewerenearlyeuphoric.Apowerfulinterpretiveenergy
transformedanyapparentcriticismsintocleverinsidejokes.Asthisfanputit:
[2.4] Iwasexpectingsomethinghorriblyangsty,andwithinthefirstfive
minutesIwaspissingmyselfinlaughteranddisbelief.Takingthemickeyout
ofthefansandthemselveswasprettyfunthereforawhile.Especiallysince
anepisodethatwasfictionallyacrossoverbetweenfictionandrealitywasat
thesametimeinrealityacrossoverbetweenfictionandreality.Artandlife
imitatedeachotherintoatangledballoftimeywimey,wibblywobblystuff
(toquoteTheDoctor).(Katiki,TelevisionWithoutPity,April2,2009)
[2.5] Asforthecracksaboutfandom,itappearsthatmanyfansexperiencedthemas
affectionatepats;evenDean'sdisgustatlearningoftheexistenceofWincestwasnot
takenasrealcriticism.Thepleasureofbeingknownwastheprimaryinterpretive
principle,fortobeknownwastobeloved.AsoneposterexpresseditontheTWoP
Supernaturalforumwithinhoursoftheairingoftheepisode:"Well.Thatwasthefirst
timeashowhastakenmeintoitsstrongarms,lookedintomyeyeswithascorching
fire,bentmeback,andgivenmeakissthatdrownedmysoul—andthantickledme
untilIwetmypants.IfanyonedoubtsthatTPTB[ThePowersThatBe]readthe
boards…"(Snookums,April2,2009).
[2.6] AscanofthecontemporaneouscommentsatTWoPandvariouscommunities
onLJrevealendlessvariationsofthesametheme:
[2.7] KripkeandCo.reallyknow,understandandmostimportantly
appreciatefandomforallitsweirdandsometimesdownrightdisturbing
awesomeness.Howmanytvshowcreatorsknowtheirfanbaseasinsideand
outasKripkeandCo.knowus?NotmanyIamcertain.Butthat'sthegreat
thingaboutlovingashowlikeSupernatural,thewritersandproducersare
justasintousasweareintothem.(EdenWinchester,TelevisionWithout
Pity,April2,2009)
[2.8] Clearly,thereissomethingemotionallyalluringforfansabouttheideaofbeing
known.Inresponseto"Monster,"theyposted,overandover,"Kripkereallylovesus!
Heknowsus!Heseesus!"Jokesaboutthefandomappeartobetheprimaryevidence
ofKripke'sknowledge,evenifthisresultsinexposureofallthehabits,complaints,
andobsessionsofSupernaturalfans,includingtheWincest.Indeed,theshowhas
continuedwritingtheirfansintotheshow'smythologywithepisode5.01"Sympathy"
(September10,2009),allowingthemtoparticipateinsavingtheworldàlaGalaxy
Quest(1999).Moreover,thisepisodetakestheWincestshoutoutwellpastthe
obscuredintotherealmoftheliteral.TheprophetChuckneedstogetamessageto
DeanandSam,andreachesoutbyvideochattohis"numberonefan,"agirlnamed
Becky(aliasSamLicker81),whoisWebmistressofasitecalledMoreThanBrothers.net
(note5).WhenChuckidentifieshimselfandasksforherhelp,herfirstresponseisto
castigatehimformockingher:"Imaybeafan…butIknowthedifferencebetween
fantasyandreality."Hesnaps,"Becky,it'salltrue,"andsheimmediatelychimes,"I
knewit!"Shortlythereafter,shedelivershermessagetoSamandDean,whereupon
thereissomeentertainingplaywiththefactthatsheisaSamgirl;shedismisses
Deanas"notwhatIexpected."ShethencaressesSam'schestcompulsivelydespite
hisrequest:"Becky,canyouquittouchingme?"Insum,Kripkeetal.wanttomakeit
verycleartotheSupernaturalfansthattheyknowthem"insideandout."Ratherthan
findingthisathreatorinsult,mostfansseemtofinditextremelypleasurable.Itisa
pointofpride,even,becausefansnowbelievethatKripkeappreciateshisfanbase
morethanothershowrunners.
[2.9] Yetthereisnottotalagreementwiththisinterpretation,ascanbeseeninthis
fan'spostonApril2,thenightthat"Monster"originallyaired:"*blinks*Ohfuckyou,
SHOW.Imean,Iloveyouandeverything.Thatwasanawesomeepisode.Butstill,
youknow.Getthatdamnspotlightoutofmyface,thankssomuch,friends;P"
(KatieJo,TelevisionWithoutPity).
[2.10] Shereceivedonlyafewreplies;mostlyshewasignored,exceptforthe
following:
[2.11] Aww,nowthatIseeeveryone'spositivereactions,IwishIlikedthis
episodebetterthanIdid.Andthereweredefinitelymomentsthathadme
laughingandveryentertained.Butonthewhole?Itseemedlikebadfanfic…
Butyeah,Idon'tknowaboutashowacknowledgingstufflikeWincestinthe
show…Acknowledgingthefans,sure,maybeashoutoutortwo,butthiswas
toomuch.Ithinkthewritersneedtogetofftheinternet.(BloodyMarie,
TelevisionWithoutPity,April3,2009)
[2.12] Furtheron,anotherfanchimedin"Afterreadingthethread,Iseemtobethe
onlyonewhofeelsthisway,butIdidn'tlikethemetaatall.Itseemedlikeaslapin
thefacetothefansasawhole,andmuchtoomuchlikemockingtoachieveevena
tongueincheekeffect.Talkaboutbitingthehandthatfeedsyou"(Asweet7492,
TelevisionWithoutPity,April3,2009).
[2.13] Roughlycontemporaneously,therewasanexplosionofangstonLJthat
ultimatelylandedontheinfamousFandomWank
(http://www.journalfen.net/community/fandom_wank).Onceagain,partofthe
outrageconcernedtheselfreferentialityoftheepisode,butthiscomplaintismerely
consistentwithongoingdisagreementsaboutthedirectionofSupernatural'snarrative
throughoutseason4.Therewillalwaysbeacontingentoffanswhoarefeeling
disgruntledordisenchantedwiththeshow'sentirenarrativetrajectory.Thestrongest
objections,however,werederivedfromasenseofbeingmockedand/orexposed.The
followingcommentonLiveJournaldemonstratesthelevelofpassionsomefans
exhibitedonthesubject:"I'mbeginningtothinkKripkehasnorespectforhisownfan
base.Idon'texpectTPTBtocondoneslashorWincest,butIdon'tappreciateitwhen
thecreatorsofoneofmyfavoriteshowsmakefunofthefandomingeneral.WeMADE
you,youfuckers!"(Spiderine,April3,2009).
[2.14] Amilderandmorefrequentkindofcomplaintinvokedexpectationsofprivacy.
Despite—orbecauseof—theunderstandingthatWincestisapotentialviolationofthe
sensibilitiesofKripke,oroftheactorswhoportraythecharactersinquestion,there
wasandisafeelingthatthereferencestoWincestareexposingsomethingthatshould
remainwithinthecommunity."Dearwriters,howabout'whathappensinfandom
staysinfandom'?Thefourthwallisaniceconceptindeed.Doyourealizethatthe
casualviewersdon'tequalwiththefandomandyou'vejustshownthewholebrother
incestthingintotheirfaces?"(Fernblick,TelevisionWithoutPity,April3,2009).
[2.15] Itisworthnotingthattheresponseto"Sympathy"hasrepeatedthese
receptiondynamics.Again,whilethemajorityofcommentscitepleasureatthedirect
addresstofans,aportionoftheonlinecommunityhasexpresseddismay.Thereis
whatappearedtobeanincreaseinthenegativeresponse(althoughit'svirtually
impossibletoobtainatruemeasureoffanapprovalasopposedtodisapproval),in
thatsomehaveobservedthat"oncewasfunny,twiceisgettingtobetoomuch,"while
othersreactedtotheevenmoreexplicitadoptionofWincestintocanon.Infact,the
episodepromptedBuddyTVwriterJohnKubicek(2009)tocommentinanarticle
titled:"SupernaturalSlash:'ThisisWrong.'"Heiscarefultonotethathedoesn'tmean
theslashitself(hedoesn'tcarehowpeople"gettheirjollies"),butthefactthatthe
writersofSupernaturalhavetakenthejoke"toofar."Healsoopinesthat,despite
"Monster"beingoneoftheshow'sbestepisodes,with"Sympathy,"thejokesabout
fandomaregettingtired.Finally,henotesthattheresponsestohisreaderpollonthe
Wincestinclusionweresplitbetween"funny"and"disturbing."
[2.16] Atthispoint,itisusefultosummarizethenegativeresponsesto"Monster"
and"Sympathy";theyfallroughlyintothreecategories.Thefirstreactionwason
textualgrounds.Theserespondentseitherdislikethedirectionofthenarrativeina
givenseason,ortheepisodealone,orboth.Forexample,somefanswrotethatthey
hatedhavingtheputativefourthwallbrokenortheyfoundthedeviceofthe
Supernaturalbooksoverlyclever,ortired,orsimplyunfunny.Thesecondreactionwas
totheperceivedinsultstoSupernaturalfansingeneral("Talkaboutbitingthehand
thatfeedsyou").ThethirdreactionwastotheWincestshoutout.Itshouldbe
apparentthat,formypurposeshere,thefirstreactionisoflittlerelevance.These
typesofcomplaintshavebeentheprerogativeoffanssincetimeimmemorialandwill
continuetobesoaslongasthereareprofessionalstorytellersandpeopletolisten.I
amfocusedonthesecondandthirdreactions,ontheresponsesofthosefanswhofelt
somelevelofdiscomfortordisapprovalorsomeothernegativereactiontobeingseen.
Whereasthemajorityoffansinterpretedbeingseenasbeingknownandtherefore
loved,thegeneraltrendofthesenegativecommentsisthatfanswerenotsomuch
beinglovedasbeingexposedinsomeway;inthecaseoftheWincestshoutout,this
reactionfrequentlytakestheformofaperceptionofbeing"outed."
3. Fans and producers: New intimacies
[3.1] Thereislittleinthewayofacademicliteraturethataddressesdirectlythe
situationathand;althoughtherehavebeenotherinstanceswhereTVshowshave
writtentheirfansintotheirtexts,itisnotapparentthatthefanresponseshavebeen
documented,analyzed,ortheorized.InherintroductiontoBeyondtheBox:Television
andtheInternet,SharonMarieRossobservesthatfandomstendtodifferintheir
qualitativesenseofwhetherornotthecreators/producersoftheirshowsaretruly
watching(2009,2–4).Subsequently,sherelatesaninstanceinwhichthewritersof
Xenamade"aplotjokeoutofTVviewers'desiretoknowwhetherornotXenaandher
femalecompanionGabriellearelovers"(7).AlthoughRosscloselydocumentsfan
interpretationsoftheXenaGabriellesubtext,shedoesnotindicatehowfansfeltabout
thejoke.Shedescribes,generally,thatsomefansreadthecharactersas"definitely"
lesbian,whileothersviewedthatreadingasoptionaldependingonthepreferenceof
theviewer,andstillothersinsistedonaplatonicreading(2002,568–80).Someofthe
commentsoffansinrelationtothisissueexpressedaconcernthattheactresses
wouldgotoofarand"crossaboundary,"buttheprimaryconcernseemstohavebeen
afearthatitwasbadfortheshowratherthanexposureofthefans(2002,577).
[3.2] Inmoregeneralterms,forsometimenowtherehasbeenrecognitionthat
thereisakindofintimacy—oratleastaperceptionofit—betweenfansandcreatorsof
atext.Inarecentessay,JanetStaigerremindsusthatauthorsarethemselves
readers,erodingthelinkbetweenproducerandconsumer(2008,280);indeed,
authorscanoftenbefans.HenryJenkinshasalsowrittenofthe"renegotiation"of
relationsbetweenconsumersandproducersinconvergenceculture(2004,38),and
althoughhefocusedinthisessayonthegamingandrecordingindustries,thereisno
doubtthatthesameappliestotelevisionproducersandconsumers.Putanotherway,
academicsareincreasinglyawarethatthelinebetweenproductionandreceptionhas
growntenuous.InBeyondtheBox(2009),Rosshascreatedaframeworkfor
understandingthedifferentwaysthataudiencesareinvitedtoparticipateintelevision
textsandsuggestsdifferenttypesofinvitations.Wheresuchinvitationsexistprimarily
onthelevelofaestheticsornarrativestructure(asopposedtomoredirectsolicitations
suchasvotingprocedures),theyare"obscured"(4).Thislattercategorywould
certainlyapplytotheshoutoutsin"Monster,"whereonlyawatcherwithspecialized
knowledge(afan)wouldrealizethattherewasametatexttoberead.The"invitation"
inthiscaseissubtle,butitisstillaninvitation;thefanisbeingaskedtoengageinan
addedlayerofinterpretationandshareinajoke.
[3.3] Putstillanotherway,therelationsbetweenproducerandconsumer,authorship
andreceptionhavecometoresemble,increasingly,anactualrelationship,albeitnota
terriblyempoweredoneoneitherside.Underdifferentcircumstanceswemighteven
considerapplyingtheadjectivecodependent.Boththeproducerandtheconsumercan
becomepassionatelyinvestedinthesamestory,andbothcansufferfromalackof
controloverthestory,beingsubjecttothewhimsofcorporatedecisionmaking.Inthe
caseofSupernatural,thissituationisparticularlyacute;theshowhasbeentermeda
culthitinthepress,whichistosaythatitsaudienceisrelativelysmall.Theshowhas
alwaysbeenendangered;fanshavehadtobitetheirnailseveryspring.Theyhave
donewhattheycantosupporttheshow,spreadingtheword,engaginginpublicity
campaigns,andmakingapointofturningontheTVeveryThursdaynight,evenfor
repeats.ThusSupernaturalfansareshoweredwiththanks—ininterviews,on
commentaries,andatconventionstheyaretoldhowimportantandappreciatedthey
are.Theproducersofsuchashow,particularlyinaposttelevisionlandscapewhere
audiencesareincreasinglyfragmented,mustbekeenlyawarethattheyneedeachand
everyviewertosurvive;perhaps,despitetheirgratitude,theycannothelpbutresent
thisdependency.Somefans,watching"Monster,"hadtohavefeltjustatinybitof
genuineaggressionintheplayfulslaps.
[3.4] Inshort,Supernaturalfansareaccustomedtoafairlyluxurioussenseof
intimacywiththeirshow,andwherethereisintimacy,thereislikelytobedeep
emotion.LawrenceGrossberghasstatedaptlythepowerthatfansgivetotheir
culturalobjects:"Themostobviousandfrighteningthingaboutpopularcultureisthat
itmatterssomuchtoitsfans"(1992,59).Nordoesthismatteringalwaysequateto
positivefeeling.Theantipathyfelttowardcertainpopcultureobjectsismerelytheflip
sideofadoration.Moreover,suchadorationcanbetheprecursortohurtfeelings,and
notjustonthefans'part.Certainly,fanscanhurtthecreatorproduceroftheirshow,
byrejectingcharactersorstorylines,orbygenerallymakinganuisanceofthemselves.
Showrunnershavebeenknowntomakestatementsseekingtojustifydecisionsand
evenlashoutatunappreciativefans;obviously,theroleofpersonalfeelingscannotbe
withoutsomerelevanceinthesesituations.InhisDVDcommentaryfor2.20"WhatIs
andWhatShallNotBe"(2007),Kripkeadmitsthathecanfeelhurtwhenhereads
criticalfancomments:"I'llbehonest,ithurtsmyfeelingssometimes!"Ininterviews,
hehasalsostatedthathehasspenthoursperweekreadingsuchcomments,andhas
sometimesbecome"reallydown"iftheywerenegative.Thetoneofhisaddressin
bothcommentariesandinterviewstendstobepersonalandchatty,asthoughheis
speakingdirectlytoafriend.Thisisnottosaythatfansareinarealrelationshipwith
Kripke,buttodemonstratethatthesenseofintimacybetweenhimandfans,however
constructedandultimatelyillusory,neverthelesshastheaffectiveanddramatic
markersofarelationship.
[3.5] ItisvirtuallyimpossiblenottostrayintoFreudianterritorywhentalkingabout
affectiveinvestment,becausethecompleteversionofthelatterphraseis"affective
investmentinaloveobject."Theverynotionofinvestingimpliesthatweare"putting
somethinginto"anidea,person,orthing(object)andwhilenotallofFreud'sideas
maybeequallyuseful,histheoryofobjectattachmentsseemstodescribesomething
thatmesheswithourphenomenologicalexperienceofourownemotionallives(1917).
Freudaptlydemonstratedthelinkbetweenobjectinvestmentandidentification;he
observedthatthemoreemotionalenergy(libido)weinvestinanobject(theprocess
ofcathexis),themoreimportantitbecomestooursenseofself.Thisistheactual
mechanismofidentification,atermthathasbeenmisusedandabusedinmedia
studies.Identificationisaprocessbywhichafantasycopyofthelovedobjectliterally
becomesapartofourego.Insimpleterms,themoreweputintothe"show,"the
moreitbecomesapartofus.Moreover,thelibidinalattachmentisnottotheobject
thatexistsintherealworld,buttothecopyinsideus.HenceFreudianreasoning
brilliantlyexplainsacommonsenseproposition:lovinganotherisinseparablefromthe
loveofone'sself(note6).Desireandidentificationaresimilarlyinseparable,founded
ontheinexhaustibleenergythatislibido.
[3.6] The"show"objectcanalsobebrokendownfurther,intootherobjectsandpart
objects.LetussupposethatIhaveanattachmenttothecharacterofDean
Winchester.Inpsychoemotionalterms,thismeansthatIhavea"Dean"insideme,
anditisthisDeanthatIloveandnurturewithmydailyattention,nottheobjective
Deanoftheshow.Thesamemightbetrueofanobjectcalled"Jensen"(JensenAckles,
theactorwhoplaysDean).Theseobjectsarenotmutuallyexclusive,norarethey
entirelyseparatefromeachother.TheDeanobjectthatInurturewithinmeislessa
perfectbilliardballthananoblongballofclay,constantlybeingreworkedbynewand
repeatedemotionalinvestments.Moreover,"Dean"isinfusedwith"Jensen"andvice
versa,andbothareaspectsoftheobject"show."Myfandomcouldberepresentedas
aconstellationofdoughylumpsthatsticktoeachotherandaccreteintoasingle
object(Supernatural)whilesimultaneouslyretainingthediscretenessofthemselvesas
objects.Again,thisobjectisheldwithinmeaspartofmyself.IfIweretolosemy
Deanobjectforsomereason,throughambivalenceorperhapsthroughcancellation,it
couldallbutliterallytearachunkoutofme(myego).Thisisthemelancholic
mechanismasdescribedbyFreud,inwhichheexplainedgriefanddepressionasboth
foundeduponalossofselfconcomitantwiththelossofalovedobject.Theeffortsof
fanstorelate,toknowtheirshowandallofitsconstituents,arenotonlythemeansby
whichtheycontinuetoinvestin(cathect)theshowobject,butthesafeguardagainst
itsloss.Toquestiontherealnessofsuchrelationsismoot,inasense.Fromthis
context,afan'sinvestmentinashowisnolessarealrelationshipthaninvestmentin
apersontowhomtheyhavedailyaccess.
[3.7] Fortunately,fanshaveamyriadofwaysofrelatingtotheirshowobject:
weeklyepisodes,promotionalmaterials,conventionencounters,commentaries,
interviews,andmore.Networkingtechnologieshavemadeitpossibleforfanstofeel
evenmoredirectlyconnectedtoshowproducers,actors,andwriters;itisnow
possibletoparticipateinascheduledchatwithashowrunner,ortofollowafavorite
actoronTwitter.Moreover,somefandoms(suchasthatofSupernatural)havebeen
encouragedviaofferstoparticipate(inRoss'sterms),tobelievethattheshowis
reachingouttothem,evenwatchingthem.Althoughfrequentlypresentedintheform
ofinformationsharing,alloftheseencountersrepresentopportunitiesforrecognition
—akindofknowledge,but,moreimportantly,anaffirmationoftherelationship.
Conventions,forinstance,couldbeviewedasorganizedsituationsofrecognition,in
whichtheactorsletthemselvesbeseenwithoutmakeupandwithoutthecrutchofa
script.Theyanswerquestionsdesignedbyfanshopingtocausethemtoreveal
informationthatcouldnotbeaccessedotherwise.Theyhavetheirpicturestakenwith
fans,meaningthatafanhastheopportunitytostandincloseproximitytotheirlove
object,toseehowtheylookupclose,howtheysmell,howtheyrelatepersonto
person.Simultaneously,thefanisseenbytheactors.Forthefan,theemotional
qualityoftheconventionexperienceisbaseduponthequalityofopportunitiestoknow
theobjectoftheiremotionalinvestment.Indeed,thefanisalwaysengagedintrying
toknowaloveobjectwhoremainstosomeextentmysterious,alwayspartially
obscuredandonthevergeofbeingrevealed.Perhapsthisparadoxisthesource,at
leastinpart,oftheuniquelevelsofemotionalintensityfrequentlyexhibitedbyfans
towardstheirloveobjects.
[3.8] Basedonalloftheseavailableopportunities,Supernaturalfanscouldhavesaid
theyfelt"known"byKripkeetal.evenbefore"Monster"aired,buttheepisodecould
be,andwas,takenaspowerfulaffirmation.Tobeknownback,tobeacknowledged,
wascertainlyanadmissionifnotanintensificationofthesenseofintimacybetween
Supernaturalfansandtheshow.Undersuchfraughtconditions,however,itcould
hardlybesurprisingthatsomefindtheintimacyabittoomuchtobear,particularly
thosewhoaremoredisposedtokeeptheiremotionsandinvestmentrelativelyprivate.
Itisnowonder,also,thattheshoutoutscouldbeviewedbysomeasarevelationof
dislike,disrespect—orperhapsjustsomethingtoointimate.Indeed,itisconceivable
thatfanshaveaccesstomoreinformationabouttheirloveobjectsthantheycan
possiblyprocess,includingmassivevolumesofusergeneratedcontentavailableon
theWebthatfanscanshapeintotheirownnarratives.DavidBeerandRuthPenfold
Mounce(2009)haveofferedthesuggestionthatforfanstoshapesuchmaterialintoa
usablenarrativerequirestheexerciseofanewkindof"melodramaticidentification."
Beinghumans,wetendtonarrativizeourexperience,andtherearereasonswhy,for
fans,thenarrativemustbemelodramatic.
4. Melodrama: Not just in my imagination
[4.1] TheconceptofmelodramaticidentificationasoriginallyproposedbyIenAng
(1997)focusedonidentificationwithamelodramaticcharacter(SueEllenEwing)ina
melodramatictext(Dallas);herdefinitionoftext,althoughnotincorrect,wassimply
traditional.WhileIdointendtoexpandofAng'sconceptoftextbeyondtheboundaries
ofthebox,Imustnowbeoldfashionedforatime,inordertodiscussSupernaturalas
melodrama.
[4.2] Itmighttakefewmomentstoseepastthelabelof"horrorshow."Witnessthe
reviewsoftelevisioncriticsin2005:"Thingsthatgobumpinthenightarealltherage
thisfall"(Lowry2005).However,forsomewholookedalittlecloser,therewasalsoa
quickinsightintothepresenceofmelodrama:"Inthemidstofallitsotherworldly
doings,Supernaturalmanagestoaddressoneofstorytelling'senduringthemes:the
searchofchildrenfortheirfather,andthedesiretoconnectwithparentalfigures"
(Blum2005,12).Kripkeandtheshow'swritershaverepeatedlyreferredtothe
relationshipofthebrothersSamandDeanWinchesterasthecoreoftheseries,and
morerecentlyMattRoush,writingonlineofhis"SupernaturalSummer,"madenoteof
theentertaininghorrorandcomedyelementsoftheshowbeforegoingontoits
"fiercelyemotionalcenter"(2009).Finally,HenryJenkins(2007)statedinhisblog
reviewofSupernatural:"Thisisthestuffofclassicmelodrama."Indeed,Jenkins
believesthatthismelodramaticcoreseparatestheshowfromotherhorrorthemed
showssuchasBuffyandtheXFiles(1993–2002),nottomentionthosethatjoined
Supernaturalinthefall2005cohort,suchasGhostWhisperer(2005–9).
[4.3] Itneednotbeastretchtosuggestthatsupposedlymaleorientedgenressuch
asscifiandhorrorcanbefundamentallymelodramatic,particularlyinthe
contemporaryTVsceneinwhichnearlyallprogramsarestronglyinfluencedby
seriality.Inhispiece"DefiningCultTV:Texts,IntertextsandFanAudiences,"Matt
HillspausestonotethesimilaritiesinnarrativestructurebetweenmanycultTVshows
andsoaps—suchas"narrativeclosurebeingindefinitelydeferred"(2004,513)—onlyto
thencarefullydistinguishthetwoforms.Thereisnoquestionthat,forHills,cultTV
(howeverwemayultimatelydefineit)iscloselyrelatedtosoapsbecausetheyboth
relyuponserialstorytelling.However,heclaimsthatincultTV"programmesusually
focusuponadefiningnarrativeenigmaorpuzzlethatisboundupwiththeircreation
offantasticnarrativeworlds"(513),whereassoapsdealwithmultiple,intertwining
narrativestrands.Hillsratheroverstatesthecase,apparentlykeentokeepsoaps
awayfromhiscultTV,althoughhedoesacknowledgethattherearereasonswhyboth
soapsandcultTVseemtodrawlargeandcommittedfanaudiences:theremustbe
somethingsimilarabouttheexperienceofwatchingthem.Rossalsonotedthatmany
respondentstohersurveyofBuffyandXenafansfoundtheirshowstobe"soaplike"
(2002,13).
[4.4] Itisonethingtostatethatmelodramaiseverywhere;todefineitisnoeasy
matter.Therehavebeenanumberofseminalpieceswritteninthefieldofmedia
studiesdiscussingmelodramaintermsofbothfilmandtelevision,butBenSinger
offersasummaryofmuchofthismaterial,aswellasausefulclusterofcharacteristics
thatidentifymelodrama.Forastart,Singernotesthatthepopularunderstandingof
melodramalinksittoasenseofhighsentiment,overwroughtemotion,andwomen's
content(2001,39).Indiscussingthehistoryofmelodrama,Singerreferstokey
historicalworkperformedbySteveNealeonthefilmgenre,whichdemonstrateshow
theoriginalmeaningofmelodramashiftedfromitsearlyusageinthelate19thand
early20thcenturiestoitsreimaginationas"thewoman'sfilm"inthe1940s.Thatis,in
termsofearlyfilmhistory,melodramawasnot"theweepie"orthe"tearjerker"butin
factahighlydramaticstoryassociatedwithgore,strong,detailedaction,andfantastic
plotshingingoncoincidenceandaccident.Itwassomethingthatmoreclosely
resemblestheactionpackedplotsofSupernaturalthantheclassicsoapoperaorthe
woman'sfilm.Ofcourse,theplotsoftheseearly"sensationalmelodramas"were
designedtoarousepowerfulemotionsintheaudience,largelythroughidentification
withcharacterswhowereindesperateneedofbeingavenged.Theplotconstructions
werelessfocusedoncontinuitythanonthearousaloragitationoftheaudience
throughthecreationof"situation":amomentofshockorsurprisecreatedbysome
revelationorplotdevelopment.Elicitingagaspfromtheaudiencewasofgreater
importancethannarrativerealism,althoughmelodramaswerecommittedtoarealism
oftheirown.Certaindetailshadtostrikeanoteofverisimilitude;devices,explosions,
andgore—theaspectsthatwewouldnowrelegatetothecategoryofspecialeffects—
hadtobeabsolutelybelievable(Singer2001,42).
[4.5] Inadditiontothisusefulhistoricalperspective,Singer(2001,44–48)suggests
fiveconceptsthatcharacterizemelodrama:nontraditionalnarrativestructure,
sensationalism,moralpolarization,pathos,andoverwroughtemotion.Heiscarefulto
observethatoneornonecouldbepresentinagivenmelodramatictext,andthata
textmaycontainoneormoreofthesecharacteristicswithoutbeingmelodrama.Inthe
nextseveralparagraphs,IwilldemonstratethatSupernaturalmeetsallfiveofthese
criteria.
[4.6] Thecharacteristicofnontraditionalnarrativestructureapplies,inthesensethat
Supernaturalreliesheavilyuponseriality,balancingopenandunresolvedplot
elementswithmoreclassicepisodicelements.Whilethisisentirelytypicalforsocalled
cultTV(Hills2004),itdoesrepresentthelackofnarrativeclosurethatcriticsonce
lamentedinrelationtomelodrama.Indeed,theadoptionofanopennarrative
structuretoagreaterorlesserdegreeinsomanyprimetimeTVshows(seriality)
nearlyequatestotheadoptionofmelodramaonawidescale.Serialitynotonlyleaves
narrativequestionsopenattheendofanepisode,italso(presumingsomelevelof
competenceonthepartofthewriters)ensurescharactercontinuity;characterscan
havehistory,memory,andrelationshipsofthekindofdepththatechoreallife.Soap
operascholarship,ratherthanviewingthelackofclosureasanarrativefailing,has
commentedonhowthelackofclosureinthesenarrativespermitsamultiplicityof
connectionsbetweencharactersandthatthisinturnrequiresauniquecompetence
fromtheviewer(Allen2004;Feuer1994;Modleski1984).
[4.7] InSupernatural,theserialaspectsofthestoryareapparentinwhatis
generallyreferredtobyfansandproducersasthemytharcaspectoftheshow:the
aspectsoftheplotrelatingtoSamandDean'spartinthewarbetweenheavenand
hell,Sam'sdemonblood,thedealmadebySam'smotherwithAzazel,theroleofthe
demonRuby,theintentionsoftheangels,Dean'sdestiny,andsoon.Muchlikethe
plotofasoapopera,theseplotdetailsretainlittleoftheirtruemelodramaticqualities
atbeingoutlinedinthisfashion;tounderstandtheirpsychologicalandemotional
complexitiesrequiresacommitmentfromtheviewer.Onlyaviewerwhohaswatched
everyepisodeandhassharedthevicissitudesofthecharactersofSamandDean
couldfullyappreciatethemelodramaoftheseason4finale;aswithsoapoperaand
othermelodramaticnarratives,aviewerrequiresthatparticularviewingcompetence
tograspalltheemotionalresonancesoftheclimacticscene.AsMichaelKackman
(2008)notes,"it'smelodrama'ssimultaneousinvocationof,andinabilitytoresolve,
socialtensions,thatmakesitsucharipeformforserialnarrativization."Insum,
serialityisbothacharacteristicofmelodramaandanengineformelodrama,butit
requiresaninvestmentoftimeandattentionfromtheviewer.
[4.8] Therecanbenoquestionthatthecriterionofsensationalismispresentin
Supernatural,giventhatthisisahorrorshow.ForPeterBrooks(1976),theoriginator
oftheconceptofthemelodramaticimagination,melodramaisastyleofstorytelling
thatemploysnarrativeandstylisticexcesstorevealthemoralfabricunderlying
mundanereality.Theemphasisonghosts,magic,theimpossible,andtheirrational
(thesupernatural),equateswithanaestheticthatisvisuallyandaurallysensational.
Atthesametime,thesetrappingsofhorrorbecomeanespeciallyliteralwaytorefer
tothesacredmoralworldthatBrooksarguesislackinginthepostEnlightenmentera.
Infact,thehorrorofSupernaturalenablesthemelodrama;thehorrorelementsofthe
storyelevateorexacerbatethesituationsofthecharacterssuchthatthecostsofa
personalcrisiscouldbepaidinspilledblood,tornflesh,andscreamsofterror.Plots
areinevitablyconstructedsuchthatthefatesofpeople,families,andsometimesthe
entireworld,hangonpersonalchoice.Whenoneoftheheroesisdepressedorhurt,
theentireworldmightbeendangered.Thisistheessenceofthemelodramatic
imagination,orasJenkins(2007)putsit:
[4.9] PeterBrookstellsusthatmelodramaexternalizesemotions.Ittakes
whatthecharactersarefeelingandprojectsitontotheuniverse.Sothatthe
character'semotionallivesgetsmappedontophysicalobjectsandartifacts,
getsmirrorbackedtothemthroughothercharacters,getsarticulated
throughgesturesandphysicalmovements,andonametalevel,speakstous
throughthemusicwhichiswhatgivesmelodramaitsname.Supernaturalis
melodramainthebestsenseoftheterm.
[4.10] IndeedasJenkinsnotes,almosteverymonsterthatSamandDeanencounter
insomemannerparallelstheiremotionaljourney.
[4.11] SupernaturalfurthermeetsthecriteriaofbothBrooksandSingerinits
emphasisonmoralconflict.Brooks's"moralworld"isquiteliterallyrealizedin
Supernatural,inabattlebetweenheavenandhell,withhumanbeingscaughtin
betweenandSamandDeanWinchestersomehowkeyplayers.Literally,everything
hingesontheirchoices—andappropriately,thetwocharactersembodyaconflict
betweentwodifferentmodesofdecisionmaking.Inhischaracterandinhisactions,
DeanexemplifieswhatCarolGilligan(1982)callsthe"ethicofcare"(traditionally
genderedfemale),whileSam(aswellashisfather,John)representthe"ethicof
universaljustice."Intheethicofcare,decisionsaremadeaccordingtowhatpreserves
personalandrelationalconnections;intheethicofuniversaljustice,moraldecisions
aremadewithregardtorational,ahistoricalvaluesofrightandwrong.Deanis
motivatedprimarilybyaneedtopreserveandsustaintherelationshipsthathestill
has(tohisfatherandbrother)—toreiterate,theethicofcare(note7).Thismodeof
ethicalreasoningisdemonstratedalsoinDean'spreferenceforhelpingthosewhoare
stilllivingasopposedtoavenginghisownlosses.Hismoralgrowthoverthecourseof
thefourseasonsisoneinwhichhebecomesincreasinglyarticulateabouttheneedto
putpeopleandfamilies(thepersonal)beforecauses(theabstract),evenifthecause
issavinghisownlife.Takentoadysfunctionalextreme,hismoraldecisionsreflectan
absenceofselfesteem;forinstance,whenSamiskilled,hewastesnotimein
barteringhissoulandhislifeinexchangeforSam'sin(2.22"AllHellBreaksLoose").
Hisjourneyisthusoneoflearningtovaluehimselfsufficientlythathewillnolonger
engageinexcessiveactsofselfsacrifice.
[4.12] Sam,withthebenefitoftheprotectionandnurturingprovidedbyDean,has
grownupwithstrongeregoboundariesandhasastrongersenseofself.Thestrength
oftheethicofuniversaljusticeistheabilitytorationallybalancecompetingneedsor
weighevidence,whichSamdoes.Heisdrawntoalegalcareerandisselfevidentlya
morecontemporary,liberalmanthanDean.In2.03"Bloodlust,"hehelpsDeantosee
thatnotallvampiresarenecessarilyevil,thattheirmoralstatusdependsupontheir
actionsratherthantheirnature.However,likeDean,hetakeshisparticularmoral
giftstoadysfunctionalplace;whereasDeanisselfless,Samisselfish,evenashe
believesheisactingtohelpothers.JustlikeJohn,Sam'smoralcompasstendsto
pointtowardrevenge.AfterlosingDeanattheconclusionofseason3,hebecomes
increasinglydrivenandlostinhisanger.Hedeludeshimselfthathisquestforrevenge
isforthegoodofall,failingtoseehisownarrogance.
[4.13] Arguably,everyseasonhasconcludedwithamajorclashoverthetwoethical
modes,revisitingandreshaping,restatingthequestion:Whichistherightwaytobe?
Howshouldthey(I)beifthey(I)wanttosavetheworld?Isitthepersonal,nurturing,
ethicofcare(Dean)ortheutilitarian,egalitarianethicofuniversaljustice(Sam)?In
season4,Deanisapproachedbyanewcharacter,anangel(Castiel)whotellshimitis
hisjobtosavetheworldfromArmageddon;Deanisunabletoacceptthathewas
eitherworthsavingfromhell,orthathehasthestrengthtosavetheworld.
Meanwhile,Sambelievesthatheistheonlyonewiththestrengthforthatjob,which
alsohappenstoincludekillingthedemonthatsentDeantohell(Lilith).Inorderto
gainthisstrength,however,Samiswillingtobecomeaddictedtodrinkingdemon
blood;hetraversesapathofselfjustification,initiallytellinghimselfheisgetting
strongertohelppeople,thenjustifyingtheirdeathsinordertosavetheworld—the
classicutilitarianequation.
[4.14] Asoftheendofseason4,itseemsthatSupernaturalhaschosentoaffirmthe
ethicofcare,althoughwithatleastonemoreseasonremainingandLuciferatlarge,
therewillundoubtedlybearestatementoftheneedfortheethicofuniversaljustice
andareplayingoftheconflictbetweenthetwo.In5.01"Sympathy,"Deanistoldthat
heistheSwordofMichael,thedestinedvesselfortheimpersonal,mercilesspowerof
anarchangel(theethicofuniversaljustice),andtruetohismoralpreference,he
immediatelyrefusesthehonor.Withtheworldatriskofbeing"burnedalive,"it
remainstobeseenifhecanavoidthisdestiny.Thisisyetanotheriterationofthe
show'smoralpreoccupations.Themostmelodramaticmomentsofseason5will
undoubtedlyturn(asinpreviousseasons)onthisquestionasstatedbyKripke:"Can
familysavetheworld?"Hecitesthephilosophyoftheshowas"humanistic"and
clearlyprefersthemoraldemandsofpersonalconnectionsoverabstractethics:
"Religionsandgodsandbeliefs—forme,itallcomesdowntoyourbrother.Andyour
brothermightbethebrotherinyourfamily,oritmightbetheguynexttoyouinthe
foxhole—it'sabouthumanconnections"(Ryan2009).
[4.15] Thus,thefundamentalquestionofSupernaturaliswhetheranethicbasedon
personalrelationshipscantrulysavetheworld.Fromthis,itisclearthattheshowis
melodramatictoitscore,evenifitdoeslacktheblackandwhitemoralpolarization
thatSingersuggestsofthemelodramaticimagination.Indeed,oneofthemore
enjoyableaspectsoftheshowisthewayinwhichitrarelyleavesviewerswithmoral
certainties:astheshowhasproceededthrougheachseason,ithasbecome
increasinglymorallycomplex.Farfromalteringthemelodramaticessenceoftheshow,
thiscomplexityonlyenhancesit.If,asBrooksargues,themodernsoulwas,andis,
hungeringformoralcertainty,itmustbeamoralcertaintythatisrelevanttothe
times,andinthecurrentcontextitcannothaveescapedthenoticeofthesensitive
viewerthatourmoralcontextisextremelycomplex.Inshort,therearenoabsolute
certainties,butconflictingethicalmodels.AnappropriateTVfantasyisonethatoffers
epicmoralclashes—with,perhaps,onemoralframeworkcomingoutontop.
5. Melodramatic identification writ large
[5.1] ThelasttwocharacteristicsofmelodramaasidentifiedbySingerarepathos
andstrongemotion.Assumethatpathosequateswithempathyandidentification,and
itbecomesabundantlyclearthatSupernaturalbrimswithboth.Afterall,itseems
clearthatfansempathizeintensely(althoughperhapsmasochistically)withthepainof
SamandDeanWinchester,assuggestedbythecommentoftheuberfanSeraSiege
in"Monster":"It'sjustthebestwhentheycry."Indeed,toelaborateonthecountless
examplesofmelodramaticmomentswithinthetextofSupernaturalwouldencompass
fartoomanywords;sufficeittosaythatSamandDeancouldgiveanyheroinearun
forhermoney."Thosepoorboys,"Roush(2009)muses."They'vesavedsomany
soulsalongthewaybuttheykeepfallingshortintheirowndestinysweepstakes."
Theylosetheirmotherataveryyoungage,areraisedbyalessthanadequate
althoughwellintentionedfather,sufferfromvariousemotionalandpersonality
disorders,andgenerallyhavelousychildhoodsmarkedbypoverty,loneliness,and
fear.Theyaremagnificentlytorturedinawaythathascapturedtheheartsandminds
ofasignificantfemaleaudience,justasSueEllenoncedrewtheidentificationsofa
femaleaudienceinDallas.
[5.2] Yetthereismuchmoretothecontemporaryversionofmelodramatic
identificationthansimplytuninginfortheadventuresoftwopretty,angstyboys
(althoughthisdoesn'thurt).ThemedialandscapeisnotthesameasitwaswhenAng
studiedthephenomenonofDallas.Theprimetimeserialmelodramas—Dynasty,
Dallas—wereratingsjuggernauts.Thefansoftheseshowsdidnothavetocontend
withtheconstantanxietyofcancellationorwonderiftheirnetworkwasevengoingto
existinamonth!FromtheperspectiveoftheSupernaturalfan,themelodramaofSam
andDeancannotbedetachedfromthemelodramaofwhethertheshowisgoingtobe
renewedeachyear.Butthedifferencegoesdeeperstill,forinthecurrenteraof
televisiononecannotsimplytalkoftextsinthetraditionalsense.AsRossputsit,the
situationinrelationtotelevisionin2009isoneinwhich"thetextandcreatorsand
viewersbecomeinseparablefromeachother"(2009,22).
[5.3] Asmentionedabove,BeerandPenfoldMounce(2009)arguetheneedfora
newmelodramaticidentificationasakindoforganizingprincipleinacomplex
mediascape,butitcouldbethatsuchidentificationisalreadyinevitable,forifthere
aremultipletexts,thentherearemultiplepointsofidentification.Intermsof
melodramaticidentification,thereisidentificationnotonlywiththetextintheoriginal
sense,butalsowiththeentireshowinitssenseasaproductionandacultural
phenomenon.Hencetheimpulsetoengageincertainextratextualfanbehaviorsis
relatedalsotomelodramaticidentification.Suchactivitiesasthewritingoffanfiction,
forexample,arepermeatedbytheseidentifications.Thesameistrueofonlinefan
interactionsbetweenfellowfans,orbetweenfansandtheproducersoftheshow,or
betweenfansandanyonewhomighthavereasontocommentontheshow(suchasa
journalist/reviewer).Whilethereviewermightalsoconfesstobeingafanoraudience
member,theycaneasilyfindthemselvessubjecttooutpouringsofhighemotionfrom
fanswhodisagreewiththeircomments.
[5.4] Slashisauniqueexampleofanextratextualbehaviorthatexistsinthe
melodramaticmode,althoughthisis,ofcourse,notitssolefunction.Itisnot
surprising,therefore,thatsomehavearguedthatslashisaformofromance(Driscoll
2006).Similarly,ElizabethWoledgehasarguedthatmanyslashnarrativesare
"intimatopic,"(2006)althoughnotallaresuch,norareallintimatopicfictionsslash.
AccordingtoWoledge,intimatopicfictionisthatinwhichsexincreasesintimacy(103)
ratherthanbeingseparatefromit;inthiswayshedistinguishesslashfromromance
andaccountsfortheintensefocusanderoticizationofemotionsthatisgenerallyfound
inthefic.Woledgealsoattemptstoacknowledgesomeoftheelementsofslashthat
otherscholarseitherhavenotacknowledgedorhavefounddifficultto—thepresence
ofrape,BDSM,andthehurt/comfortgenre(109–10).Forexample,shearguesthat
thepurposeofhurt/comfortistocreateintimacy;however,shefailstoacknowledge
thefrequentintensityofboththehurtandthecomfort.
[5.5] Thereissomethingelseatworkinthisaspectofhurt/comfortaswellasthe
obsessivequestofslashtodescribe,overandover,situationsofintenseintimacy—
namely,amelodramaticimpulse.Considerthefollowingquote,whichoriginally
referredtofilmmelodrama.Ifthewordfilmsisreplacedwithslashgenreandstories
andviewingwithreadingasIhavedonehere,thequotebecomesaperfectdescription
ofmanyslashnarratives:"The[slashgenre]clearlydisplaysitsaffectivityin[stories]
thatdramatizeaffectitself,[stories]inwhichtheexpressionofsentimentisatthe
centerofthenarrative,[stories]that,evenafterthemostcasual[reading],canbe
recognizedashavingastheirprojectthedramatizationofrelationshipsofsentiment"
(Affron1991,111).
[5.6] Certainly,slashcanbedescribedaccuratelyasagenreoffanfictioninwhich
twomalecharactersengageinaneroticrelationship(note8)butthisisnotits
purpose.Thepurposeofslashhastodowith(inAffron'swords)"theexpressionof
sentiment."Inslash,emotionsdonotgounacknowledged,andtheentireaestheticof
thegenrerevolvesaroundtheparticularmannerinwhichtheseemotionsare
revealed,in"thedramatizationofrelationshipsofsentiment."Intheclassicslash
trajectory,onemannoticesanotherinwaysthattheyarenotnoticedinreallife;
feelingsarenoticedandpeopleareseenforwhotheyare.Feelingsarealwaysvisible
inuniqueways,orifnot,thenthereisaprevalenceofcertainplotgesturesthat
ensuretheirdiscovery.Thebestslashstoriesdrawouttheseeventsinscenesofrare
psychologicalverisimilitude,culminatinginagutwrenchingoutburstoffeelingthatis
simultaneouslyrealandfantastic.Thisscenemaybefollowedbyothersinwhichthe
twomenwillhavelongconversationsabouttheirfeelingsbeforeeventuallyengaging
insomeactsofphysicalintimacythatconsummatetheiremotionalintimacy.
[5.7] Itisasthough,inslash,womenaregropingaftertherealizationofsome
perfectexpressionofdramathathasyettobeachievedorevenattemptedinthe
mainstreammedia,oneinwhichtheconceptofexcessnolongerhasmeaning.Thisis
nottodenytheimportanceoftheeroticinallofthis—farfromit.Indeed,asI
describedabovewithreferencetoapsychoanalyticframework,thereisnoboundary,
nolinewhereidentificationstopsanddesirebegins.Slashcaninvokeboth
identificationanddesiresimultaneously;theaffectiveresultsareapowerful
identificationwithscenariosofdesireandidentificationspowerfulenoughtobeerotic.
[5.8] Ifslashoffersopportunitiesforintensemelodramaticidentification,then
Wincestcantakethestorytostillanotherlevel.Tosenberger(2008),inapiecetitled
"TheEpicLoveStoryofSamandDean,"arguesthatWinceststorieshaveastheir
raisond'êtrethedesiretotellaperfectlyplatoniclovestory:SamandDeanareunited
notonlybytheirsharedquesttobringtheirmother'skillertojustice,theirunited
lifestyle,andtheirsharedupbringing,butalsotheirsharedblood.Accordingto
Tosenberger,thebreakingoftheincesttaboopermitsaperfectunity,orrather,
perfectintimacy.ThismayindeedbetheattractioninsomeWinceststories,butthere
aremanystorieswherethebreakingofthetabooleadstoscenesofgreatpathos—
wheretheirfather,ortheirsurrogatefather,Bobby,discoverstheirrelationship,where
oneortheotherisblamedforit,orblameshimself,wheretheytorturethemselves
withguiltbutarehelplesstostop.Thisisonlyaslimsamplingoftheplotpossibilities.
NotallWinceststoriesdwellonthepotentialangstofthesituationofSamandDean
asacouple,butmanydo,drawingpleasurableidentificationspreciselybecauseofthe
incesttaboo,becausethenotionofthetwobrotherstogetherisashockingsituational
dramathatgeneratesgreatpathos.Itisalmostasoapoperacliché,exceptthatin
manyWinceststories,SamandDeanarenotdrawntogetherbyaccidentsomuchas
byahelplessintimacy,adysfunctionallonging.Inshort,Wincestisthestuffthat
melodramaticdreamsaremadeof.Slashfanswhoinitiallyresistedhavefound
themselvesultimatelydrawntoit,notbecausetheyhavestoppedbelievinginthe
incesttaboobutbecausethemelodramaisirresistible.
[5.9] Toproposeamelodramaticpurposeforslash(andWincest)isnot,hopefully,to
limitthepotentialmeaningsofslash,particularlyforthosewhoparticipateinit.Like
mostthingsinfandom,slashhasmultiplecausesandmultiplepleasures.Thismeans,
inturn,thatthenegativeresponsestotheWincestshoutoutalsohavemultiple
causes—thatis,causesotherthanmelodramaticidentification.Oneofthesewouldbe
acommunityorientedobjectiononbehalfofslashasafandominitsownright.
Jenkinsobservesthat"themeaningofslashresidesasmuchinthesocialtiescreated
bytheexchangeofnarratives,thesharingofgossip,andtheplaywithidentityasit
doeswiththewordsonthepage"(1991,222).Moreover,slashmaymanifestsomeof
thecharacteristicsofaqueersubculture;recently,apairofessays(Busse2006;
Lackneretal.2006)discussedthequeereroticsbetweenwritersofslashinLJ
communities.Thismighttreadonthesensibilitiesofsomemembersofslashfandom,
butitseemsappropriateinlightofthereactionsexhibitedto"Monster"—reactionsof
beingexposedorpotentiallyouted.
[5.10] Itmustbeemphasizedthatmostofthosewomenwhoreactednegativelyto
theWincestshoutoutdidnotfeelshameabouttheiractivities,butrather,thekindof
embarrassmentthatisderivedfrombeingcaughtengagedinsomethingthatcannot
beeasilyexplained.NoneofthefanresponsesfromthosewhoreadorwroteWincest
indicatedthatDean'snegativeassessmentofWincestin"Monster"woulddeterthem.
Eventhosefanswhodislikedtheshoutoutexpressedtheirunderstandingthatthey
knewbetterthantoexpectanythingdifferentfromacharacterincanon.Thesourceof
theirdiscomfortwasbasedintheirshow'slackofunderstandingofwhatWincest,or
moregenerally,ofwhatslashis.Thewritersof"Monster"constructedtheWincest
shoutoutasthoughslashwerenothingbutasexgame,wheninfactitisnot
somethingthatiseasilyandimmediatelyexplainable.Theexperienceofslashisfar
morecomplexthanthesimpleutteranceofthewords"SamslashDean"onnational
television—asthoughafan'sfantasyofthetwoofthemtogetherisaperversedecision
solelybaseduponthesexualattractivenessofthetwomenandnothingmore.
[5.11] Asacommunity,slashfandomcouldbeviewedasasubculturewhose
membersexpectacertaindegreeofprivacy,oratleastthefreedomtocarryontheir
activitiesfreefrominterference.SharonCumberlandseesslashonlinecommunitiesas
asafeplaceforsexualexploration:"Womenareusingtheparadoxofcyberspace—
personalprivacyinapublicforum—toexplorefeelings—toexplorefeelingsorideas
thatwereconsideredriskyorinappropriateforwomeninthepast"(2004,275).Not
alloftheseidentitiesarenecessarilysubversiveorprogressiveinthesenseof
constructingsomethingcompletelynew,ordeconstructingthestatusquo.Insome
casestheymayevenappeartoberegressive.However,slashfandomisdeeply
involvedwithwomen'ssexuality;thepracticeofslashinvolveswomenpleasing
themselves,together.Althoughitbeginswithwomenataphysicaldistance,itis
intimate;later,italsocanincludewomeninaroomtogether,talkingaboutsex;
womenreadingstoriestoeachother;womenwatchingsexmoviestogether;women
goingtodragshowstogether;andsometimes,womenformingrelationships,
friendships,andsometimessexualrelationshipsasaresultoftheirconnections
throughslash.Whilethesewomenmaybereluctantorevenembarrassedatthe
prospectofexposure,theygenerallyrefusetoallowthesefeelingstooverwhelmor
overridethemeaningsandthepleasuresofslash.Thisinofitself—thefactthata
groupofwomenarecommittedtoexplorationsoftheirownsexualitydespitecultural
ignorance,disdain,andsometimesdisapproval—shouldearnthemtherightofnot
beingtrespassedagainst.
6. Conclusion
[6.1] AccordingtoAng'sargumentsconcerningmelodramaticidentification,the
womenwhoconsumemelodramaareinneedoftemporarysurceasefromthe
emotionalrealitiesoftheirlives;forAng,melodramaprovidesthisplaceofemotional
relief,arefugefromtheworldinwhichwomen'sdesiresareinconstantconflictwith
therealityprinciple.Itshouldcomeasnosurprisethat(female)fanscouldidentifyso
intenselywithaserializedTVshow,particularlyonewhosecharactersareconstantly
thrownintosituationsofintensepathos.Inherpiece,Angmeetsheadonadifficult
question:Whyidentifywithasoapy,weepycharacterlikeSueEllenwhentherewere
morepositivefemalecharacterstoidentifywith?Angreplies,quitesensibly,that
televisionprovidesuswithfantasies,notrolemodels(1997,162),whichistosaythat
melodramamaymeetaneedinfantasy,evenamasochisticone,butthatitisnot
therebyselfdestructive.Afemalefanisnot,byindulginginamomentarywallowina
melodramaticidentification,fallingdownontheongoinggruelingprojectofinventinga
femalesubject.Themelodramaticidentificationisonlyprovidingmomentaryrelief,
even"momentsofpeace"(165).
[6.2] FemalefansofSupernaturalareseekingsomethingsimilarintheirshow.Itis
clearthattheTVseriesSupernaturalisamelodramatictext,basedonthecriteriaof
BenSingerandPeterBrooks.However,themelodramaticidentificationoffansmust
beunderstoodasextendingbeyondthenarrativeworldpropertothemultiple
narrativesortextscomprisedbytheindustrialandculturalcontextoftheshow—that
is,thewriters,actors,directors,producers.Thisnewformofmelodramatic
identificationincludesreceptionpracticessuchasslashand,particularlyinrelationto
thisTVseries,Wincest.ThusAng'snotionofmelodramaticidentificationcanbeuseful
inacontemporarycontext,oncerevampedtoencompassnotjustmelodramatic
identificationswithsoapsbutwithotherkindsoftelevision,particularlycultTVwithits
frequentrelianceonserializedmelodramaticnarratives.Thatis,contemporaryTVfans
haveaccesstomultiplelevelsofmelodramaticidentification,notonlyviathe
narrativesoftheshowbutalsothetextsthatsurroundit;moreover,throughtheir
ownactivitiesinonlinefandom,fanshavebecomeaccustomedtocreatingtheirown
melodrama.WhereasAngwroteofmelodramaticidentificationswithcharacterson
Dallas,itisnowmoreaccuratetowriteofcomplexidentificatoryrelationshipswiththe
show,atextthatcomprisesmultipleinter,extra,andmetatexts.Giventhese
identifications,everygestureoftheshow,andespeciallyshoutoutstofans,willhave
apotentiallyvolatileresult.Somethingintendedasanaffectionatejokecouldbeboth
anactofrecognitionandaninsult.Similarly,afanofWincestand/orslashprobably
canreceivetheshow'sreferencestoWincestasanexposureandapersonaloffense.
[6.3] Toreiterate,thereisnothingpathologicalaboutmelodramaticidentification;
identificationisanormalhumanbehaviorandinthecaseofthesefans,itprovidesa
releasefromeverydaytensions.Itistruethesemelodramaticidentificationshavean
elementoffantasy,butonlyinthesensethatallrelationshipsarebasedupon
identification,andallidentificationsarebaseduponfantasytosomeextent.Kristina
Busse,in"MyLifeisaWIPonMyLJ,"observesthatevenifsomeofthestatementson
LJareperformance,allreallifeencounterscontainaspectsofperformance(2006,
223);sheaddsthatitwouldbeamistaketodismissonlineinteractionsasmere
illusion.Fanproducerrelationships,too,areobviouslynotrealliferelationships,but
thereissomethingrealaboutthemaswell,sufficientthattheyshouldbeconsidered
ashavingrealemotionalconsequences.
[6.4] Perhapsatthesametimethefanisgivingherselflicensetofeelandidentify
withamelodramaticnarrativeofherown.Inherfaninteractions,thefanisoften
writingonlineandanonymously,inamultidimensionalspacethatisexistentiallyafact
andyetfantasticallypleasurable.Withtheprotectionofanonymityafancanpermit
herselftheluxuryofmelodrama—theluxuryofbeingabletoretreatintoanextreme
emotionalitythatshewouldneverpermitherselfinher"real"life,whererationality
andcontrolarethemorevaluedqualities.Whereasintherealworldthefanknows
thatexcessiveemotionwouldbecounterproductive,onlineshecanwriteherselfinto
themelodramaticnarrativeofamalignedheroinepittedagainstathoughtlessand
ungratefultelevisionwriter—oneofthefacelessandterriblePowersThatBe,perhaps.
Whateverthestory,itprovidesanemotionalcatharsisthroughitsmelodramatic
power.
7. Notes
1.Idonotmeantosuggestthatonlyfemaleaudiencemembersarecapableof
melodramaticidentification,orthatSupernaturalhasonlyfemalefans.However,Ifind
itmoreexpedienttorefertothefaninquestionatthispointas"she,"sincethefemale
presenceamongSupernaturalfandomhasbeennotedrepeatedly,andalsobecause
melodramaticidentificationisatheorythatwasposedoriginallytoexplainfemale
investmentinsoapopera.Idobelievethatmenareequallycapableofsuchan
investment,butthatculturallearningtendstodiscouragethemfromthemore
emotionorientedfanoutlets.Thiscouldexplainwhymalefanstendtoengageina
differentrangeoffanbehaviorsandpractices.Seethisdialogue(mirroredfromHenry
Jenkins'sblog)foranindepthacademicdiscussionofgenderandfandom:
http://community.livejournal.com/fandebate.
2.Iwouldarguethatallfanfictionisfoundedinmelodrama,infact,butthismustbe
anargumentthatwaitsforsomeotherpaper.Iwillobserve,though,thatoneofthe
morepopularsubgenresoffanfiction—hurt/comfort—isequallypresentingen,het,
andslash.Ibelievethatthisdemonstrates,attheveryleast,thatallfanfiction
ultimatelyexistsasemotionalfantasy.Evenwherethereisaconcomitantinvestment
inplot,character,orthephysicaldetailsofsex,therealwaysremainsaninvestmentin
emotionforemotion'ssake,astheobjectofthefantasyinitsownright.
3.InarecentarticleforFlowTV,MichaelKackman(2008)gentlychastisessomeof
hiscolleaguesintelevisionstudiesfortheircelebrationof"qualityTV"assomehow
aestheticallyremovedfromitsmelodramaticroots.Indeed,henoteseveninsuch
"quality"showsasTheWireandTheSopranos,melodramaisnotonlypresentbut
necessary.
4.Althoughfansunderstandthattheshowisverymuchanindustrialproductrequiring
thecollaborativeeffortofmanypeople,includinghairstylists,craftservices,writers,
directors,producers,actors,andcinematographers,theystilltendtorefertothis
processinaggregateeitheras"Show"oras"Kripke."Ibelievethattheyeithersee
"Kripke"asthecontrollingmind,verymuchinanauteuristsense,ortheysimplyfind
itaconvenientreferenceforwhattheyknowisamorecomplicatedsystem.
5.TheviewersdiscoverBeckyinthemidstofcomposing(andreadingaloud)whatis
selfevidentlyWincest,albeitaverybadlywrittenexample:"AndthenSamcaressed
Dean'sclavicle.'Thisiswrong,'saidDean.'ThenIdon'twannaberight,'repliedSam
inahuskyvoice."
6.AccordingtoFreud(1917),loveisalwaysbasedonafantasyrelationtoacopyof
ourbeloved—nottheactualpersonorthing.Inwritingthis,Freud'sintentionwasnot
toexposeloveasahoax,buttoexplainthetruebasisofloveinselflove.Theobject
relationtoafantasyobjectisnotpathological,butnormal.Hewouldnot(anddidnot)
denythatlovecouldleadtogreatactsofsacrificeandgenerosity,evenaltruism.The
selfservingnessoflove,theirrationalityandfantasticbasisofit—thesearenot
condemnationsbutagropingforunderstandingofhumanityinitsvarious
complexities.
7.Asoneonlinejournalistputsit:"It'seasytomakeDeanaharddrinking,sarcastic
womanizer,but[thewriters]alsomanagetomakehimthemomoftheshow"(Faraci
2009).
8.Althoughtherearesomescholarswhoconsiderslashtobeanyfanfictionabouta
samesexrelationship,regardlessofgender,mypreferenceistolimitthedefinitionto
storiesabouttwomalecharacters.Iwoulddistinguishstoriesabouttwofemale
charactersfromslashwiththeterm"femslash."
8. Works cited
Affron,Charles.1991.Identifications.InImitationsoflife:Areaderonfilmand
televisionmelodrama,ed.MarciaLandy,98–117.Detroit,MI:WayneStateUniv.
Press.
Ang,Ien.1997.Melodramaticidentifications:Televisionfictionandwomen'sfantasy.
InFeministtelevisioncriticism:Areader,ed.CharlotteBrudsonetal.,155–66.New
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Transformative Works and Cultures,Vol 4 (2010)
Praxis
The Impala as negotiator of melodrama and masculinity in
Supernatural
Melissa N. Bruce
State University of New York at Potsdam, Potsdam, New York, United States
[0.1] Abstract—Thisarticleexplorestheimplicationsofthebinariesofmasculinity
andmelodramaastheypertaintothetelevisionseriesSupernatural.Iexaminethe
significanceofDean'sbelovedImpalaasanegotiatorofboththemasculineandthe
overtlyemotional.TheImpaladirectlyprovidesDeanwithbothphysicaland
emotionalsupportthroughouttheseries,whileitdoesnotdirectlyinteractwith
Sam.AsSupernaturalmovesthroughitsfourthseason,thedramaticusesofthe
Impalaareshifting,signifyingandprovidinginsightintoadistinctivechangeinthe
relationshipbetweenDeanandSam,whereemotioncannotyetbeovertly
expressed.
[0.2] Keywords—Gender;Television
Bruce,MelissaN.2010.TheImpalaasnegotiatorofmelodramaandmasculinityin
Supernatural.TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0154.
doi:10.3983/twc.2010.0154
1. Introduction
[1.1] Atfirstglance,theCWseriesSupernatural,whichiscurrentlyairingitsfifth
season,canbereadasprimarilymasculine.Theseriesappearstobeastandard
horrortextandcentersarounditstwoleadsfightingsupernaturalevil.Thebrothers
DeanandSamWinchester(playedbyJensenAcklesandJaredPadalecki)liveonthe
road,killingdemonsandhuntingmonsters,travelinginaclassic1967Chevrolet
Impala.Supernaturalincludesasoundtrackconsistingprimarilyofstrategicallyplaced
classicrocktracksandonthesurfacepresentsitsaudiencewithanoverloadofblood,
gore,andaction.Beneathitstoughexterior,however,Supernaturalcallsuponstrong
melodramaticconventions,offeringaglimpseintoagenretypicallyreadasfeminine.
Tofindabalancebetweentheseeminglycontradictoryelementsofthe
horror/masculineandthemelodramatic/feminine,SupernaturalreliesonDean's
belovedImpala.TheImpalaoffersavisualspacethatistypicallymasculine,yetthe
seriesusesitasadevicethroughwhichtofilterthemoreintenselyemotional
momentsthatcharacterizetelevisionmelodramaandtheWinchesterbrothers'
relationship.ByofferingbothamarkerofDean'semotionalconditionandaphysical
connectiontothecurrentstateofDeanandSam'srelationship,theImpalaallows
certainemotionalexchangestobenegotiatedthatmaynotbetypicallyacceptablein
therealmofthemasculinewithinourculture,thusdirectlyconnectingthebrothersto
melodrama.
[1.2] Inanarticledealingwithmelodramaandmasculinity,SashaTorrespointstoa
similarissuewhenshestates,"Thetensionproducedbythepossibilitythatfemininity
willbediffusedontomenforcesTVmelodramatorevealsomeoftheideologicaland
representationalstakesittriestomanage"(Torres1993,286).Throughtheuseof
melodramaticelementsinSupernatural,viewersarebeingaskedtosetaside
preconceivednotionsofthemasculinetoallowforthenegotiationofemotional
displaysandexchangesbetweenthecharacters.WithinWesternculture,emotionis
typicallyequatedwiththefeminine.Becauseofthis,Supernatural'sintensefocuson
theemotionalasthedrivingforceforthemainstoryarccouldeasilypresentan
extremesourceoftensionforaseriesthatreliessoheavilyontheframeworkofthe
horror/masculine.TheemotionalelementsthatSupernaturalpresents,however,
expandanddeveloptherelationshipbetweenthebrothers,which,inturn,drivesthe
series.TheImpalaoffersanegotiatingtoolforthistensionbetweenthefeminineform
ofthemelodrama(theemotionalconnectionbetweenthebrothers)andthemasculine
formofthehorrorgenre(thebasicstoryplots).TheImpalaitselfisaprimarily
masculineobject.Notonlyisitaclassicmusclecar,butitstrunkcontainswhatcan
onlybetermedanarsenal,holdingeverythingfromrifles,shotguns,andmachetesto
rocksaltandholywater.Nonetheless,evenastheImpalapresentsaprimarily
masculinevisualspace,fortheWinchesterbrothersitalsoserves,significantly,as
home—adomesticspace—thusconnectingitdirectlytothetraditionallyfeminine.By
settingtheImpalaonthesetwoseeminglyoppositionalplanes,theseriesforegrounds
itasaspacethroughwhichmultiplegenrelinesmaybeexplored.
2. Melodrama in Supernatural
[2.1] Themelodramaticgenre,accordingtoNickLacey,ischaracterizedbythe
"identificationofmoralpolaritiesofgoodandevilwithinthenarrative…character[s,]
[whoare]generallyoflowersocialstatus…theuseofmusicfordramaticemphasis…
[andthe]celebrationofovertemotionalism"(2000,203–4).Alloftheseelementscan
befoundwithintheconfinesofSupernatural.Laceyalsopointsout,however,that
"morethananything,melodramaischaracterizedbyexcess;ifitisn't'overthetop'
thenitprobablyisn'tmelodrama"(204).InSupernatural,theentirepremiseofthe
seriesisdecidedlyoverthetop—demonsandmonsters,complicatedboundaries
betweengoodandevil,pactswiththedevil,etc.—Deanliterallysellshissoultosave
hisbrother'slifeandisthendraggedofftohell,onlytobepulledoutfourmonthslater
byanangel.Withthisinmind,itisclearthat,regardlessofitsmasculinesurface,
theseelementsstronglysituateSupernaturalwithinthegenreofthemelodrama.
[2.2] Inhisdiscussionofmelodramainfilm,JonLewisexpandsonthedefinitionby
equatingmelodramaspecificallywith"serialsuffering."AsLewisexplains,
[2.3] Whereasothergenresneatlyrewardthegoodandpunishtheevil,
melodramaischaracterizedbyserialsuffering.Whatthecharacterslearnin
theendisnotthatthingscanorwillberightedbutratherthattheworldis
unfair,sufferingisinevitableandpeopledon'talwaysgetwhattheywantor
deserve…Theironiesandtragediesoutweighthesweetandthegood.
Heroismliesintheacceptanceofthatunhappyfact.(2008,123–24)
[2.4] AsimilarrealizationliesattheheartofSupernatural.Theseriesmakesitclear
veryearlyonthatanykindofhappyendingforSamandDeanisextremelyunlikely,
andperhapsimpossible.Thoughtheirfatesmaynotbelaidoutineverydetail,Dean
andSamarehunters,andwhateverpathstheymaychoosewillmorethanlikelyend
intragedy.RegardlessofSupernatural'soutwardlyoutlandishcontext,thecoreofthe
seriesexistsonthemorerealisticbasisthatgooddoesnotalwaysgetwhatit
deserves.Thebrothers'emotionalism,therefore,inaworldwherethereislittlechance
thatgoodwillbe"neatlyrewarded"andevilpunished,allowsfornecessaryand
profoundworkingsoutofmelodramaticconventions.Still,theoutwarddisplaysof
emotionthatcharacterizemanyofSupernatural'smostimportantmomentsdonot
comewithoutdifficulty.Thoughtheseriesmaytakeonastrongmelodramatictone,it
holdsaspecificgroundinginthemasculine.Therefore,Supernaturalmakesuseofthe
moremasculineelementsitpresentstoofferinsightintocharacterandemotion
throughbothovertandcovertmeansand,throughtheuseoftheImpala,effectively
groundsboththemasculineandtheemotional.
[2.5] InanonlinepostingofhisthoughtsonSupernatural,HenryJenkinspointsto
themasculineappealoftheserieswhenhestates,"Ononelevel,itismadeupof
classicmasculineelements—horror,thehero'squest,siblingrivalry,[and]unresolved
oedipaldramas"(Jenkins2007).SuchelementsareprominentinSupernatural,clearly
situatingtheseriesinthehorrorgenre,forwhichtheexpectedaudienceismale.The
horrorgenreisonlyroughlydefinedinmainstreamtelevision,andasaresult,
Supernaturaliscommonlyreferredtoasasciencefictionseries.Giventhis,thereis
someexpectationthattheaudienceforaserieslikeSupernaturalwilloverlapwiththe
expectedaudienceforasciencefictionseries.Indeed,Supernaturalhasemployeda
significantnumberofactors,producers,anddirectorsfromthesciencefictionhitThe
XFiles(1993–2002)(mostnotablythelateKimManners).Whilethereisalong
historyoffemalefaninvolvementwithsciencefiction,theproducersandcreatorsof
suchshowshave,untilveryrecently,imaginedtheiraudiencetobeprimarily
adolescentmales.Sincethegeneralexpectationisthatbothhorrorandsciencefiction
willappealtoalargelymalefanbase,Supernatural'sinclusionofovertmelodramatic
emotionmayseemoutofplace.However,itisimportanttorememberthatinairing
ontheCWnetwork,Supernaturalalsohastheimportanttaskofappealingtoalargely
femaledemographic.AsJenkinsgoesontodiscuss,despiteitsinitialmasculine
presentation,Supernatural"seemsideallysituatedtothethemesandconcernswhich
havelonginterestedthefemalefancommunity"(Jenkins2007).BecausetheCW's
targetdemographiciswomenaged18to34,thesurvivaloftheseriesundoubtedly
requiredthatitappealtothisaudience,especiallyearlyon.Ofcourse,thisisnotto
assumethatSupernaturallacksasubstantialmalefanbase.Infact,Iwouldargue
thatSupernatural'ssuccessfulgenrenegotiationsmanagetoholdtheinterestofa
numberofdifferenttypesofviewers,ratherthansimplytheCWnetwork'smost
targetedaudience.Finally,wemustrememberthatanetwork'stargeteddemographic
isneverfullyequaltoitsactualaudience.Supernaturalworkstoappealtomultiple
audiences,butnonethelessleavessomepeopleout—people,forexample,whowould
neverwatcha"horror"show.Still,bynegotiatingmultiplegenreframeworks,
Supernaturalattemptstodrawarelativelydiverseaudience.
[2.6] Inbothappealingtothenetwork'slargelyfemaledemographicandnegotiating
thenecessaryemotionalismthatdrivestherelationshipbetweentheWinchester
brothers,Supernaturalstrategicallyemploysmultiplethemescommontotelevision
melodrama.Withthecarefulinterweavingofboththehorror/masculineandthe
melodramatic/feminine,"everything[intheseries]seemsdesignedtodrawoutthe
emotionsofthecharactersandforcethemtocommunicatewitheachotheracrossall
ofthevariouswallswhichtraditionalmasculinityerectstopreventmenfromsharing
theirfeelingswitheachother"(Jenkins2007).AsJenkinsmakesclear,these
melodramaticelementsmostoftendealspecificallywiththeintenserelationship
betweenthetwoleadsandseemextremelyoutofplaceinsuchamasculinetext,
accordingtothenormsthatpervadeourculture.Iargue,however,thattheinclusion
ofthefamilyconnectionbetweenthebrothersmakessuchmelodramaticelements
allowable,especiallywhenthefamilyconnectionappearsinconjunctionwiththe
Impala.Furthermore,byofferingaspaceinwhichboththemasculineandthe
femininecanbenegotiated,theImpalaworkstostrengthenthebrotherlybond,while
makingsomeofthemostovertmelodramaticemotionacceptabletoageneral
audience.
3. The Impala as masculine and melodramatic negotiator
[3.1] Asatypicallymasculineobject,theImpalaoffersavisiblemeansof
constructingandkeepingtheseriesinamasculinecontext.Consideringoursociety's
culturalconstructionsofmasculinity,itisunlikelythatamainstreamaudiencecould
everaccepttheconnectionbetweentheboyswithoutsuchatool'sbeingemployed.Of
course,suchemotionaldisplaysbetweenDeanandSammayalsobeacceptable
because,asCatherineTosenbergernotes,"asbrothers,theyaregivenapassfor
displaysofemotionthatmasculinityinourcultureusuallyforbids"(Tosenberger2008,
1.2).Evenso,theshowflirtswiththeintensityoftherelationshipbetweenthem,and
itisoftenreadbyfansasincestuous,areadingthatTosenbergerdealswith
extensivelyinherarticle.Throughtheseries,itismadeclearthatneitherSamnor
Deanhasevertrulyhadaccesstothe"normal"societythatenactsthestrictgender
binariesviewersareaccustomedto.Asaresultofboththeirseparationfrom"normal"
societyandtheirstatusasbrothers,ageneralviewershipismorelikelytoacceptsome
ofthemelodramaticemotionthatisoftendisplayedbetweenthetwo.
[3.2] Whensomeofthemostintenseemotionalmomentsoccur—thosethatmaystill
causetensionforageneralaudience—theyareoftengroundedinthemasculine
throughtheuseoftheImpala.Indiscussingthedepictionoftheautomobileinfilm
noir,MarkOsteenmakesthepointthattheautomobileisitselfconnected,likethefilm
genre,tomasculinityandmasculineculturalmarkers."Inthese[noir]films,
automobilesalsobecomeoverdeterminedsymbolsofcharacters'aspirationsand
disappointments,"andtotakeawayaman'scarisessentiallytotakeawayhis
"identityandhope"(Osteen2008,184).InSupernatural,theImpalaactsinasimilar
wayforDeaninparticular,functioningasanemotionalfilterandadirectextensionof
hischaracter.DeantouchestheImpalaandemotesbesideitmorethanweseehimdo
withanyotherobject,orevenperson.ToseparatethetwoistoleaveDean
remarkablyunstable.BysituatingtheImpalawithinthetraditionofthefilmnoir
automobile,Supernaturalplacesitspecificallywithinamasculinespace,whilealso
usingitasasymbolofemotion—ameansthroughwhichtherelationshipbetween
DeanandSamcanbereadandunderstood,particularlyinmomentswhentheir
connectionisunderextremestress,asinmuchofseason4.TheImpalaoffersinsight
intothesurfaceemotionalstabilityandmoreturbulenthiddenemotionsofeachofthe
brothers,providingastableandmasculinespacethroughwhichtoexplorethescenes
ofobviousemotionthatsocommonlypervadetelevisionmelodrama.Forexample,the
sceneinthewakeoftheirfather'sdeathwhenDeantakesacrowbartotheImpala
offersparticularinsightintoDean'semotionalcondition,asIwilldiscussmore
specificallylater.
[3.3] AccordingtoOsteen,whathecallsfilmnoir"automobility"offerstheapparent
freedomtobecomeanyone,anywhere,butitperpetuallyendsinthesolidificationof
themaincharacters'roleassocialoutcasts—afactofwhichDeanandSamare
consistentlyaware.Ascarsdoinnoirfilms,theImpalaoffersahomelikespaceforthe
twomen,whodo,infact,fallintothecategoryofrovingcriminalsthatOsteen
stressesisakeyfactorinthefilmnoir.Thestrugglebetweenthebrothersinseason4,
therefore,isnotastruggleforsocialclassmobility,butinsteadastruggleformobility
withintheirrelationship.Theyarebothdesperatelyseekingcontrolovertheirown
livesand,bydirectcorrelation,controlintheirrelationship.Becausetheshowisa
televisiondramacenteredontheboys,itmustremainimpossibletoseparateDean
andSamcompletelythroughanylogicinternaltotheshow,andthereforeanychange
inonedemandsachangeinthestatusquoforboth—theyaretiedtogetherbyabond
strongerthananyeverpresentedintheSupernaturaluniverse.SamandDeanare
brothers,livingpracticallyineachother'spocketsformostoftheirlives,eachwilling
todiefortheother—andthemostphysicalembodimentofthatconnectionisthe
Impala.Itistheoneconstantintheirworld,outsideofoneanother—itisarguably
evenmoreconstantthanJohn.
[3.4] TheimportanceoftheImpalainsomeofthemostheavilyemotionalmoments
oftheseriescanbeseenattheendoftheseason2finale,whenDeanrevealstoSam
thathehastradedhissoulforhisbrother'slife(2.22"AllHellBreaksLoose2").
Interestingly,theImpalaisonlyactuallyvisibleforamomentatthebeginningofthe
scene,whentheboysapproachitandDeanopensthedoor.Thekeyemotional
exchangebetweenthetwobeginswiththesoundofDeanshuttingthedoor,which
resonatesasheturnsbacktoSam,thetwoofthemrestingagainsttheImpala.During
thisexchange,Dean,inparticular,usestheImpalaforphysicalsupportasthe
conversationbecomesheavier.ThoughtheImpalaisnotvisibleagainuntilthevery
endofthescene,aftertheemotionalexchange,viewersareawarethatitistherein
thebackground.Thedistinctivenoiseofthecardoorshuttingshiftsthemoodfrom
reliefatAzazel'sdeathtoemotionaldistress.ThustheImpalaactsnotonlyasa
meansofphysicalsupportforDean,butalsoasameansofemotionalsupportforhim
—andfortheviewer,itisasignoftheemotionalcontenttocome.
[3.5] TheImpalaisusedmostcommonlytoindicateDean'semotionalstaterather
thanSam's,atleastinearlierseasons.AsJuliaM.Wrightpointsout,itis"Deanwhois
atthecentreoftheseries'explorationofcompetingideologiesandvalues,"andhis
"'badboy'masculinityisrepeatedlymarkedasamaskorperformance"(2008,¶14–
15)—onethatisvisiblyshakenbythereturnofhisfather.Inashortessay,Andie
MasinodiscussesthesignificanceoftheImpala'sphysicalappearancetoDean's
mentalstateinseason1.Shepointsoutthat"asDeanstart[s]tointernally
deteriorate,so[does]theImpala'sexteriorcondition"(Masino2006,217).Iwould
arguethatoncewemovebeyondthefirstseason,thecorrelationisnolongerso
consistent.However,Masino'sargumentthattheImpalanegotiatessomeofDean's
morecovertemotionsisstillworthconsideringinlightofJohn'sreturn.Whenthecar
stopslookingpristine,theirfatherisback,andhispresencealwaysstrainsDean's
relationshipwithSam.AsWilkinsonpointsout,"WhenJohnreuniteswithhissonsin
'DeadMan'sBlood'(1.20),hemakesacracktoDeanaboutthestateofthecar…
[thereby]reassertinghispaternalauthority—remindingDeanwherethecarcamefrom
andwhothecarrepresents"(2009,204).WithJohnback,Deanissuddenlyforced
intohisformerroleofpeacemakerbetweenhisbrotherandhisfather,aswellasthe
roleofsubordinatetoJohn.InorderforDeantostepbackintotheseroleseffectively,
hehastodefendtheirfatheragainstSam'sanger.Deanisnolongerabletoactasan
equaltoSam.Itisduringtheseepisodes,whentheboysreconnectwiththeirfather,
thattheImpalabeginstoappearunkemptanddirty.Masinopointsoutthat"thestate
oftheImpala'scleanlinessdirectlyreflect[s]Dean'scrumblingemotionalstate"(2006,
216),anditalsoreflectsthestateoftherelationshipbetweentheboys,stressin
whichisoftencausedbyissuesinvolvingtheirfather.
[3.6] AsImentionedearlier,thereisamomentinearlyseason2(in2.02
"EverybodyLovesaClown")whenDeantakesacrowbartotheImpala.Immediately
beforethis,Sam,withnoprovocation,confidestoDeanhisfeelingsabouttheir
father'sdeath,andDeanremainssilent.Suchanexchangeisuncommonbetweenthe
two.Atthismoment,theImpalaisalmostcompletelydestroyed,itsconditionreflected
inDean'sunwillingnesstoopenuptoSam.Infact,hisonlytwowordstoSamare
merelyaquestion—"Aboutwhat?"—thatsetsoffSam'stirade.Throughouttheentire
exchange,thereisadisconnectbetweenthetwobrothers,mostlycomingfromDean.
OnceSamleaves,DeantakesouthisangeronthehalfrestoredImpala,takinga
crowbartoitstrunkanddestroyingmuchoftheworkhehadputintorestoringit.
Consideringthis,IarguethattheImpala'sconditionherereflectsthelossof
connectionbetweenDeanandSammorethanitdoesDean'sgeneralemotionalstate.
[3.7] In5.04"TheEnd"weseethedamagedImpalaasamarkerofseparationonce
more.Here,Deanisthrustintothefuture,wherehediscoverstheImpalainwhatis
probablytheworstconditionwehaveeverseenit—ithasnotbeendestroyedina
wreck,aswemightexpect,butratherabandonedandallbutforgotten.Anditishere
thattheworstpossiblescenariohasbecomeareality.DeanandSamhavenotspoken
infiveyearsandSam,aswelearnlater,hasbecomeLucifer'svessel.Atthismoment,
whentheImpalaisliterallyfallingapart,wearealsopresentedwiththecompleteand
utterseparationofthebrothers'lives.
[3.8] TheImpala,therefore,offersaclearandconciseindicatorofDean'semotional
conditionasitrelatestohisrelationshipwithSam.Throughitsownphysicalcondition,
theImpalaoffersinsightintoDean'shiddenemotionalstatebyhelpingtobring
forwardsomeofthemelodramatic/feminineemotionthatisnotyetacceptablefor
Deanand,therefore,cannotyetbeexplicitlystated.Suchamarkerisnecessarywhen
DeancannotbehonestwithSam,astheaudienceisofferedlittleothermeansof
seeingthroughthemaskthatDeanconstructsatthesetimes.OftenitisJohn's
presence,whetherliteralormetaphorical,thatsodestabilizesDean'semotional
conditionthatheshutshimselfdown,eventoSam.Inthesemoments,theImpala
functionsstrategicallyasadevicethroughwhichtheaudienceisallowedglimpsesof
Dean'semotionalstate.TheImpala,therefore,filterstheextremeemotionthat
pervadestelevisionmelodrama,providinginsightintothehiddenemotionalstateof
Supernatural'scharacterswhencertainemotionalexchangesarenotyetacceptable.
4. The question of ownership and shifting relationships
[4.1] Inseason4ofSupernatural,theImpalaisplacedinabattleofwillsbetween
theboys,aseachstrugglesforcontroloverhisownlife—theyaresuddenlycloserto
beingseparateentitiesthaneverbefore—and,byassociation,forcontrolovertheir
relationship.ThisstruggleisembodiedintheImpala,asSam'srelationshiptothecar
hastakenasignificantturnduringDean'sfourmonthimprisonmentinhell.Beforethis
moment,theImpalahadbeenDean's,unquestionably,andhadinfacthelpedto
solidifytherolesofprotectorandprotectedthattheboyshadalwaysplayedineach
other'slives.
[4.2] Beforeseason4itisalwaysDean,astheolderofthetwo,whoactsas
protectorintheirrelationship,aroleheassumeswhenasixmontholdSam'slifeis
placeddirectlyintohisfouryearoldhandsattheveryoutsetoftheseriesandthatis
solidifiedwhenDeantakesownershipoftheImpala.Thebondtheyshareholdsstrong
andevenintensifiesastheymoveintoadulthoodashunters,anditeventuallybegins
toplacestrainonSaminparticular.ForbothDeanandSam,theserolestranslate
smoothlyintotheirrelationshipwiththeImpala.Deanhasalwaysbeentheonetolook
outforSam,andalargepartofdoingsomeanttakingthewheel—inthiscaseliterally
—makingtheharddecisionsanddoingwhathadtobedone,handingovercontrolto
Samonlywhennecessarytooffercomfortorsolidifytrust.Suchexpressionsoftrust
canperhapseasilybeseenwhenwerememberDean'sedict"Nochickflickmoments"
inthepilot.AsWilkinsonpointsout,"Dean…ofthe'nochickflickmoments'mentality,
oftenreliesontheImpalatohelphimexpresswhathecan't"(2009,203).This
distinctiveuseoftheImpalaasatoolofexpressionisneverclearerthanin3.07
"FreshBlood,"whenDeanallowsSamunderthehood.Wilkinsonexplains,"Dean
allowsSambackintohisemotionalspherebyliftingthehoodoftheImpalatoexpose
herbrokeninnerworkings,trustingthatSamcanhelpfixthings.Therecanbeno
clearersignofunconditionaltrustandlovefromDeanthanlettingSamnearthe
Impala'scarburetorwithawrench"(2009,203).NotonlyisDeanofferingaclearsign
ofloveandtrust,butheisalsoallowingSambackintohisownemotionalworkings.As
theImpalafunctionsessentiallyasanextensionofDean'scharacter,thisisamoment
inwhichDeanisentrustingSamwithapieceofhimself.Heistakingthefirststepsin
acceptingthefatethatwilltakehimtohellinfulfillmentofthedealhemadetorestore
Sam'slife,andpreparingSamforlifewithouthim.Sam,however,isholdingontoa
glimmerofhopethathemaybeabletosavehisbrother.Atthismoment,Deanisstill
actingasprotector,brother,and,inmanyways,parenttoSam,aswecanseewhen
hetellsSamflatout,"That'smyjob,right?Showmylittlebrothertheropes."Still,by
lettingSamunderthehood,sotospeak,Deanismakingasilentpromisethathewill
"droptheact,"asSamhadpreviouslybeggedofhim,whilesimultaneouslybeginning
thetransferoftheImpalaintoSam'shands.Essentially,Deanishandingoverapiece
ofhimself—andofferingSamthepossibilitythathemayonedaybeabletoprotect
Dean.Atthismoment,DeanspecificallyusestheImpalatoindicatesomeofthe
intensemelodramaticemotionheisunwillingtoexpressoutwardly,whilebeginningan
importantshiftincontrolovertheirrelationship,asembodiedbytheshiftinownership
oftheImpala.
[4.3] ThoughDeanmaynotbeofficiallyhandingovertheImpalajustyet,this
emotionalopennessandpuretrustisnosmallfeat.Deanhasalwaysbeentheoneto
protectSamand,bydoingso,Deanhasmaintainedaroleequivalenttothatof
parent.Attheverybeginningoftheseries,welearnthatthelossofSamandDean's
motherresultedinthelossofbothparents.JuliaM.Wrightpointstothisideawhen
shediscussesthe"lowerclasschildren'svulnerability"andspeaksofDean"ashis
brother'sprimarycaregiverandarmedprotector'fordaysatatime'"(2008,¶12).
Throughouttheseries,itismadeclearthatfromaveryyoungage,Deanwasforced
totakeovertheroleofcaregiverforhisbrotherandobedientsubordinatetohis
father,bothofwhichwerelaterexpressedthroughtheuseoftheImpala.TheImpala
is,infact,Dean'smostpreciouspossession,hishome.ItisthesameforSam,but
alwayswithDeanbehindthewheel.Astheonlyconstantphysicalspaceintheirlives,
theImpalaoffersastabilitythatcanbeprovidedbynootherobject,andDean's
ownershipofthecaronlysolidifieshisroleasprotector.Byactingasthesolespaceof
home,therefore,theImpalaisplacedwithinaspecificallyfeminineframework,which
allowsDeanthefreedomtodisplayovertemotionalismthatmightnototherwisebe
acceptable.
[4.4] AstrugglebeginswhenDeansacrificeshimselftosaveSam'slife,anactthat
makessenseifweconsiderCawelti'scriteriaforthemelodramatichero:"ifthe
melodramaticheromeetsacatastrophicend,itiseitherasanoblesacrificetosome
goodpurposeorbecausehehasbecomedeservingofdestruction"(1976,46).Itisat
themomentwhenSamlearnsofDean'sdealthathetrulybeginstofighttousurp
Dean'sroleasprotector.Inthepenultimateepisodeofseason2(2.21"AllHellBreaks
Loose1"),wewatchSamdieinDean'sarms,andinthenextepisode(2.22"AllHell
BreaksLoose2"),Deanmakesadealwithacrossroadsdemontobringhisbrother
back.Deansellshissoulandisgivenoneyeartolive:thisisamelodramaticend,as
hehassacrificedhimselftosavehisbrother.WhenSamdiscoversthisattheendof
theepisode,heinsiststhatitishisturntotakeontheroleofprotector,statingfirmly,
"Yousavemylife,overandover.Imean,yousacrificeeverythingforme,don'tyou
thinkI'ddothesameforyou?You'remybigbrother.ThereisnothingIwouldn'tdo
foryou.AndIdon'tcarewhatittakes,I'mgonnagetyououtofthis.GuessIgotta
saveyourassforachange."Eveninthisscene,however,itismadeclearthatthisis
notSam'splace.InSam'sownwords,therolestheyplayintheircurrentrelationship
aresolidified.EvenasSampointsoutthatitisDeanwhodoesthesaving,heusesthe
phrase"bigbrother,"whichstressestheestablishedpatternsoftheirrelationship.
WhenhespeaksofsavingDean,itis"forachange."Andhisspeechisfollowedbya
touchedbutnoncommittal"yeah"fromDean.Atthismoment,bothbrothersarewell
awareoftherolestheyoccupy,regardlessofSam'shopesofchangingthem.Thisis
thescenedescribedaboveinwhichtheaudienceismadeawareoftheImpala's
presenceprimarilythroughauditorycues.Asthisnewstrugglefortheplaceof
protectorbegins,therefore,theImpalaisforegroundedasameansofbothphysical
andemotionalsupportfortheboys.
[4.5] Fortheentiretyofseason3,SamtriesdesperatelytomoveintoDean'srole,
thatofprotector,butneversucceeds.Hecomescloseintheseasonfinale,inwhich
Deandoesinfactdie.ThelastimagewearegivenisofDeaninhell,callingforSam's
help(3.16"NoRestfortheWicked").ThisisthemomentwhenDeanbecomestheone
inneedofprotection,andDean'sfinalwordstoSam—"takecareofmywheels"—
supportmyclaimthattheImpalafunctionsasanextensionofDean.Deanhandsover
thewheelatthismoment,passingtheImpalaontoSamandthusentrustinghis
brotherwithapieceofhimself.WithDeangone,Sam'srelationshiptotheImpala
changes.ItnowbelongstoSam,asymbolofbothfreedomandfamily,asitlikelywas
whenJohnpasseditontoDean.WrightarguesthattheImpalaissimplysomething
DeanreceivedfromJohninordertodothejob(2008,¶15),butIammoreinclinedto
agreewithWilkinson:
[4.6] WeknowJohngaveDeantheImpala,andwhilewedon'tknow
exactlywhen,itmust'vebeenasignificantoccasion—ananointing,ifyou
will,ofhisoldestson.ToDean,thecarrepresentsJohnandhismission.In
acceptingit,Deansteppedintohisroleinthe"familybusiness"and
acknowledgedthathewantedtobejustlikehisfather.(2009,204)
[4.7] ThemomentwhenDeangivesSamcontroloperatessimilarly.However,Dean
hasnevertrulybecome"justlikehisfather"—Dean'smainfocushasalwaysbeen
Sam,ratherthanablind,selfdestructivehuntforrevenge.WhenDeanpassesonthe
Impala,onemightexpectSamtoaccepthisplaceinthe"familybusiness"muchas
Deandid,butwiththeaspirationofbecominglikehisbrother,whohasbeentheone
toactasparenttohim.Earlierintheseason,Samexpressesthisdesirewhenhetells
Dean,"ThewayIseeit,ifI'mgonnamakeit,ifI'mgonnafightthiswarafteryou're
gone,thenIgottachange…intoyou.Igottabemorelikeyou"(3.09"Malleus
Maleficarum").Inthenextscene,weseeSamdriveoffintheImpala.Thecamerawork
hereissimilartothatinkeyscenesin3.11"MysterySpot"and4.01"LazarusRising,"
bothofwhichdealwithSam'sextendedseparationfromDean,signalingSam's
changingconnectiontotheImpalaandmarkinghissimilaritiestoJohn.Theironyhere
isthatDeanhasalwaysbeenutterlyincapableofsurvivingonhisownandthatSamis
becomingmorelikeJohn,notDean.
[4.8] Sam'snewfoundsimilaritiestoJohn,therefore,arethecatalystfortheclear
shiftinthebrothers'relationshipthroughoutseason4.Samisfinallybeginningto
usurpDean'sroleasprotector,movingintoaspacehehasneveroccupiedbefore.This
roleshiftismarkedbySam'stakingownershipoftheImpala,ashedoesfullywhile
Deanisinhell.Inthosefourmonths,Sambecomesaccustomedtothinkingofthe
Impalaashisown,andhedoesn'tstopwhenDeanisbroughtback.Sam'sassumption
thattheImpalanowbelongstohimparallelsJohn'sowninabilitytoreleaseownership
afterhegivesthecartoDean.In1.20"DeadMan'sBlood,"JohnchastisesDeanfor
failingtokeepupthecar:"Whydon'tyoutouchupyourcar,beforeyougetrust.I
wouldn'thavegivenyouthedamnthingifIthoughtyouweregonnaruinit."His
scoldingindicatesthathestillhasasenseofownershipandaffirmshiscontroloverhis
relationshipwithDean.Samexpressesasimilarpossessivenessinseason4,which
beginswiththerevelationthatSamhasspentthetimeawayfromDeandoinglittle
morethanseekingrevengeagainstLilith.Thisdesireforrevengeissimilartotheir
father's,andithasalreadybeenmadeclearinearlierseasonsthatSamisjustas
singlemindedasJohn.BeforeDean'sdeath,however,Samdoesnotsuccumbtothis
obsessioninthesamewayJohndid,despitethefactthatJess'sdeathiscodedexactly
likeMary's.Instead,itisonlywhenSamisleftwithouthisbrotherandwithamission
ofrevengeforanextendedperiodoftimethathe,likeJohn,beginsbehaving
obsessively.
[4.9] NowthatSamseestheImpalaasbelongingtohim—afterall,hehasspentthe
betterpartoffourmonthsbelievingit—thewaysthatitisusedbegintochange.The
shiftisimmediatelyobviousintheseason4premiere(4.01"LazarusRising").When
wefirstseetheImpalaagain,wediscoverthatSamhasgonesofarastoinstallan
iPodjack,somethingDeanclearlydoesnotapproveof,andSam'simmediateresponse
tothatdisapprovalis"Ithoughtitwasmycar."Samsimilarlyassertsownershipwhen
hegoestomeetthedemonRuby.WhenDeancallsandchastiseshimfortakingthe
Impala,Sam'simmediateresponseis"Forceofhabit."Theassertionisnotovert,but
thefactthatSamdoesnotgiveasecondthoughttotakingtheImpalainthemiddleof
thenightmakesitclear.Sammakesashowofhandingthecarbackovertohis
brotheranddoesnotovertlyclaimownershipofitnowthatDeanhasreturned,buthis
actionsspeakdifferently.JustastellingisthecameraworkwhenSamtakesthecar,
whichseemstoconfirmSam'sfeelingsofownership.WhenSampullsaway,weseea
beautifulshotoftheImpalathatmakestheaudienceawareofboththecarandthe
factthatitisSaminthedriver'sseat.Thecameraworkhereiswhatmighthavebeen
expecteduponDean'sreunionwiththeImpala.Instead,themomentcomeswithSam
behindthewheel.Anyonewithagoodknowledgeoftheserieswouldbefamiliarwith
suchscenesoftheImpala,butthesescenesalmostalwayshaveDeanbehindthe
wheel.AddedtoDean'sextendedseparationfromtheImpala,theuseofSaminthis
shotindicatesachangeintheboys'relationshiptothecar,andconsequentlytoeach
other.
[4.10] Similarly,Samseemstooccupythepassengerseatonlygrudgingly
throughoutseason4.WeseeSamdrivingmoreoftenthanmightbeexpected,
consideringDean'slongabsence,andheseemstoallowDeanintothedriver'sseat
morebecausehehastothanbecauseheconsidersitDean'splace.In4.04
"Metamorphosis,"forexample,Deanisdrivingwhenthebrothersgetintoaheated
discussion.SamgetsangryandordersDean,"Stopthecar,orIwill!"Notonlydoes
SamissueanordertoDean,butDeanobeyswithoutargument,somethingthathas
neveroccurredbeforeinthecontextoftheImpala.Suchanexchangemightbe
expectedbetweenJohnandDeanratherthanSamandDean.
[4.11] AsSam'srelationshiptotheImpalachanges,therefore,sodoeshis
relationshiptoDean.Foratleastayear,SamhadtriedtotakeonDean'sroleof
protector.Heisfinallybeginningtosucceed,butinanarguablyunhealthymanner.
SamconvinceshimselfheisprotectingDeanwhen,infact,heisonablindhuntfor
revengeagainstLilith,evenafterDean'sreturn.Inhissinglemindedpursuithe
insteadmanagestoalmostcompletelydestroythetrustDeanhasalwayshadinhim.
Thefirstindicationofthisdestructionoftrustoccursin4.01"LazarusRising,"when
SamhastakentheImpala.AsDeanridesinthepassenger'sseatofBobby'scar,he
callsSam,whoanswersthephonewhilesittinginthedriver'sseatoftheImpala.At
thismoment,bothofthebrothersoutrightlietooneanother.Here,therefore,instead
ofofferingasitefortherevelationofemotion,theImpalamarksthechangesthatare
occurringbetweenthetwo.
[4.12] AstheseshiftsareoccurringinSam'srelationshiptotheImpalaandhis
relationshipwithDean,wealsoseeDean'sovertemotionalismbegintochange.
Havinglivedthroughfourmonthsinhell,whichfeltlikefortyyearsforDean,heisan
emotionalshambles.Previously,themostimportantemotionalexchangesinthe
series,particularlythosenegotiatedthroughtheImpala,wererelatedtoDean's
relationshipwithSam.Inseason4,however,wearepresentedwithsomeofthemost
extremeemotionDeanhaseverdisplayedwhenhebeginstoopenupabouthell,and
hisovertemotionalismbeginstoreflecthisownemotionalstate.Thechangeisfirst
apparentattheendof4.10"HeavenandHell."Thescenebeginswithafullshotofthe
boysrestingagainsttheImpala,SamsittingonthefrontofthehoodandDeanleaning
againstitonthepassenger'sside.Significantly,thetwoarepositionedinsuchaway
thatSamisabletolookatDean,butDeancannotfaceSamwithoutturning.AsDean
confessesthathefinallygaveintoAlastair'sdemandthathetortureothersinhell,in
ordertoescapemoretortureofhisown,heusestheImpalaforphysicalsupport.A
shotshowsSamwatchinghisbrotherfromoverDean'sshoulderasDeanlooksoffto
theside.ThoughhehasturnedhisheadtowardSamabit,Deanneveractuallylooks
athisbrother,andhisrefusaltodosoindicatestheseparationbetweenthetwo.Dean
isbeinghonest,butfromadistance,andthisdistanceisemphasizedevenfurtheras
eachturnsawayfromtheotherandthescenecutstoblack.Inthissceneandothers
likeit,theImpalaremainspresentandoffersDeanthesameemotionalandphysical
supportitalwayshas.ThepainDeandisplayshere,however,isforhisownselfimage
—somethinghehasalwaysbeforeputsecondtohisconcernsforSam.
[4.13] ExchangeslikethisoneleaveSamwiththeimpressionthathisbrotherhas
becomeweak;in4.14"SexandViolence"hetellsDean,flatout,"You'retooweakto
goafter[Lilith],Dean.You'reholdingmeback…You'retoobusysittingaroundfeeling
sorryforyourself,whiningaboutallthesoulsyoutorturedinhell."Samis,admittedly,
undertheinfluenceofasiren'sspellatthatmoment,buthisspeech'simpactonDean
isnolesssignificant.Attheendofthisepisodewearegivenanothersceneofboth
boysproppedupagainsttheImpala.Here,however,Deanavoidsexpressingemotion,
andhisdiscomfortisdirectlyconnectedtothefactthatSamhasadmittedthathe
viewsDean'sovertexpressionsofemotionabouthellasweakness.Samhasnever
beforeseenDeanasweak,andnowhedoessoatthesametimeasheisgrowing
obsessedwithdefeatingLilith.DeanrecognizesthechangeinSam,specifically
pointingoutin4.19"JumptheShark"thatSamisjustlikeJohn.Samtakesthisasa
compliment;Deanisnotsosure.
[4.14] Asnotedabove,oneofthedefiningelementsofthemelodramaticisLewis's
notionof"serialsuffering,"andsuchsufferingisnevermoreapparentinSupernatural
thaninthebattlesthatwageinseason4,whetheritisSamandDean,SamandRuby,
orDeanandtheangelswhoaresuffering.AsDeanandSamstruggleforcontrolover
theImpala,theyalsostrugglefortheupperhandintheirrelationship.TheImpala
negotiatesbothmasculinityandemotionwhileofferingaspaceinwhichtheemotional
stateofeachofthebrotherscanbeexplored.ByframingtheImpalaasbotha
masculineandfemininespaceandallowingittoprovideconsistentsupportforthe
Winchesterbrothers,theseriesoffersinsightintothoseemotionalfactorsthatarenot
otherwiseaccessible.TheImpalaactswithinaspecificcontextforeachoftheboys,
markingboththeirconnectiontooneanotherandthestruggleforcontrolintheir
relationshipthatbeginsinseason4.Inallowingemotiontobefilteredthrougha
quintessentiallymasculineobject,Supernaturalactstonegotiatebothitssurface
presentationofthestereotypicalhorror/masculineanditsmoreunconventionaluseof
themelodramatic/feminine.
5. Acknowledgment
[5.1] IwouldliketoextendmydeepestthankstoDr.ChristineDoranforallofthe
timeandeffortshededicatedtohelpingwiththisprojectandforalloftheinvaluable
feedbackthatsheprovidedthroughouttheprocess.Iamalsoextremelygratefulto
Dr.JenniferRichardsonandtotheanonymousreadersforprovidingsuchhelpfuland
detailedfeedback.
6. Works cited
Cawelti,John.1976.Adventure,mystery,andromance.Chicago:Univ.ofChicago
Press.
Jenkins,Henry.2007.Supernatural:Firstimpressions.Confessionsofanacafan:The
officialWeblogofHenryJenkins,January15.
http://www.henryjenkins.org/2007/01/supernatural.html(accessedOctober28,
2008).
Lacey,Nick.2000.Narrativeandgenre:Keyconceptsinmediastudies.NewYork:St.
Martin'sPress.
Lewis,Jon.2008.Americanfilm:Ahistory.NewYork:W.W.Norton.
Masino,Andie.2006.Impalameta:Seasonone.InSomeofusreallydowatchforthe
plot:Acollectionof"Supernatural"essays,ed.JulesWilkinsonandAndieMasino,216–
18.SanMateo,CA:CafePress.
Osteen,Mark.2008."Noir'scars:AutomobilityandamoralspaceinAmericanfilm
noir."JournalofPopularFilmandTelevision35:183–92.
[http://dx.doi.org/10.3200/JPFT.35.4.183192]
Torres,Sasha.1993.Melodrama,masculinity,andthefamily:thirtysomethingas
therapy.InMaletrouble,ed.ConstancePenleyandSharonWillis,283–302.
Minneapolis:Univ.ofMinnesotaPress.
Tosenberger,Catherine.2008."TheepiclovestoryofSamandDean":Supernatural,
queerreadings,andtheromanceofincestuousfanfiction.TransformativeWorksand
Cultures,no.1.http://dx.doi.org/10.3983/twc.2008.0030(accessedOctober28,
2008).
Wilkinson,Jules.2009.Backinblack.InThehunt:Unauthorizedessayson
"Supernatural,"ed.Supernatural.tvwithLeahWilson,197–207.Dallas,TX:BenBella.
Wright,JuliaM.2008.Latchkeyhero:Masculinity,class,andtheGothicinEricKripke's
Supernatural.GendersJournal47.http://www.genders.org/g47/g47_wright.html
(accessedOctober3,2008).
Transformative Works and Cultures,Vol 4 (2010)
Praxis
"Let's get those Winchesters pregnant": Male pregnancy in
Supernatural fan fiction
Berit Åström
Umeå University, Umeå, Sweden
[0.1] Abstract—Thisarticleinvestigatesmpregslashfiction—samesex
relationshipsfeaturingmalepregnancy—basedonthetelevisionseriesSupernatural,
lookingatissuesofgenderandgenre.Ithasbeenarguedthatslashwritingisa
highlysubversiveandresistingactivity,appropriatingsomeoneelse'scharactersand
rewritingtheromancescripttosuitdifferenttastesthanthoseprescribedby
patriarchy.Yetfanfictextsareverydiverseanditisdifficult,ifnotimpossible,to
drawanygeneralconclusionsfromthem.Thethemeofmalepregnancyhasthe
potentialtoproducenarrativesthatchallengeournotionsofgender,identity,sexual
andsocialpractices,aswellasparenthood.AlthoughthefanfictionIhaveanalyzed
alldealswiththesenotionsinvariousways,thefocuslieselsewhere.Theauthorsof
thetextsfocusmoreonexploringSamandDeanasfathersandhomemakers,on
writingaboutfamilylife,withallitstraditionaltrappings.Whentheauthorsbring
pregnancyintotheequation,theydrawonnarrativeandsocialconventionsthat
followthisexperience,resultinginconventionalstoriessetinaveryunconventional
universe.
[0.2] Keywords—Gender;Mpreg
Åström,Berit.2010."Let'sgetthoseWinchesterspregnant":Malepregnancyin
Supernaturalfanfiction.TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0135.
doi:10.3983/twc.2010.0135
1. Introduction
[1.1] Thequotationinthetitleofthisarticleistakenfromthesubtitleofthe
Winchestermpregarchive,andastheWinchestersarebrothers,thestatement
producesamentaldoubletake,similartoourreactiontothephrase"thekingis
pregnant,"whichUrsulaK.LeGuinusedinthenovelTheLeftHandofDarkness
(1969).InsomeSam/Deanslashmpregfanfic—fanfictionaboutSamandDean
Winchesterfeaturingasamesexincestualrelationshipandmalepregnancy—phrases
suchas"Samwaspregnantwithanotherman'schild"(Calysta2008)arepresentedas
commonplace,forcingthereadertomakeamentaladjustment.Thesupposed
conflictsbetweenmasculinityandgivingbirtharehandleddifferentlyinthedifferent
texts,however(note1).LeGuinportraysafictionalsocietywheretheinhabitantsare
sexlessmostofthetime,andalternatebetweensexeswhentheybecomesexually
active.Thealternativeconstructionsofsexualityaregraduallymadeknowntothe
readerthroughthegrowinginsightsofthenovel'sprotagonist,ahumansentto
observethealienplanet.TheSam/Deanfanfictiondiscussedhere,ontheotherhand,
doesnotneedtoprovidesuchmediation.Becauseoffanficreadingpractices,and
becauseoftheexistenceofmagicinthetelevisionseriesSupernatural,theauthorcan
relyonreadersacceptingaworldwheremencangetpregnant.Eventhoughmale
pregnancyresultsinanumberofsituationsthatproducethedoubletakementioned
above,thetextsanalyzedinthisarticlegenerallyexploremoreconventionalthemesof
love,trust,andhomemaking.Ratherthanplacingthefocusonissuesofbiologyand
gender,theemphasisisoninterrelationalandemotionalaspects.Pregnancyasa
themeinpopularculturenarrativesiscommonlyaccompaniedbyanumberof
structuresandconventionsthataretransferred,withverylittlechange,intompreg
stories.Insomenarratives,thequeerthemeofmalepregnancythereforeresultsin
quiteheteronormativestories.
[1.2] Fromtheearlieststudiesoffanfictiontherehasbeenatendencyamong
scholarstoreadslashintermsofresistanceandsubversion.Thistendencyhasbeen
questioned,forexample,byscholarssuchasSarahGwenllianJones(2002)and
CatherineTosenberger(2008),whosuggestthatamoreconstructivewayofreading
slashisasan"actualizationoflatenttextualelements"(Jones2002,82)andthata
viewofslashasalwaysresistingthedominantmeaningofatextpreventsadeeper
analysisofpotentialqueernessinthecanon,orasTosenbergerstates:"toostronga
focusuponslashasasubversionofcanoncanmaskconsiderationinwhichthecanon
itselfmaymakequeerreadingsavailable"(2008,1.3)Otherscholarshavealso
questionedtheemphasisonresistance,albeitfromadifferentperspective.Inastudy
offanfictionandgenre,ElizabethWoledgerejectstheideathatslashis"aunique
genreofliteraturethatsubvertsthedominantliteraryandculturaltropes"(2006,98).
Similarly,ChristinaScodari,inheranalysisoffanactivities,showsthattheresistance
labelshouldbeappliedwithcaution,since"fanssometimesappropriateresistive
rhetoricindefenseofhegemonicproclivities"(2003,111).Whatmayatfirstseemlike
resistancemayintheendreinforceheteronormativestructures.
[1.3] Slashmaythusrewritedominantscriptsandsubvertheteronormativetropes,
butitshouldnotbeassumedthatthegenreautomaticallyproducesresisting
narratives.Althoughaddressingdifferentissues,Jones,Tosenberger,Woledge,and
Scodariallpointtoandquestionanimpulsewithinacademiatovalorizetheslash
authorasaresistiveforce,aforcethatchallengesboththecommercialcultureofbig
corporations,andthepatriarchal,heteronormativestructureofromantic/erotic
relationshipsasexpressedinapopulartelevisionseries.
[1.4] Interestinmenbecomingpregnantisnotanewphenomenon.Malepregnancy
hasbeenusedinfictionandonthescreenbymanyauthorsforavarietyofpurposes:
perhapsmostoftenforcomiceffect,butsometimesalsotoexploregenderidentity.
Mpregfanfictionspansnumerousfandomsandaddressesamultitudeofconcerns.
Someofthoseconcernsarereflectedinthempregintersectionwithdomesticfic(Stein
2006,253).Domesticfic,amuchlargergenrethanmpreg,isnotrestrictedtoslash
fanfiction;indeedsomeofthestoriesdonotrefertosexorloveatall.Domesticfics
focusoncharactersgoingabouttheirdailylives,doingmundanethings,suchas
buyingcurtains,hencethealternativetermcurtainfic(Fanloren.d.).Authorsof
domesticficmaybewritingforhumorouseffect,togiveastoryahappyending,orto
explorehowexplicitlynondomesticcharactersbehaveinordinarylife.The
Supernaturalmpregdomesticficsdiscussedherearenotcenteredonthehuntingand
destroyingofdemonsandghosts,butontherelationshipbetweenthebrothers,
exploringwhattheywouldbelikeiftheysettleddown,boughtahouse,andtriedto
livethenormallifetheytalkaboutinthecanon.Indeed,someofthefanfiction,such
asFairytalesAreforPrincesand"TearsandRaindrops,"dismisshuntingasathingof
thepastinthefirstparagraphinordertogetdowntothebusinessoftherelationship.
Theanalysisofthesestoriessupportstheclaimthatmanyfanstoriesarenotreally
aboutactionscenes,orplotdevelopment,butaboutwhatgoesonintheinterstices,in
thedowntimebetweenadventures(Pugh2005,20–21;Cicioni1998,159).Inthe
storiesdiscussedhere,theinterestliesinwhathappensaftertheadventuresareover,
whenthereistimetoexploreemotionsofloveandtenderness.
[1.5] Mainstreammalepregnancyfictiontendstotreatthepregnantmaleas
monstrous.Discussingmalepregnancyinfilmandontelevision,StephenKerrypoints
outhowsuchnarrativesareseenasposinga"threatto(male)audiences'homosocial
bondswithamalecharacter"(2009,709),athreatthatneedstobedisarmedand
dispelledinsomeway.Similarly,BarbaraCreed,analyzinghorrorfilms,statesthatthe
pregnantman,takingoverwomen'sterritoryofreproduction,ispresentedasa
monster(2005,50).Inthempregsdiscussedhere,theconstructionofthepregnant
manisverydifferent(note2).Thecharactersmaybesurprisedtofindthemselves
pregnant,buttheyareneverconstructedasunnatural,monstrous,orthreatening.
Insteadthepregnanciesare,mostoften,describedaslifeaffirmingexperiences
resultinginthejoyoffatherhood.
2. From canon to fan fic
[2.1] Beforemovingontotheanalysisofthefantextsthemselves,itisnecessaryto
lookatthecanon,thetelevisionseriesSupernatural,andwhatparticularfeaturesare
remediatedintothefanfiction.Intheprogram,thetwobrothersSamandDean
Winchesterhuntanddestroyallmannerofsupernaturalcreatures.Althoughboth
brothersexhibitasexualinterestinwomenintheseries,thereareanumberof
featuresintheepisodesthatinviteaslashreading.Oneofthoseisthebrothers'great
affectionforeachother,whichisstressedthroughouttheseries.Dean'sfeelingsof
responsibilityforhisyoungerbrotherareoftendiscussedandtheirstrongfamilialbond
isrepeatedlybroughtup.Thisisevident,forexample,in2.20"WhatIsandWhat
ShouldNeverBe,"whereDeanisgiventhechancetolivethenormallifehehas
alwayswanted,wherehismotherneverdied,andthebrothersneverhadtogoonthe
run.Herethebrothershavegirlfriendsandsettledhomes,andSamisplanningtoget
married.Everythingisperfect,exceptthatthebrothersarenotclose;theyarebarely
onspeakingterms.ThisisenoughtomakeDeanrejectthisopportunityforwhat
shouldhavebeenperfecthappiness.
[2.2] Otheraspectsofthedynamicbetweenthebrothersalsolendthemselvesto
slashinterpretations.SamandDeanbickerconstantly,andtheirargumentshave
overtonesofastereotypical,longmarriedcouple.In2.15"TallTales,"another
characterevencommentsontheseovertones.Thebrothersareseveraltimes
mistakenforagaycouple(1.08"Bugs,"2.11"Playthings"),andtoacertainextent
theyaregenderedasstereotypicallymaleandfemale.Deanisamanofactionwhois
interestedincarmaintenanceandheavymetalmusicandwhoshiesawayfrom
emotions.Whenhewantstoexpresscomfort,sympathy,orothertenderemotions,he
slapsSamonthearm.Heavoidshugs,andreferstoanyemotionaldisplaysas"chick
flickmoments."Sam,ontheotherhand,isanintellectualwhoishappytotalkabout
emotions,whowantstohughisbrother,andwhoknowsnothingaboutcars.Dean
callsSamabitch,andSamcallsDeanajerk.Thegenderingcontinuesontheofficial
Website,whereDeanisreferredtoas"theruggedbadboy"andSamas"thesweet
reluctanthero."Thisgendereddynamicistransferredtothempregsanalyzedhere,
where,inseveralinstances,Deanisreluctanttoexpresshisloveinpublic.Inthe
mpregs,DeanrepeatedlycomplainsaboutSambeing"girlie"ora"whinybitch."In
"TearsandRaindrops,"inparticular,Calystadevotesaconsiderableamountofspace
totheexplorationofDean'sinabilitytodealwithhisownemotions.Sam,forhispart,
isshowninthesempregstobeemotional,cryingagreatdeal,andoftensuccumbing
todespairanddepression.Inthisway,thetraditionalgenderstructuresembeddedin
thecanoncontinueinthefanfiction.
[2.3] Inthecanon,thebrothers'sexualinterestinwomenisrepeatedlystressed;
Dean,inparticular,isshowntohaveanumberofcasualsexualrelationshipswith
women,butitisalsomadeclearthatnowomanisallowedtocomebetweenthe
brothers.AsTosenbergerargues,"allofSam'sandDean'sromanticrelationshipswith
womenaredoomedtofailure"(2008,2.2).Everywomanthatmightbecomeaserious
interestisremovedinonewayortheother(note3).Inthecaseofwomeninwhom
Sammightbeinterested,theremovalcanbequiteviolent(Tosenberger2008,2.2),
butitisdangeroustoapproachDeanaswell.In4.01"LazarusRising,"thepsychic
PamelaBarnespropositionshiminaratherstraightforwardmanner,andminuteslater
hereyeshavebeenburnedoutfromseeingtheangelCastielinhistrueform,
preventingasexualliaison.Thereisastaggeringamountofviolencetowardwomenin
theseries.Undertheguiseofdefendingthemselvesagainstdemonspossessing
people,SamandDeanbeatupanumberofwomen,killingsomeofthem.This
removalormistreatmentofwomenisechoedinsomempregfanfic.InDoublethe
Trouble,BasezcafandSammyndeansgrlpositthatSam'sgirlfriendJessica,whomhe
hadplannedtomarryinthecanon,wasmainlyafriend:"Wewereneverthatserious."
InMissfae's"AndaLittleChildShallLeadThem,"SamandDean'smotherMary,
whosedeathinthecanonservesastheimpetusanddrivingforceoftheirexistenceas
huntersofthingssupernatural,isreducedtoaminorcharacter,theyoungersisterof
theirfatherJohn,whohasgivenbirthtobothofthem.InSaryWinchester'sFairytales
AreforPrinces,Jo,anonoffloveinterestforDeaninthecanon,isconstructedasa
threattothebrothers'happiness.Notonlydoesshetrytoseparatethebrothers,but
shealsoattemptstoengineerSam'sdeath.Intheend,sheisherselfkilled,andthe
threatsheposesasarivalisremoved.Inthisway,thempregsanalyzedherecontinue
theremovalofwomenthathasbeguninthecanon.
[2.4] Asthetelevisionseriesprogresses,thereisanincreasinginsistencethatthere
isnootherlifeforthebrothers,andthattheydonotwant,orneed,otherpeople.This
isparticularlynoticeablein4.17"It'sATerribleLife,"inwhichSamandDeanare
strippedoftheirmemoriesandgivenalternativelivesascoworkersratherthan
brothers.Theirlivesas"civilians"areshowntobedullanddreary,anditisrevealed
thatthewholeepisodeisengineeredbyanangelinordertomakeDeanacceptthathe
wasbornahunter.Theangel,Zachariah,pointsoutthatDeanisprivilegedtodo
exactlywhathewants,driveaclassiccar,and"fornicatewithwomen,"andthathe
shouldstoplongingfornormalcy.InherarticleonSupernaturalslashandWincest,
Tosenbergerhaspostulatedthatthefanficisnotsomuchsubvertingthe
heterosexualityofthecanonasrespondingtoinherentqueercues,andthatifthereis
anysubversioninthefanfic,itisaccomplishedthroughtheprovisionofthehappy
endingdeniedthebrothersinthecanon(2008,1.5).Inlightofthedevelopmentof
thecanon,herobservationcouldbeextendedtothempregfanficIhaveanalyzed,
wherethebrothersareallowedtosettledownandcreateastablefamilylife,including
children.Ofcourse,notallmpregsendinhappiness;LoveDean's"FiveDaysand
Counting,"forexample,endswiththedeathofDean'schildren,butthosethatIhave
analyzedinmoredetailalleitherendwithahappyfamily,oraresetontheroad
towardone.
3. Mpreg and Wincest
[3.1] Whenconstructingtheirstories,thefanfictionauthorschooseavarietyof
reasonsforthepregnancies,includingangelicintervention("AngelofMine"),demonic
rape("AndaLittleChildShallLeadThem"),orawitch'scurseonthefamily(Double
theTrouble),whereasotherssimplytakeplaceinanalternativeuniversewheremen
cangetpregnant(Fairytales,"Tears").Thisinitselfcouldleadtoveryinteresting
questions:whatwouldasocietylooklikewheremenalsoneedtoprotectthemselves
fromunwantedpregnancies,andwheremenarenotdependentonwomenfor
children?Somempregstouchonsuchquestions,butnoneofthempregsdiscussed
hereaddresstheseissues.
[3.2] AllSam/Deanstories,whethertheyare"regular"slashormpregs,areof
coursestoriesofincest,orWincest.Incestinitselfisnotanunusualfanfic
phenomenon.ItisverycommoninfanficbasedonBuffytheVampireSlayer(Busse
2002,207–17),butinthosetextsthetabooisperhapslessstrong,sinceitisa
questionofsexwithone'svampiricparent,one'ssire,ratherthanabiologicalrelative.
Incestbetweensiblings,ontheotherhand,canbefound,forexample,inthefandoms
ofHarryPotter,Firefly,andtheChroniclesofNarnia.Itisoftenassumedbynonfan
ficreadersthatincestficiswrittenpurelyfortitillation,forthebreakingoftaboos,but
inmuchincestfictionitisaquestionofexploringloveandemotionalintimacy.Fans
focusontheemotionaltiesbetweentwospecificcharacters,whohappentobe
siblings,ratherthanglamorizethebreakingofsocialandsexualtaboos.Inthecaseof
Sam/Deanslash,thecanonitselfrulesoutanylongstandingheterosexual
relationships,thuslimitingthechoiceofpotentialpartnerstothebrothers
(Tosenberger2008).
[3.3] EventhoughWincestisintegraltothempregsanalyzedhere,mostofthemdo
notdiscusstheconceptitself.Instead,thestoriesaresimplybasedonthe
understandingthatintheworldtheydescribe,incestandmalepregnancyare
acceptable,andneednotbecommentedon,leavingspacefortopicssuchasloveand
childrearinginstead.Thosempregsthatdoaddresstheissuechooseavarietyof
approaches.InDoubletheTrouble,BasezcafandSammyndeansgrluseJohntovoice
culturalrejectionofincest;atfirstheexpressesrevulsion,butgraduallyand
grudginglyheacceptsSamandDean'sloveforeachother,especiallywhenthe
grandchildrenstartarriving.InFairytales,SaryWinchesterpresentstherelationshipas
acceptedbyeveryone,andletsAshexplainwhy:"Look,I'mnotjudgingyouandI'm
notdisgusted.Withwhatwegothroughinourlives,incestisjustabliponeveryone's
radars.Demonsandsavingpeoplearemoreimportant."Thisstoryjuxtaposesthe
canonworldwherehumansareunderconstantthreatfromsupernaturalpowerswith
thebrothers'fanficlovetocreateaspacewherecharacterscanarguethatloving
incestbetweenconsentingadultsismoreorlessnormal.Eventhoughthe
supernaturalisnotgenerallypartoftheplotinthisfanfic,itisinthisinstanceusedto
normalizeincest.Thefullestdiscussionoftheincestmotifiscarriedoutin"Tears,"
whereCalystastatesthatthebrothers"hadcreatedaworldwhereonlytheyexisted
wheretheyshutoutthepeoplewhowouldjudgeandbedisgustedbytheir
relationship."Thefactthattheloversarealsobrothersiskeptsecretfromthe
brothers'coworkers(theydonotseemtohaveanyfriends),leavingthebrothers
isolated.Thisisolationgivesaclaustrophobicfeeltothestory.Becausethebrothers
loveeachother,theyhavenowheretoturn,apartfromtheirfather'sfriendBobby,
whohasacceptedtheirrelationship.
[3.4] Inanumberofthestories,John,thebrothers'father,ispairedwithBobby,a
longstandingfriendinthecanon.AlthoughJohnandBobbymayhaveinitialdifficulties
acceptingthebrothers'incestuousrelationship,theirgrandchildrenarealways
immediatelyacceptedinallstories.InBasezcaf'sandSammyndeansgrl'sDoublethe
Trouble,thefinaltallyisfivechildren,andJohnandBobbybecomeproud
grandfathers,spoilingthem.Atnostageinthefanficdoesanyoneaddressthenotion
thatanincestuousrelationshipresultinginchildrenmightbeviolatingculturaltaboos,
producing"geneticallycompromisedoffspring"(Tosenberger2008,5.2).Theresultof
thisplotlineisparadoxical,inthatthetopicsexploredareveryconventional:buying
theirfirsthouse,decidingwhichroomshouldbethenursery,buyingbabyclothes,
decidingonnamesandsoforth,butplayedoutinaveryunconventionalsettingwith
twopregnantmenlivingtogetherwithtwograndfathers.Theunconventionalsetupis
usedtocreateafamilylifeforSamandDean,wheretheycanenjoygivingbirthand
parenthoodjustlikeheterosexualcouples.
4. Genre conventions and reader expectations
[4.1] Pregnancyontelevisionfollowscertainconventions,someofwhichare
transferredintompregfanfiction.ExamplesintheSupernaturalmpregsanalyzedhere
includepregnancyrevealedthroughmorningsickness,charactersindenialusinga
largenumberofpregnancytests,andapregnantcharacterfallingoverand
immediatelygoingintolabor.Televisionpregnancies,particularlyindramaseries,
seemunusuallyprecarious,withwomenlivingunderaconstantthreatofmiscarriage,
andthisplotdeviceisalsoemployedinthempregs.
[4.2] Anotherconventionusedisthatofcravings.Inthecanon,Deanisportrayedas
avoraciouseater,wholovesallmannerofjunkfood,andhisfascinationwithfoodis
continuedinthempregs.InBasezcaf'sandSammyndeansgrl'sDoubletheTroublehe
makesapeanutbutter,tomato,andsalamisandwich,aswellasmashedpotatoeswith
sardinegravy,bothdishesmakingSamnauseous.InSaryWinchester'sFairytales,
whenitisSamwhohascravings,thosecravingsarelessextravagant,limitedtoa
giantportionofpancakes,andapizzawithbananatopping.
[4.3] Notallthempregsgiveanydetaileddescriptionsoftheactualdeliveryofthe
baby.InCalysta's"Tears,"itisbrieflyreferredtoinretrospect,whereasinBasezcaf's
andSammyndeansgrl'sDoubletheTroubleallfivechildrenaredeliveredvia
caesareans.Whenthedeliveryisdepicted,itisoftenusinganotherconvention,thatof
theextremelyrapidbirth,takingplaceawayfrommedicalhelp.InSilnt.whisperer's
"Can'tDoitWithoutYou"thechildisbornveryshortlyafterthewaterbreaks,inthe
Impala.Forwomeninreallife,itmaytakemanyhoursfromthefirstcontractionsuntil
thebabyisfinallydelivered,buttelevisionbirthsareoftenveryrapid,andthisisthe
conventionthatistransferredtosomeofthempregs.Eventhoughthestoriesdescribe
afantasticaloccurrence,mengivingbirth,theydrawonnarrativeconventionsof
womengivingbirth.
[4.4] IntheSupernaturalmpregs,theauthorsareusingtheconventionsofthe
romancenarrative,eventhoughthestoriesaresetinanalternateuniversewhere
malepregnancyandhomosexualmarriagesarecommonplaceandwhereincestis
accepted.(Fordiscussionsofslashasarewritingoftheromancescript,see,for
example,Driscoll2006andKustritz2003).Thestoriesdocutacrossseveraldifferent
genres,buttheyalltendtocontainahighproportionofemotionaldramaand
suffering,withcharactersmisunderstandingeachother,crying,flaringup,storming
off,onlytobereconciledwithmoretearsandprofessionsoflove.Otherplotdevices
fromromancenovelsarealsoemployed,asinSaryWinchester'sFairytales,for
example,whenJomanipulatesDeanintoarelationship,andmakessurethathe
cannotexplainthesituationtoSam,whothinksthatDeanhasstoppedlovinghim.
Resolutionisdelayedforaslongaspossible,makingthemostofthepainand
sufferingexperiencedbybothDeanandSam.Thus,thesestoriesareusing
transgressivesettings,butrelyingonconventionalplotsandplotdevices.
5. Masculinity, pregnancy, and the male body
[5.1] Asstatedabove,allthempregstoriesdiscussedinthisarticlecanbereadas
examplesofdomesticfic,exploringdomesticandfamilialthemes,andwhenthese
themesaretransposedontothemale,pregnantbody,theybringwiththemanumber
offemalegenderedfeatures.
[5.2] Lossofbodilyauthorityisonesuchfeature,commontomanyofthetexts.As
soonaseitherbrotherfindshimselfpregnant,helosescontroloverhisownbody,just
asmanywomenareshowntodoinpopularculturalnarratives.Heisnownotallowed
todrinkbeerorcoffee,andhehastostophuntingdemons,justastraditionallymany
womenareencouragedtostopworking.In"AngelofMine"byKayRIheartDean,
SamsuggeststhatDeanshouldstopworkinguntilthebabyisborn,aproposition
Deanvehementlyrejects,butSammakesitclearthatotherconcernsnowoverride
Dean'sautonomy:"Its[sic]justthatevenifyoudon'tlikeityouAREpregnantandits
[sic]puttingthebaby'slifeindanger."Thedangertothebabyargumentisalsoused
byBasezcafandSammyndeansgrlinDoubletheTrouble,whenpregnantSamhas
beenupsetwithDean.Deanreplies:"Idon'twantyougettingupsetagainlikeyoudid
earlier.It'snotgoodforourlittleguyinhere!"Thisisalineofargumentoftenusedin
narrativesoffemalepregnancy,wherewomenaretoldnottoexertthemselves,and
nottoexpressstrongemotions,becausetheyareendangeringthebaby.InLove
Dean's"FiveDaysandCounting,"Deanisnotevenallowedtodecidewhentotakehis
pantsoffduringthedelivery:"FineitisobviousbetweenyouandthisbabyIamnotin
controlofmyownbodyanymore."Thus,eventhoughpregnancyassuchisnot
constructedasfeminineinthefanfiction,thenarrativesdrawontheimageofalossof
bodyauthoritythatisusuallyassociatedwithwomen.
[5.3] Inalargeproportionofthempregs,SamandDeanbeginexpressingemotions
stereotypicallyexpectedofwomenwhentheyfindouttheyarepregnant.Inseveral
stories,Deanworriesaboutlookingfatduringandafterhispregnancy,andinDouble
theTroubleheevenrefusestoundressinfrontofSam,becausehefeelsoverweight
andunattractive.In"Tears,"DeancommentstohimselfthatSamwillprobably"be
backtohisnormalweightinnotime,"echoingtheinsistenceinthemediathatwomen
shouldshedtheir"pregnancypounds"asquicklyaspossible.BothSamandDean
spendalotoftimeworryingaboutbeingabandonedbytheotherone,and,aspointed
outabove,theybecomeveryemotional,cryingandhuggingmuchmorefrequently
thaninthecanon.InDoubletheTrouble,Sam,whoisveryhappyaboutahousethat
Deanhasboughtwithfinancialsupportfromtheirfather,isdescribedasboundingout
ofthecar,flinginghimselfintohisfather'slap,andcryingwithjoyandgratitude:"No,
Dad…it'snotDDDean.He'sgreat.It'syoooooooou…"Inthecanon,thisbehavior
wouldberidiculedasunmanlyandeffeminatebybothJohnandDean,butthisishow
theeffectsofmalepregnancyareconstructedinthismpregfanfic.
[5.4] ItisnotonlyemotionsthataretraditionallyassociatedwithwomenthatSam
andDeanexpressintheSupernaturalmpregs,butalsodesiresandlongingsthatgo
againstthepopularcultureimageofwhatayoungmanshouldbe,andagainstthe
canon'simagesofmasculinity.Dean,inparticular,isportrayedinthecanonas
incapableofcommitmenttoonewoman,andwhenhesuspectsthathehasason
(3.02"TheKidsAreAlright"),hebecomesveryuncomfortable.Althoughthe
characterstalkofhavingbeendeniedanormallifestyle,theyareatthesametime
showntobequitehappytravelingaroundtheUnitedStateskillingsupernatural
beings,havingbriefencounterswithbeautifulwomen.Inthefanfiction,theyvoice
verydifferentdesires,however.MirnaCicionihaspointedoutthatsomefanfiction
authorswanttheircharacterstohave"alastingmonogamouscommitmentand
recognized,evenifunofficial,familyties"(1998,166).Thisisshowninthempregs
analyzedhere,whereSamandDeanwanttosettledown,setuphousetogether,and
startafamily,asexpressed,forexample,inCalysta's"Tears."Evenunplanned
pregnanciesmakethemhappy,whichisnotanattitudecommonlyassociatedwith
youngmeninpopularculturenarratives.InDoubletheTrouble,Deanvoiceshis
longingforparenthood:"Iwanttohavebirthdayparties,PTAmeetings,Christmas
morningswherethekidsdragusoutofbedat4AMbecausetheycan'tstandit
anymore.Iwanttrickortreating,kissingscrapedknees—Iwantallthatcrap,Ijust
neverknewit."
[5.5] Ingeneral,thestoriesportraybothmenassupportive,nurturing,andcaring,
andlongingforastablefamilylifethatincludeschildren.
6. Gender and identity
[6.1] Inthempregfanfictionanalyzedinthisarticle,averyfemaleexperience,
pregnancy,ismappedontothemalebody,bringingwithitaspecific,gendered
discoursethatchallengesourpreconceptionsofmasculinityandfemininity,of
nurturingandfamilylife.Thestoriesarenotsimplydealingwithagaycouplehavinga
child,whichcouldbeaccomplishedthroughadoption,orinseminationofasurrogate
mother,butoftwomenreproducingthemselvestogether.AsSteinstates,mpreg
"raisesissuesofgender,identityandexperience"(2006,253)andinthesempreg
storiestheseissuesareexploredindifferentways.
[6.2] Twooftheidentityissuesinthempregsarehowtolabeltherelationship
betweenthebrothersandhowtheyaretobeviewedgenerallyintermsofmasculinity.
Inmostpopularculturenarratives,homosexualityisconstructedasincompatiblewith
masculinityandthisviewofhomosexualityhassometimesbeentransferredintoslash,
ashasbeendiscussedbyCicioni(1998),Scodari(2003),andWoledge(2006).Some
fanfictionauthorshavepresentedthecharactersasnotgay,butinsteadexperiencing
adeeplovethathappenstobedirectedtowardamemberofthesamesex.Inthe
Supernaturalcanon,popularcultureassumptionsthathomosexualityequals
effeminacyarerepeatedlyexpressed,mostoftenthroughthecharacterDean.The
mpregsgenerallyavoiddiscussingtheconceptofhomosexuality,focusingonthe
exclusiveemotionalbondbetweenthebrothersinstead.Thoseauthorswhodo
commenttendtoallowDeantostayincharacter,suchasinDoubletheTrouble,
wherehereactsverystronglywhenashopassistantassumesthatheandSamarea
couple,congratulatingthemontheirimpendingparenthood:"Dean'sfirstimpulsewas
tosmacktheshitoutofherforassumingthattheyweregay,"butlaterinthestory,
Samponders"theirhomosexualrelationship."Inmanyofthenarratives,the
charactersvoiceatensionbetweentheemotionaltendernessbetweenthem,holding
hands,snugglinguptoeachother,andaneedtodistancethemselvesfromany
unmanlybehavior,sothatthebrothersspendalotoftimeaccusingeachotherof
being"girlie,"andtheterm"chickflickmoments,"sooftenusedbyDeaninthecanon,
isrepeatedlyusedinthefanfictionaswell.WhenSamandDeangetmarriedin
DoubletheTrouble,DeanmakesitclearthatSamisthebride,anotionSamstrongly
rejects.Itseemsthenarrativesnegotiateaspacewherehomosexuality,whichinthe
canonisrepeatedlyridiculedaseffeminate,isseparatedfromunmanliness.Inother
words,SamandDeanmaybegay,buttheyarenoteffeminate.
[6.3] IssuesofgenderalsocomeintoplayinregardtoSam'sandDean'schildren,as
inDoubletheTrouble,whereBasezcaf'sandSammyndeansgrl'srepresentationofthe
childrendevelopsfromunconventionaltotraditional.Earlyinthestory,SamandDean
haveanargumentwhenbuyingbabyclothes.Samwantstobuydresses,incasethey
haveagirl.Deansaysthathisdaughterwillnotweardresses:"She'llwearjeansand
tshirts,andlookcute—notallfoofy!"WhenSamgivesbirthtotheirdaughteritturns
outthatshehassupernaturalpowers,andwhenDeangivesbirthtotwinsonsafew
monthslater,sheusesherpowerstosavethemfromkidnappers.Evenso,lateronin
thestory,thecharactersrefertoherasneedingprotection.Whenitismadeclearthat
heryoungestsiblingwillalsobeaboy,bringingthetotalofmalesinthehouseholdup
tosix,Samworriesthatshewillbeunhappy.Deandismissesthis:"Naw,she'llloveit.
She'llbeprotectedallaround!"Sincesheistheonewhohasprotectedherbrothers
before,thereisnonarrativereasonforthisstatement,butitreflectstraditional
attitudes,wherebrothersaresupposedtoprotecttheirsisters.Towardtheendofthe
story,itisChristmastimeandaspresentsthechildrenallreceivevehiclestoridein.
Thefourboysaregivenfourwheelersandthegirlapinkjeep.Thusduringthe
trajectoryofthestory,thegirlhasgonefromajeansandtshirtkindofgirl,toan
infantwhoprotectsothersfromevil,tosomeonewhoneedstobeprotected,andwho
isonlyallowedtodriveajeepifitispink.Eventhoughthenarrativeissetinamost
unusualfamilyconstellation,itstilldrawsontraditionalconstructionsofgenderinthe
family.
[6.4] Gender,sexuality,andvulnerabilityarealsoexploredinsomestories,for
examplebyCalystain"Tears."InthismpregSamhasaonenightstand,whichis
narratedasastrugglebetweenSamandtheotherman,Grady,withthem"each
tryingtopossesstheother."Gradyfinallywins"theirsexualbattle,"turningSamover,
"claiminghim."Sam'sreactiontothewholeencounterissimilartothosedisplayedin
countlesspopularnarrativesofrapeofwomen.Hewaitsuntiltheothermanfalls
asleep,staggersofftothebathroom,wherehevomits,andspendsalongtimecurled
uponthefloor.Hethentakesalongshower,scrubbinghisskinin"frenziedefforts"
tryingtowashoffthe"memoryofGradyMallory'stouchonhisbody."Theimageofa
womantryingtowashoffthetaintofrapehasbecomeavisualshorthandforthe
emotionalsufferingexperienced.Afterward,Samisconsumedbyguiltabouthis
betrayalofhisbrother,andashesuffersemotionaldistressthroughoutthenarrative
herepeatedlystates:"Ideservethis.It'smyfault."Throughoutthesescenes,the
languagedescribingSam'sexperiencesdrawsonconventionsoffemalevulnerability,
genderingSam'sbodyandactionsasfemale.
[6.5] In"Tears,"CalystaalsoexploresDean'ssexualvulnerability,whenheis
subjectedtoanotherman'saggressiveflirting.Thelanguageandimageryecho
heterosexualnarrativesinwhichamanpursuesawomaneventhoughsheisclearly
unwilling.WhenDeantellsthemantoletgoofhim,orhewillbreakhisarm,theman
replies"Ilikeamanwithspirit,"aclearreferencetothestockphrase"Ilikeawoman
withspirit."ThemanattemptstorapeDean,andinitiallyDeanrespondslikeafemale
characterinaromancenovel,unabletocomprehendwhatishappening,unableto
defendhimself.Yetsinceheis,afterall,ademonkiller,heisabletocontrolthe
situationandoverpowertheattacker,breakinghisnose.Dean'sobjectificationis,
however,discussedmoreintermsofpersonalsufferingthanintermsofgender.Since
Sam'sinfidelity,Deanhasallowedhimselftobecomeavictim,haslostsightof
himself,andthenarrativefocusismoreonDeanfindinghimself,andbeingableto
forgiveSam,thanonquestionsofgenderandsexualpredation.
7. Conclusion
[7.1] Earlyfanficscholarshiparguedthatslashwritingisahighlysubversiveand
resistingactivity,appropriatingsomeoneelse'scharactersandrewritingtheromance
scripttosuitdifferenttastesthanthoseprescribedbypatriarchy,butmorerecent
scholarshiphascalledthatnotionintoquestion.Fanfictextsareverydiverseanditis
difficult,ifnotimpossible,todrawanygeneralconclusionsfromthem.Thethemeof
malepregnancyhasthepotentialtoproducenarrativesthatchallengeournotionsof
gender,identity,sexual,andsocialpractices,aswellasparenthood.Thispotentialis
demonstrated,forexample,bythequotationfromCalysta'stextatthebeginningof
thearticle.Suchstatementshavethepowertoproduceamentaldoubletakeand
forcethereadertoconsiderherownreactionsandwhattheysayofherasacultural
andsocialbeing.AlthoughthempregfanfictionIhaveanalyzedalldealswithgender,
identity,andrelatedissuesinvariousways,thefocusinthesestoriesusuallylies
elsewhere.ThesetextsexploreSamandDeanasfathersandhomemakers,depicting
familylife,withallitstraditionaltrappings,butwithoutwomen.Whenpregnancyis
broughtintotheequation,itbringsconcomitantnarrativeandsocialconventions,
resultinginconventionalstoriessetinaveryunconventionaluniverse.
8. Acknowledgment
Theresearchforthisarticlewasmadepossiblethroughagrantfromtheproject
"ChallengingEmotions,"whichispartoftheresearchprogramChallenging
Gender/CentreforGenderExcellence,UmeåUniversity.
9. Notes
1.TheincongruenceinLeGuinisreallyonasemanticlevel,sincethekingisactually
femalewhenconceiving,andthemaindriveoftheplotisthefactthatthecharacters
changesexrepeatedly.Inthempregfanfictionanalyzedhere,ontheotherhand,
bothcharactersinvolvedintheconceptionofthechildrenaremen,andtheirbiological
statusdoesnotchange.
2.Whetherthisisbecausetheauthorsand/orreadersarewomenwhodonotfeelthat
theirhomosocialbondwithamalecharacteristhreatened,orbecauseofother
reasons,cannotberesolvedhere.
3.ThesefemalecharactersmaybeseenasversionsofwhatStarTrekfanshave
dubbed"CaptainKirk'sspacebimbooftheweek"(Scodari2003,119).Thewomen's
mainfunctionistoshowthatthebrothersare"normal"men,with"normal"appetites,
whomwomenfindattractive.
10. Works cited
Basezcaf,andSammyndeansgrl.2008.Doublethetrouble,twicethefun.Fanfiction.
http://samdean.archive.nu/viewstory.php?sid=988(accessedJanuary17,2010).
Busse,Kristina.2002.Crossingthefinaltaboo:Family,sexuality,andincestin
Buffyversefanfiction.InFightingtheforces:What'satstakeinBuffytheVampire
Slayer,ed.RhondaV.WilcoxandDavidLavery,207–17.Lanham,MD:Rowman&
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Transformative Works and Cultures,Vol 4 (2010)
Praxis
Renegotiating religious imaginations through transformations of "banal
religion" in Supernatural
Line Nybro Petersen
Department of Film and Media Studies, University of Copenhagen, Copenhagen, Denmark
[0.1] Abstract—Supernaturalissaturatedwithawiderangeofreligious
representations.Theseelementsoftenservetoinstigatethestorylineforoneor
moreepisodes,butdosoinawaythatisremovedfromtheiroriginalsettingin,for
example,traditionalreligiouscontexts.InSupernatural,religionissubsumedto
medialogic,andthustransformedreligiousrepresentationsareanexampleofa
continuousprocessofmediatizationofreligion.Thisessayappliesathreesided
theoreticalapproach,consideringmediatization,cognitiveanthropology,andsocial
theory.Theconceptofmediatizationappliedhereimplieslongtermprocessesin
whichmediaplayaroleinculturalandsocialchange.Thetheoryofcognitive
anthropologyofreligionallowsustounderstandhowtheseriesactivatesshared
implicitknowledgeofsupernaturalagentsandeventstoevokerecognitionand
emotion;butbytransformingtheserepresentations,theshowchallengesour
imaginations.Thesetransformationsofbanalreligiousrepresentationsin
Supernaturalcomeaboutinthreeways:(1)asamainstreamingofocculture,(2)
throughconnectingbanalreligiouselementstoexistentialthemes,and(3)through
playfulintertextuality.Theseriesappliesthesenarrativedevices,whichheighten
plausibilityandfamiliarity,whilesimultaneouslyofferingviewersachangein
perspective,thuscreatingopportunitiesforviewerstorenegotiateexistingreligious
imaginations.
[0.2] Keywords—Intertextuality;Mediatizationofreligion;Occulture;Television;
Televisionfiction
Petersen,LineNybro.2010.Renegotiatingreligiousimaginationsthrough
transformationsof"banalreligion"inSupernatural.TransformativeWorksand
Cultures,no.4.http://dx.doi.org/10.3983/twc.2010.0142.
doi:10.3983/twc.2010.0142
1. Introduction
[1.1] SupernaturalfollowstheadventuresofSamandDeanWinchester,twobrothers
huntingdemonsandvampiresacrossAmerica.Throughoutthefirstfourseasons,the
narrativedevelopsfromaprimarilyepisodicstructuretoamoredominating
overarchingnarrativeasSamandDeansetouttopreventanapocalypse.Atdifferent
pointsthroughouttheseries,itisindicatedthatbothSamandDeanare"special"and
"chosen"forsomegreaterpurpose,andthetruereasonforSam'snewlydeveloped
supernaturalpowersisconstantlydiscussed.Beyondtheoverarchingexistential
themes,Supernaturalissaturatedwithreligiousrepresentations,fromcrossestoholy
watertoangelsofGod,buttheserepresentationsaretransformedastheyareputina
varietyofcontexts.SupernaturalisbynomeansfaithfullysellingChristianity,
althoughtherearenumerousChristianreferences.Rather,thecreatorsof
Supernaturaldrawfreelyuponanimmensepoolofreligiouselementsandreligious
narrativescirculatinginWesternsociety.
[1.2] SupernaturalisoneofarangeofcontemporaryTVserieswithsupernatural
themesandstrongreligiousundertones;infact,wemightarguethatthetechnological
advancesinaudiovisualmedia,alongwithfactorssuchasthemillenniumY2Kcraze
and9/11,havespurredanincreaseinthesestories,whichareoftenhugelypopular
withaudiences(Hjarvard2008).AlthoughforerunnerssuchasTheTwilightZone
(1959–64)andTheOuterLimits(1963–65)initiatedasteadystreamofsupernatural
TVfictionsinthefollowingdecades,itcertainlyseemsthatthe1990sand2000shave
seenanincreaseinsciencefictionandfantasyprogramsfocusingondestiny,the
afterlife,andtheapocalypse.Undoubtedly,thepopularityoftheTVshowTheXFiles
(1993–2002),whichwasproducedbyKimManners,whoalsoproducedSupernatural,
facilitatedarenewedinterestinsuchthemes,whichhaspersistedsincethen.
SupernaturaliscurrentlyincompetitionwiththeTVshowsGhostWhisperer(2005–),
Fringe(2008–),andTrueBlood(2008–),whichindifferentwaysdealwith
supernaturalbeingsandtheafterlife.Moderntechnologyallowsaudiencestoseethe
unseeninwaysthatareincreasinglyconvincingaudiovisualaccounts:transparent
spiritsrisingfromgraves,humanstransformingintodemons,andvampiressucking
thebloodoutofhumanbodies.Thesaturationofpopularculturewithsupernatural
narrativesisnotsimplyaresultofproducers'playfulnesswithtechnology;itisof
coursearesultofthestories'marketability.Audiencesareapparentlyfascinatedby
theideaofsomethingoutsidetherealmofnaturalontology(asunderstoodinthe
contextofWesternculture)andsomethingbiggerthanthemselves.TheWestisoften
understoodasincreasinglysecular,butthisviewischallengedbymanyresearchers
withinthefieldofsociologyofreligion(Davie2007;Partridge2004–5;Murdock2008;
Berger1999;Lynch2002),whichoftenseescontemporarysocietyasdesecularizedor
resacralized.WiththehugenumberofTVseriesfocusingonreligiousissues,itisquite
aparadoxthatresearchonreligionandTVhasbeenoverlookeduntilrecently;the
editedvolumeSmallScreen,BigPicture:TelevisionandLivedReligion(Winston
2009b)representsthemostcomprehensivecollectionofworktodate.Meanwhile,
religionandfilmhavebeenstudiedextensively(Plate2003;Wright2007),ashasthe
broaderrelationofreligiontomedia(Schultze2003;HooverandLundby1997;Hoover
2006).
[1.3] Atthecenterofthisessayistheconceptofreligion;butwhatisreligioninthe
contextofthisanalysisandoftelevisionfictionsingeneral?Forthiscontext,weneed
aworkingdefinitionofreligionthatallowsustodiscussthereligiousthemesin
Supernatural.IproposeanapproachsimilartooneusedbySteveBruce(1992,1996);
hisdefinitionattemptstoclosethedividebetweenthefunctionalandthesubstantive
approachespresentedbyDurkheim(2001)andWeber(2001).Brucesuggeststhe
following:"Religionforusconsistsofactions,beliefsandinstitutionspredicatedupon
theassumptionoftheexistenceofeithersupernaturalentitieswithpowersofagency,
orimpersonalpowersorprocessespossessedofmoralpurpose,whichhavethe
capacitytosettheconditionsof,ortointervenein,humanaffairs"(Bruce1992,10–
11).Thus,BruceagreeswithDurkheimthatpracticesunitingbelieversarecentralto
religion,butsimultaneouslytakesintoaccounttheconnectiontothesupernaturalthat
setsreligionapartfromcommunitiesbasedonsecularideology.Bruce'sdefinition,
becauseitisbroadlyformulated,hasweaknesseslikethoseofthefunctional
approach.Itinvitesadiscussionaboutthemeaningof"impersonalpowers"or
"processespossessedofmoralpurpose";buthisdefinitionisvaluablebecauseit
graspstheaspectofsupernaturalagencythathas"thecapacitytointerveneinhuman
affairs."Furthermore,Taylor(2007)pointstothefactthatthesupernaturalisavery
recent(inahistoricalcontext)andChristianidea.Brucealsodiscussesthedifficultyof
definingreligionasauniversalconceptandnotesthatinprimitivesocieties,"thingswe
wouldregardasmundaneandthisworldly,suchashuntingorfishing,wereenmeshed
withreligiousritual.Unlessritualswereproperlyperformed,thehuntingorfishing
wouldnotbeproductive.Suchsocietiessimplydidnotdividethesupernaturalfrom
thenaturalinthewaywedo"(Bruce1996,25).WhileIagreewithBruceandTaylor
thatattemptingtocomeupwithacomprehensivedefinitionofreligionisalifetime's
workinitself,Idobelievethatwecanidentifysomedefiningfeaturesthatwillbe
usefulinthisparticularcontext.Iarguethatevenifthedividebetweenthenatural
andthesupernaturalisaparticularlyWesternconcept,andevenifsomereligious
communitiesdonotincorporatethisdivide,theritualsBrucereferstointhislast
quotationstillillustratehowanintentionalsupernaturalagentwasbelievedtodisrupt
foodgatheringiftheritualswereneglected.Furthermore,thisapproachisrelevantto
thispaperfortworeasons:(1)itallowsustoconsiderreligiouselementsoutsidethe
frameofinstitutionalizedreligion,suchasnonChristianmyths,whicharepresented
sidebysidewithinstitutionalizedreligioninSupernatural,and(2)itallowsusto
discusspeople'scontinuingfascinationwiththesupernatural,whichcannotbefully
explainedbysociologicaltheory.
[1.4] ThisessayexamineshowSupernaturaltransformsreligiousrepresentations,
andthussimultaneouslyconfirmsandchallengesviewers'religiousimaginations,
invitingthemtorenegotiatetheseimaginations.Iapplyathreesidedtheoretical
approachthatconsiders(1)themedia'sdominantculturalroleinrepresenting
religiousconcepts,orinotherwordsthemediatizationofreligion,(2)thecognitive
predispositionsthatcontinuouslyreinforcetheaudience'snonreflectiveknowledgeof
theseconcepts,and(3)thesocioculturalcontextinwhichthesereligiousthemesare
recycledandconsumed.Iacknowledgetheunorthodoxyofcombiningsocialand
cognitivetheory,butinfacttheyhavebeencombinedbyotherscholars(Zerubavel
1997;FiskeandTaylor1991;Brothers1997).Zerubavelprovidesusefulpointsinhis
thoughtsoncognitivesociology(1997);heproposesthatwethinknotonlyas
individualsandhumanbeings,butalsoassocialbeingsaffectedbythethought
communitiestowhichwebelong.FolklorescholarOringofferssimilarthoughtsin
regardtothestudyoffolknarratives:"theapproachtothenarrativeis
multicontextual,sincethesecontextsinformoneanother.Thereisnosharpdivision
betweentheindividualandthesocial,thesocialandthecultural,theculturalandthe
comparative"(Oring1986,141).ZerubavelandOringcapturemymotivesforapplying
thisapproach;theseresearchfieldsinformoneanother,thusprovidingmorenuances
totheanalysisofSupernatural.Religiousconceptsandrepresentationsare
transformedinSupernaturalthroughamainstreamingofocculture(Partridge2004–5,
2008;Hutton1999;Ellis2004),whichisconnectedtolargerexistentialthemes
discussedinthecontextoflatemodernity(Giddens1991;Lynch2002;Davie2007;
Clark2003),andthroughplayfulintertextuality(Johnson2005;McCabeandAkass
2007;Pearson2007).
[1.5] Mediatizationtheorypointstothemedia'sroleinlongtermsocietalchangesin
many"areasofsocialandculturallifeinlatemodernity"(Lundby2009,1;alsosee
Hjarvard2008)(note1).SociologistDaviearguesthatreligiousinstitutionshavelost
authorityinmodernWesternsocieties,andlabelspeople'scurrentrelationshipwith
themoneof"believingwithoutbelonging"(Davie2007).Thechangeinreligion'srole
intheWestcanpartlybeascribedtothemedia'sincreasinglydominantculturalrole.
Hjarvardstates,"Throughtheprocessofmediatization,religionisincreasinglybeing
subsumedunderthelogicofthemedia.Asconduitsofcommunication,themediahave
becometheprimarysourceofreligiousideas"(Hjarvard2008,9).Hjarvardintroduces
theterm"banalreligion"aspartofhisanalysisofmediatizedreligion.Extending
MichaelBillig'stheoryofbanalnationalism(1995),Hjarvard(2008)understandsbanal
religiousrepresentationstoincludesymbolsandelementsofinstitutionalizedreligion,
mythsandlegends,superstition,andaudiovisualrepresentationsthatcanevoke
particularemotions(forexample,upturnedfacesandraysofsunlightbreaking
throughtheclouds).FolklorescholarOring(1986)clarifiesthedifferentsubgenresof
folklore,andformypurposeshereIconsiderbanalreligiontoincludeurbanlegends,
whichdifferfromfolktalesbybeinginterpretedastrue,eveniftheirtruthisnegotiated
withinthenarrativeitself.Mythscanalsobebanalreligion,especiallymythsthatare
considered"bothsacredandtrue"(Oring1986,124)bythecommunitytheybelongto
(note2).Hjarvardunderlinesthatcallingtheserepresentationsbanaldoesnotimply
thattheyareunimportant.Rather,theyareprimary,butaretakenforgrantedin
society(Hjarvard2008),or,inBillig'sterminology,theyare"unwavedflags"(Billig
1995,39).
[1.6] Sohowcanweunderstandthenatureofthesebanalrepresentations?Whyand
howdidtheybecomebanalinthefirstplace?CognitiveanthropologistJustinBarrett
(2004)arguesthatreligionshouldnotbeseenasananomalyinsociety;rather,our
desiretobelieveispartofourmentalprocesses.LikeHjarvard,Barrettstressesthat
mostofourbeliefsareautomaticandnonreflective."Suchbeliefsoperatecontinually
inthebackground,freeingourconsciousmindstodealwithotherthoughts.
Nonreflectivebeliefsareubiquitousandsooftennonconsciousthatwefrequentlyare
notawaretheyarethere"(Barrett2004,2).Theyincludeabsolutelymundanebeliefs
aboutoureverydaylivesaswellasreligiousbeliefs.Therepresentationsofreligious
conceptsarebanalinthesensethattheyarepartofourimplicitknowledge.Asbanal
religiousrepresentationsareconstantlyrecycledinpopularnarratives,theybecome
familiar,andasaresultourimaginationsofspecificreligiousrepresentationsarevery
similartotheimaginationsofothers.Itisthecirculationandmaintainingofcertain
religiousimaginationsthroughmediatizationthatreinforcetheirmeaninginsociety.
Thus,therecyclingandrecognizabilityofvisualaccountsallowviewerstofindthem
plausibleandmeaningful.
2. Transformations of successful banal religious representations
in Supernatural
[2.1] Whenreligiousideasandmessagesaresubsumedtomedialogic,wecan
expectchangesinreligiouscontent,volume,anddirection,alongwiththe
transformationofreligiousrepresentations(Hjarvard2008).InSupernatural,elements
oftraditionalreligionarepresentedalongsideelementsoffolkreligionandurban
legends.Thus,theprocessofmediatizationtransformsreligiousideasbyusingbits
andpiecesinnewcontexts.ThecreatorsofSupernaturalandotherTVshowsintend
nottoproselytizeforaparticularreligiousthoughtbuttoattractaudiences.With
medialogic,whatisatstakeisbasicallytherenewalofacontractforanotherseason,
andcreatorsthereforeseeknewwaystokeepaudienceshooked.Sconce(2004)and
Pearson(2003)explorehowtheydothisthroughnarrativestrategiesandthroughthe
constructionofcharactersincultTVseries.Wecanunderstandreligious
representationsinSupernaturalasonemorestrategytothisend.Mediatizationtheory
ofreligionillustrateshowreligioussymbolsandcontentinSupernaturalarewoveninto
narrativestrategiesofvariationandrepetition(Sconce2004);fromtheopeningof
hell'sgatesattheendofseason2totheoverarchingseason4narrativeaboutthe
impendingapocalypse.ThetransformationsofreligiousrepresentationsonTVarenot
anewphenomenon;inthe1960s,housewifeSamanthaStephenswasamodernday
witchinBewitched(1964–72).Ratherthanhavingacrookednoseandapointyblack
hat,shewasabeautifulblondwoman.Herwitchpowersgavetheshowafreshfeel
andmadeitavariationonthedisobedienthousewifethemefamiliarfrom,for
example,ILoveLucy(1951–57).
[2.2] Indeed,Supernaturalincludesavarietyofbanalreligiousrepresentationsthat
are(re)circulatedinsociety,includingallthesymbolsinthejournalthatthebrothers'
fatherJohnWinchesterleftbehind,theincantationsusedtoexorcisedemons,andthe
appearanceofvampires,angels,andLucifer.In4.01"LazarusRising"anangel,
Castiel,isintroducedtothestoryashepullsDeanoutofhellonGod'sorders.The
conceptofangelsisperhapsoneofthereligiousconceptsmostfamiliartopeoplein
theWest(perhapsintheworld).Weimplicitly"know"whatangelslooklike.Weknow
thatangelshavewhitewingsandaresurroundedbylight,perhapsevenahalo.We
knowthisbecauseoftheconstantcirculationoftheconceptinsociety,fromChristmas
treedecorationstopopularculture.TVseriesoftenrepresentandtransformourbasic
ideasofangels,asSavingGrace(2007–)didwithitsangelEarl.Inthisway,banal
religiousrepresentationsarethefoundationofourreligiousimaginations.These
representationsgainplausibilitywithviewersbecausetheyarefamiliar.Hjarvard
notes,"Thestudyofreligionoughttoconsiderthefactthatbothindividualfaithand
collectivereligiousimaginationarecreatedandmaintainedbyaseriesofexperiences
andrepresentationsthatmayhaveno,oronlyalimited,relationshipwiththe
institutionalizedreligions"(Hjarvard2008,15).Thuswecanunderstandthe
transformationsinSupernaturalasawayfortheseprimarybeliefs,orbanalreligious
representations,tobebroughttotheforefrontofourconsciousness.Astheconceptof
anangelispresentedtousinanewform,wemusteitherrejectoracceptthisnew
representation,evenifonlyinthespecificcontextofthefiction.InSupernatural,
Dean'sangelcontactCastielisalsodifferentfromthepopularimageofangels
(althoughperhapsclosertoamoretraditionaldepictionofangelsaswarriors).Hehas
blackwingsanddoesnothavethemildpersonalitythatwewouldexpectinanangel.
Deanreflectsonthistransformedrepresentationin4.02"AreYouThere,God?It's
Me…DeanWinchester"asheconfrontsCastielandhisquestionablemethods:"I
thoughtangelsweresupposedtobeguardians,fluffywings,halos,youknow…Michael
Landon,notdicks"(note3).Throughoutseason4,theangels'truemotivesand,even
moreso,God'snaturearequestioned,andDeanstruggleswiththeirdemandforblind
faith.Castiel'scharacterisagoodillustrationofhowreligiousconceptsare
transformedinSupernatural.Inasense,basicdichotomiesaredestroyed.Thegood
doesnotexcludethebad,theinnocentdoesnotexcludethepurposefulevil,northe
otherwayaround.Thisviolationofwhatweexpectofreligiousconceptsisoften
repeated:Supernaturalpresentsbenevolentvampiresdrinkingcowbloodinsteadof
humanblood,theGrimReaperasabeautifulyoungwoman(2.01"InMyTimeof
Dying"),theangelCastielburningoutapsychic'seyes(4.01"LazarusRising"),and,
lastbutnotleast,Sam'sinfectionwithdemonbloodthatenableshimtogobackand
forthbetweengoodandevil.
[2.3] Moreover,certainrepresentationsseemtobemoresuccessfulthanothersin
popularcultureandreligionsalike.Considerthenumberoftelevisionshowsthathave
featuredapsychiccharacter.InshowslikeMedium(2005–)andTheDeadZone
(2002–7),thethemeofsomeoneseeingpastorfutureeventsindreamsorflashesof
lightisfamiliar.Thenumberofshowsdealingwiththeseissuesnaturallydemands
variationevenifthecoreconceptstaysthesame;thusTruDaviesinTruCalling
(2003–5)relivesspecificdays,AllisonDuboisinMediumdreamsabouttheevents
leadinguptoacrime,andPhoebeHalliwellinCharmed(1998–2006)seesflashesin
blackandwhite.EvenSupernaturalexploresthistheme,asSamdevelopspsychic
powersasaresultofhisencounterwiththeYellowEyedDemoninseason1.Sam's
abilitiesarenotadominantfeatureinSupernatural;rathertheyarereferredto
whenevertheyfitintothestory.Pearson'sthoughtsoncultTVarerelevanthere;she
suggeststhat"culttelevisioncharacterscanpotentiallymoveamongst[sic]an
infinitelylargenarrativespace"(Pearson2003).Forinstance,theseriesalsoincludes
sciencefictionelements,andthegenericconventionstiedtothisgenreallowbroader
interpretationsoftimeandspacethandostrictlycumulativetelevisiondramas.Iwill
returntoPearson'sconceptof"narrativeelasticity"asitrelatestoDean'scharacter.
[2.4] Sowhyaresomeconceptssuccessfulinpopularcultureaswellasinreligious
contexts?BarrettandBoyerarguethatthesharedfeatureofgodsandother
supernaturalagentsisthattheyarecounterintuitive(Barrett2004;Boyer2002).
Barrettlabelsthese"minimallycounterintuitive"concepts(MCIs)."ConstructingMCIs
merelyconsistsofeitherviolatingaproperty(orasmallnumberofproperties)
nonreflectivelyassumedbycategorizersanddescribersortransferringaproperty(ora
smallnumberofproperties)fromadifferentcategoryofthingsthatisnonreflectively
assumedfortheothercategory"(Barrett2004,22).Naturallythecontextinwhich
suchconceptsexistisculturallyandsociallydetermined,asZerubavelpointsout
(1997).Weintuitivelycategorizehumanbeings;therefore,ahumanwiththeabilityto
seethefutureiscounterintuitiveanddemandsattention.Furthermore,itiscrucial,in
orderforthesepropertiestobememorableovertime,thattheybethereforareason.
Seeingthefutureorthepastisnotparticularlyinterestingiftheabilityisnotusedto
solvecrimesorpreventaccidents.Barrettdescribeswhathecallsa"hypersensitive
agentdetectiondevice"(HADD),amentalprocesspredisposedtoidentifyingagency
evenwhennonemayexist(note4)(Barrett2004,32).Guthriearguesthatour
predispositiontoascribemindsisconnectedtoourmentalabilitytoanthropomorphize
almosteverything:
[2.5] thingsandeventsarewillfulandintelligent,naturalprocessesare
purposive,andobjectssuchascelestialbodiesareeitherborn(forexample,
fromothercelestialbodies)ormadebyhumansorhumanlikedeities…People
seeanimals,plants,artifacts,inanimatephenomenasuchaswindandrain,
andabstractionssuchasdeathandtimeasmoreorlesshumanlike.(Guthrie
1993,112)
[2.6] Thus,anthropomorphismaddsintentionalagencyand"fillsintheblanks"in
orderforustounderstandwhatweexperience.Boyeremphasizeshownaturalthis
mentalprocessis:"Itispartofourconstant,everydayhumdrumcognitivefunctioning
thatweinterpretallsortsofcuesinourenvironment,notjusteventsbutalsotheway
thingsare,astheresultofsomeagent'sactions"(Boyer2002,165).Familiar
statementsthatsomethingis"God'swill"or"meanttobe"canbeunderstoodasan
activationofourHADD.
[2.7] In2.20"WhatIsandWhatShouldNeverBe,"Deanissurprisedbyadjinn(a
geniethat,inthisepisode,hasamalevolentnature)thatletsitsvictimslivein
alternaterealities,dreamingthelivestheywishtheyhad.Inthisalternatereality,
Deanlivesaquietlifewithhisbeautifulwifeinasuburb,hismotherisstillalive,and
SamisengagedtoJessicaandhasalawdegree.Theuseofanalternaterealityinthis
episodeisanexampleofwhatPearsonidentifiesasnarrativeelasticityincultTV
programs."Nonlinearnarrativesaffordcharactersgreaterpossibilitiesthandolinear
ones"(Pearson2003).Thus,inthisepisodeweseeasoftersideofanotherwise
confidentandmasculineDean,ashereflectsuponhisdreamsanddesires.
[2.8] SlowlyDeanrealizesthatinthisalternatereality,allthepeoplethatheand
Samsavedinreallifearedead.Heunderstandsthatheisforcedtochoosebetween
whathewantsforhimselfandhisobligationtosaveothers.Inonescene,hestandsin
frontofhisfather'sgraveand,withtearsrunningdownhisface,demands,"Whyisit
myjobtosavethesepeople?WhydoIhavetobesomekindofhero?Whataboutus,
huh?What,Mom'snotsupposedtoliveherlife?Sammy'snotsupposedtoget
married?Whydowehavetosacrificeeverything,Dad?"Dean'smonologueillustrates
thatintentionalagencyexistsontwolevelshere.First,thefactthatDeanistalkingto
John'sgraveunderlinesabanalbeliefthatthespiritsofthedeceasedsomehow"linger
on"andcanhearwhatwesaytothem.Inthiswayagencyisascribedtopeopleeven
aftertheydie,andSupernaturalreinforcesthisascriptionagainandagain.Second,
DeantouchesuponanothermajorthemeinSupernatural,namelythatofdestiny.
Supernaturalisconstantlyplayingwiththeideathatsomeoneissittingabove,or
perhapsbelow,pullingthestringsineveryone'slives.Theshowbothconfirmsand
questionsthefamiliarnotionthatweallhaveacertain"roletoplay"inthisworldand
thattheserolesareassignedbyanintentionalagent;Deanhastohuntdemonsfor
somegreatergood,plannedbysomesupernaturalagent.Theagent'sintentions,
however,aremoreoftenthannothiddenfromboththeviewersandtheshow's
protagonists,onlytoberevealed—orpartlyrevealed—attheeleventhhour;theythus
servetomaintainsuspense.Again,religiousconceptsbecomeavehicleforanarrative
drivethatkeepsushookeduntilthefinalepisode.Byactivatingbasicmental
processes,Supernatural,likereligiousnarratives,attractsourattention,andatthe
sametimetheshow'srecyclingoftheserepresentationsmakesitfamiliarand
plausible.
3. Mainstreaming occulture
[3.1] WecanunderstandtherepresentationofaflawedorimperfectChristianityin
Supernaturalasareflectionofadominanttendencyinpopularculturetorejectthe
authorityoftraditionalinstitutionalizedreligion,insteadgivingroomtootherbelief
systems(Davie2007;Hjarvard2008;Berger1999;Ellis2004;Hutton1999).Hutton's
workonpaganwitchcraft(1999)emphasizesthatnineteenthcenturypopularBritish
literatureusedconceptionsoftheoccult:"Bythistime,theword'pagan'hadbecome
equippedwithconnotationsoffreedom,selfindulgence,andancientknowledge,which
wereinstantlyrecognizabletoaVictorianreader"(Hutton1999,27).InaChristian
culturalsetting,theseconnotationsoftenimplyaconnectiontonature,butalsotothe
devilanddarkmagic.Popularculturetextsoftenadapttheseconnotations,asis
visibleincontemporaryTVfictions.ShowssuchasTheXFiles,Charmed,Buffythe
VampireSlayer(1997–2003),Angel(1999–2004),andGhostWhispererprominently
portrayanunderworldofdemons,humanlikecreatureslivinginthewoodsawayfrom
civilization,andofoldsymbols,books,andscripturesthatcanbeappliedtomodern
dayproblems.Anillustrationofthepopularityoftheoccultisthecommonthemeof
thefriendlyneighborhoodvampire,whichappearsinAngel,TrueBlood,TheVampire
Diaries(2009–),andtheTwilightnovelsandtheirmovieadaptationsTwilight(2008)
andNewMoon(2009).Thethememayhavebeenpopularizedsimplybythesuccess
ofBuffyandAngel,butnonetheless,thesestoriesinviteustoadjust,evenifonly
slightly,ourimaginationsofvampires.SociologistPartridgediscussestheincreasing
mainstreamingofoccultphenomenaandlabelsthistendency"occulture":
[3.2] Thereisastrongsenseofcontinuitywiththepast.Thispowerful,
sentimentalattachmenttothedistantpastisdirectlycontinuouswitha
romanticizedunderstandingofancientculturesandspiritualities.For
example,ourancestors,itisoftenbelieved,usedtoliveinaharmonious,
symbioticrelationshipwiththeplanet.Theywereintouchwithnature,
themselvesandeachother.(Partridge2008,115)
[3.3] InCharmed,theBookofShadowshasbeenhandeddowntotheHalliwell
sistersfromgenerationsofwitches.Thebookprovidesthemwithknowledgeaboutthe
demonstheyfaceandspellstovanquishthem.Similarly,theWinchesterbrothersin
Supernaturalsearchthroughdustyoldbooksandscripturestofindinformationabout
thedemonstheyaregoingtohunt.BothCharmedandSupernaturalhaveincorporated
arangeofancientsymbolsandlanguagesintothenarrative.Oftenelements,symbols,
andnamesinSupernaturalareborrowedfromactualreligioushistoryandfolklore.For
example,thefirst"a"in"Supernatural"istransformedintoapentagraminthesecond
season'stitlesequence,andeachbrotherhasapentagramtattootoprotecthimfrom
demonpossession;thesymbolhasarangeofreligiousconnotations.Intheseason1
finale(1.22"TheDevil'sTrap"),theWinchesterslurethedemonMegintoadevil'strap
thatconsistsofancientsymbols,includingthepentagram,fromwhichshecannot
escape.ThenSamchantsinLatininordertoexorcisethedemonfromthebodyitis
possessing.Partridgeexplainstheuseofoccultconceptsandimageryintheseterms:
"amattercanbesettledinocculturebyasimpleappealtosomepremodernbeliefor
practice.Becausetheancientsdiditorbelievedit,itmustbetrue;itmustbegoodfor
us;itmustbebeneficialtotheenvironment;itmustbespirituallysound"(Partridge
2008,118).Partridgecouldhaveadded"itmustbeeffective";indeed,in
Supernatural,itis.Furthermore,Supernaturaloftendrawsuponthehistoryof
supernaturalconceptsinordertochallengetheirpopularimage.Inthisway,theoccult
inSupernaturalismadetoseemauthentic,allowingviewerstoplaywiththeideathat
theshowportrayssomethingbeyondfiction.Forviewers,thisauthenticityfunctions
muchasagovernmentcoverupframesmanyXFilesepisodes;viewersareinvitedto
linkthefictionalstoriestothenonfictionalworld.InSupernaturalthesenseof
connectiontoadistantpastisstrengthenedbyintroducingfiguresfromfolkloreand
religiouscontexts,suchasadjinn(ageniefoundintheKoran),thedemonLilith(a
MesopotamianstormdemonwhoalsoappearsintheJewishandChristianscriptures),
awendigo(anAlgonquianmythicalcannibalisticspirit),afallenangel(foundin
Christianity),andarakshasa(aspiritordemonfoundinHinduism).Thereare
countlessotherexamples,anddevotedfanscanlookupthesebeingsonlineandin
literatureandreadabouttheirhistory.Pearson(2003)arguesthatancillarytextsare
centraltocultTV.Inthiscase,theancillarytextsthattheseriesreferstowereoften
writtenlongbeforeSupernatural—sometimesevenlongbeforetheinventionof
television.
[3.4] Throughoccultureandsupernaturalurbanlegends,Supernaturalisa
playgroundforexploring"whatifs"concerningreligiousimaginations:whatifthe
urbanlegendofBloodyMaryweretrue("1.05BloodyMary");orwhatifsomeonehad
theabilitytocontrolothers'thoughts(2.05"SimonSaid")?Thisnarrativestrategycan
beunderstoodintermsofPartridge's(2004–5)notionofa"dilutionthesis":"Mass
cultureandmodernrestatementsofspiritualitydilutetraditionalreligiousworldviews;
theyerode'serious'occultbeliefsbydilutingthem…'theoccult'mayevenbecome,as
issometimes(notalways)thecasewithastrologyandOuijaboards,simplyfunwitha
supernaturaledge"(1:122).JustasOuijaboardsandtarotcardscanbeviewedasa
playfulentrytoamagicalworld,sotoocanSupernatural.Ellisdiscusseslegend
tripping,whichisanotherentrytothesupernaturalrealmasit"generatesexcitement
withanalternative,playlikeredefinitionofrealityintermsofasupernatural'dare.'
Teensneednotbelievethattheyarevisitingarealwitch'sgraveorputtingthemselves
inrealdanger.Bymeansofthelegendtrip,theytemporarilyescapewhatthey
perceiveasarestrictive,adultoriented,everydayworld"(Ellis2004,137–8).
Supernaturaloffersviewersasimilarescape,butofcourseitdoessowithoutthe
troubleofactuallyhavingtovisitagraveyardinthedeadofnight.Iwillreturntothe
roleofurbanlegendswhenIdiscusstheseries'splayfulness.InSupernatural,the
occultbecomescool,whiletraditionalreligionismuchlessso.Ellisdiscusstheroleof
theoccultinpopularcultureandarguesthat"onemotiveforbecominginterestedin
theoccultistoparticipatedirectlyinthemythicrealm,inspiteoforganizedreligion's
efforttoinstitutionalizeit"(Ellis2004,12).Thismotiveis,ontheonehand,reflected
inDean'scharacterasheconstantlytauntsSamforprayingandbelievinginGod.On
theotherhand,traditionalreligionisoftenusedintheseriestopullallthestrings
togetherandcreatecoherency.Partridge(2004–5)discussesBuffytheVampireSlayer
inrelationtocoolocculture:
[3.5] Itisnotthepopularartifactwhichisinvestedwithsubculturalcapital,
buttheoccultthemesinformingtheserieswhichare"cool."IfBuffyiscool,
itisbecauseoftheseries'closerelationshiptoactualocculture.Hence,tobe
cool,toaccruesubculturalcapital,oneneedstotaketheseunderlyingideas
seriously,toenterintotheocculturalworldofrejectedknowledge,andthus
toplaceoneselfoutsidethemainstream.(1:132)
[3.6] Occultureisalsoawayofcreatingnearnessandrelevance.Schultzesuggests:
"Religiousstoriesoftenaddresstheyearningsandexperiencesofeverydaypeople,not
justtheactionsofthegodsinsomedistantrealm"(Schultze2003,180).Onabasic
level,theincorporationoftheoccultappealstousasalinktoamagicalworldthat
feelsfarclosertoourlivesthandodistantgods,becausetheoccultpracticesand
supernaturalbeingsinSupernaturalarebroughtintocontemporarycontexts.Itisa
paradoxthatwhiletheoccultbecomescoolasitplacesitselfoutsidethemainstream,
itisincreasinglymainstreamed.However,thisparadoxishardlyexperiencedbymost
viewersbecauseoftheseries'sabilitytoincorporateintertextuality,thuspreservinga
complexframeforinterpretation.
4. Traditional religion revisited
[4.1] ThemajorthemesinSupernaturalincludedeath,fateanddestiny,andtheend
oftheworld.Infact,season4drawsonaveryexplicitChristianinspirationasit
includesthebookofRevelationinthenarrative.Naturally,theideaofrevelationis
transformedinseveralwaystoprovidenarrativedrive.Ononehand,theconceptof
theapocalypseinTVserialsissomethingofaparadox;thedefinitivenatureoftheend
oftheworldseemsincompatiblewithfictionalnarrativesthataredesignedtogoon
forever.Still,BuffytheVampireSlayerdepictedabouteightdifferentendoftheworld
scenariosoveritslifespan.Thetitleofepisode4.07ofAngelsaysitbest:
"Apocalypse,Nowish";inTVseries,theapocalypseisnevertheend,butratherthe
beginningofsomethingnew.Ontheotherhand,inmoviessuchasArmageddon
(1998),EndofDays(1999),and2012(2009),thethreatoftheapocalypseprovidesa
strongnarrativeforcebyestablishingadeadlinebywhicharesolutionmustbefound.
TheapocalypseservesasanexcellentexampleofwhatSconcecallsthechallengeof
repetitionandvariationtothecumulativenarrativeofaTVseries(Sconce2004).
Supernaturalsharesaninterestinexistentialquestionswithestablishedreligion,but
theconnectiontoocculturegivestheseold(perhapswornout)topicsafreshfeel.
Occultritualssuchasburningthebonesofthedead,summoningdemons,andusing
hexbagstoattaingoalsareoftenconnectedtotheoverallnarrativeandthecharacter
developmentofSamandDean.Inasense,topicsfromtraditionalreligionare
legitimizedsimplybyproximitytoocculture.Partridgeargues,"Fewwouldrather
ploughthroughtomesonsociology,history,classics,religionandtheologythanwatch
TheXFilesandSupernaturalorreadTheDaVinciCode"(2008,122).Thus,familiar
religiousthemesarerepackagedforourenjoyment.Davie'sconceptof"believing
withoutbelonging"(2007)helpsusunderstandtheappealofthisrepackaging.State
churchesandtraditionalreligionsingeneralhavenotbeenabletomeettheneedsof
peoplelivinginmodernsocieties,andratherthanmaintainingalifelongcommitment
totheirfaiths,peopleconstantlytransformreligionaccordingtotheirlifesituations
(Davie2007).DavieandLynchagreethattheroleofreligioninthemodernWestis,at
least,ambivalent.Lynchargues,"Ontheonehand,wecanseeimagesandideas
withinpopularculturethatsuggestthat'God'hasatbestamarginalsignificancefor
manypeopletoday…Ontheotherhand,interestin'God'stillseemsverymuchapart
ofWesternculture"(Lynch2002,104).Supernaturalreflectsthisambivalenceby
confirmingtheexistenceof"agod,"butsimultaneouslyquestioningtheomnipotence
oftheChristian"God."
[4.2] Daviearguesthatinstitutionalizedreligionsareoftenconsideredstatic,unable
toengageindialogueandadjusttonewdemands.Fictions,ontheotherhand,arenot
onlyabletoengage(thankstotheirvisualappeal)buteagertomeetthespiritual
needsoftheiraudience.InGiddens's(1991)terms,wecanunderstandouraltered
relationshipwithreligionasassociatedwithselfreflectiveindividuality.Theindividual
approachtoreligioncommoninlatemodernsocietiesopensustosuchnarrativesand
givesthemrelevance,asweareinaconstantprocessofreaffirmingandreevaluating
ourselvesandourplaceintheworld.Giddens(1991)arguesthatthefutureofthe
individualisopenandthusproblematic.Ourfateisaffectedbyouractionsand
decisions.ItisfrequentlynotedinSupernaturalthatfatecanbenegotiatedand
destiniesaltered.DestinybecomesanevenmorepenetratingthemeforSamand
Deanfromseason2onward,andisaprominentthemeinothercontemporary
televisionshowsaswell.Heroes(2007–)updatesthewellestablishedAmerican
superherogenre,asagroupofordinarypeoplediscoverthattheyhavesupernatural
powersandusethesepowerstotrytosavetheworld.Inanentirelydifferentsetting,
Lost(2004–)dealswiththequestionofpredestination,assurvivorsofaplanecrash
enduponamysteriousisland.InSupernatural,destinybecomesyetanother
playgroundforeverchangingperspectives.Atdifferentpointsintheseries,either
SamorDeanisportrayedas"chosen."WhileSamismoreeagertofulfillwhathe
believestobehisdestiny,Deanconstantlydoubtsthattheangelsare"religious
authorities."Ontheonehand,Supernaturalisaboutchoosingalifepath,following
yourdestiny,andacceptingthesacrificesyoumake;butontheotherhand,it
constantlychallengesthenotionofafixeddestiny.
[4.3] AgreatnumberofTVseriesdealwiththeissueofdeath.InPushingDaisies
(2007),Nedcanbringpeoplebacktolifewithatouch,butonlyforaminute;ifthey
stayalivelonger,someoneelsewilldie.DeathisamajorthemeinSupernatural,and
heretheambiguityandshiftinperspectivebecomeparticularlyvisible;sometimes
deathisdefinitive,butatothertimesdeathcanbenegotiatedorevenreversed.Just
astherepresentationsofsupernaturalbeingsviolateourexpectations,notionsof
death,reincarnation,theafterlife,andheavenandhellaretransformedagainand
again.Whiletheboys'parents'deathsarebothirreversible(sofar,atleast),the
brothersescapedeathagainandagain.Deanisalmostkilledinacaraccident,butis
savedwhenJohnmakesadealwithademontotakehiminstead(2.01).Samiskilled
andremainsdeadforsometime,untilDeanmakesadealwithacrossroadsdemon
andsaveshim(3.01).Asaresultofthisdeal,Deanhasonlyoneyeartolive,andat
theendofthisyearhegoestohell(3.16);butheisyankedoutofhellafterfour
monthsbyCastiel,whohasdifferentplansforhim(4.01).Thereturntolife,for
howeverlong,islegitimizedwithinthediegesisoftheshow.Sconce(2004)identifies
severalnarrativestrategiesusedbyTVserials(andfamiliartomostTVviewers)that
pushtheresolutionoftheplotfurtherintothefuture:thereluctantromance,theevil
twin,themeatlocker,andamnesia.WemightlabelSupernatural'sstrategy"'til
deathnolongerdouspart."Onceagain,conceptswithstrongreligiousconnotations
undergomediatizationbymeansofmedialogic.
5. Playful intertextuality in Supernatural
[5.1] ThetransformationsofreligiouscontentinSupernaturalarealsoplayful.The
series'splayfulnessisoftenconnectedtointertextuality,whichinturncreates
variationandoffersnewperspectivesonotherwisewornoutthemes.Therefore,
intertextualityinSupernaturalbecomesatooltotransformtheseries'sbanalreligious
representations.Koven(2003)discusseshowpopularhorrorfilmsoftenreworkmotifs
fromfairytales(forexample,CinderellamotifsinCarrie[1976]),andinSupernatural
3.05"BedtimeStories"reworkspopularversionsofTheThreeLittlePigs,SnowWhite,
andHanselandGretel.IntertextualityisawellknownnarrativedeviceofTVshows
thatareoftenlabeled"qualityTV"or"cultTV"(Johnson2005;McCabeandAkass
2007).Pearsonarguesthattheseshows"constructtheirwidenarrativeworldswithin
densewebsofprecedentandintertextuality,layingbarethedeviceinadeliberately
selfconsciousmannerdesignedtoappealtotheknowingviewereagerforcluestothe
show'smythology"(Pearson2007,248).Theplayfulnesswithintertextualityserves
severalpurposeshere:(1)itmakestheshows'religiousthemesseemlessself
indulgentandmorepalatabletothemodernviewer,(2)itascribeslegitimacyto
Supernaturalbyplacingtheshowinpopularculturehistory,and(3)itinvitesviewers
toreadadditionalmeaningintothetext(note5).Forexample,Deansays,"Followthe
creepybrickroad"(2.16"Roadkill"),whichisanobviousreferenceto"Followthe
yellowbrickroad,"alinefromtheclassicfilmTheWizardofOz(1939).Furthermore,
theshow'smusicalscoreincorporatesclassicrock,thusunderliningitsgeneric
heritagefromtheroadmovieEasyRider(1969)(note6).Theshowsimultaneously
reworksclassicmoviethemes,suchasthekillerclown(2.02"EverybodyLovesa
Clown")fromIt(1990)andthetransformationofthecitizensofasmalltowninto
mindlesskillers(2.09"Croatoan")fromInvasionoftheBodySnatchers(1956)and
others.TheintertextualreferencesinSupernaturalarenumberless,andDeanand
Sam'severchangingaliasesareamongthem.Asreferencestoearliercultural
productsarewovenintothereligiousrepresentationsinSupernatural,these
representationsaretransformedastheyaregiven(thepossibilityof)additional
meaning.
[5.2] Theshowalsofollowsmoremetareflexivestrategies.Forexample,in2.18
"HollywoodBabylon"theWinchestersgoonaHollywoodstudiotourandvisittheset
ofGilmoreGirls(2000–7);thetourguidesuggeststhattheymaybeluckyenoughto
catchsightofoneoftheshow'sstars.JaredPadalecki,whoplaysSamWinchester,
waspreviouslyoneoftheGilmoreGirlsstarshimself,playingacharacternamed,ofall
things,Dean.Onceagain,Supernaturalusesnarrativeelasticity,whichPearsonsees
asadefiningfeatureofcultTVprograms(Pearson2003).Shearguesthat"narrative
elasticitysometimesentailsgenericelasticity,"andthat"culttelevisionprogrammes
oftensupplementtheirlinearnarrativeswithanonlinearonethatcangobackwards
andsidewaysaswellasforward,encompassingmultipletimeframesandsettingsto
createapotentiallyinfinitelylargemetatext"(Pearson2003).Thisstrategyisvisiblein
Supernatural's3.13"Ghostfacers,"whichisgenericallyandaestheticallyconstructed
liketherealityshowGhostHunters(2004–),andin4.05"MonsterMovie,"inwhich
SamandDeandriveintoPennsylvania(alightningflashrevealsthatthesignflickers
tosay"Transylvania"):theentireepisodeisinblackandwhiteandreworksmovie
classicslikeFrankenstein(1931),TheWolfMan(1941),andothers.
[5.3] Similarly,in4.18"TheMonsterattheEndofThisBook,"DeanandSam
discoverthatanentirecultbookseries,naturallytitledSupernatural,isbuiltaround
theirlives.Astheylookup"theirfans"online,theyencounterslashfanfiction,an
actualelementoftheTVshow'sfandom(note7).AsSamexplainstheterm,which
suggeststhatSamandDeanarelovers,Deancomments,"Theydoknowwe're
brothers,right?"andcontinues,"Oh,comeon,that'sjustsick."Throughironyandby
mixingthefictionalnarrativeandtheseries'sstatusasaculturalproduct,
Supernaturaldrawsintheviewerandblurstheboundariesbetweenfactandfiction.
Pearsonarguesthat"theimaginaryqualitiesofculttelevisionrendercharactersmore
highlydefinedandcomplex,morecapableofcuttingloosefromtheiroriginaltexts,
thannoncultcharacters"(2003).Thus,interandmetatextualityheightenviewers'
imaginativeawarenessbyplacingthemaincharactersbothinsideandoutsidethe
diegesisoftheseries.In"TheMonsterattheEndofThisBook,"theauthorofthe
Supernaturalseriesturnsouttobeaprophet,aconduitofthewordofGod.Castiel
explains,"OnedaythesebookswillbeknownastheWinchesterGospel."Here,itisas
iftheshowisplayingwiththeideaofbeingcontemporaryreligioninthemaking.Itis
morethanimpliedthatthebrothers'fateisdetermined,andwhentheytrytodeviate
fromthepathlaidinfrontofthem,theyareforcedbackinline.Butattheendofthe
episode,CastielgivesDeanacluethatallowshimtogo"offroute,"andsuddenlythe
showseemstoarguethatonecantakeone'sfateinone'sownhands.Clarkdiscuss
theseshiftsinperspectiveinherstudyofteenagers'receptionofsupernatural
narrativesinpopularculture:"Still,weneedtorecognizethattelevisionprogramsand
filmsarepolysemic:thatis,theyareopentomanylevelsofinterpretation,fromthe
obviousandliteraltothemetaphoricalandmythical"(Clark2003,47).Johnson
argues,"Asaconsequence,theseprogrammes…offertheirviewersthepossibilityof
divergent,evenconflicting,interpretationswithinonetext"(2005,59).The
intertextualityinSupernaturalprovidesaframeforalmostcountlessinterpretations
enabledbyanopennarrative.Johnsonarguesthat"thenarrativelogicofthe[TheX
Files]isconstructedaroundcontinuation,whichispossibleonlyifambiguityremains
astotherealityofthefantastic"(2005,65).Thesamenarrativedeviceisusedin
Supernatural,buthereitisbeliefs,morals,andworldviewsthatareambiguous.This
opennessisbothappealingandinvitingtoaudiences.
[5.4] Supernaturalnotonlyreferencespopularculturetextsbutalsoreworksoral
narrativessuchasurbanlegends.In2.15"TallTales,"wemeetavengefulalligator,
livinginthesewer,thatattacksaresearcherdoinganimaltesting.Urbanlegendsalso
serveasadrivingforceinTheXFiles.EpisodesofbothTheXFiles(2.02"TheHost")
andFringe(1.16"Unleashed")reworktheclassicurbanlegendofalligatorsinthe
sewers(Brunvand1981),alsogivingitasupernaturaltwist.Urbanlegendsarea
folkloresubgenre,andarebynaturetransformative.FolklorescholarBrunvand
argues,"Thecorollaryofthisruleofstabilityinoraltraditionisthatallitemsof
folklore,whileretainingafixedcentralcore,areconstantlychangingastheyare
transmitted,soastocreatecountless'variants'differinginlength,detail,style,and
performancetechnique"(Brunvand1981,3).Asurbanlegendsentertelevisionfiction,
theyundergoyetanothertransformation,andinthisoneeventhecoreissubjectto
change;forexample,thebeastlivinginthesewersmightbeagenerichybrid
monster,asinFringe,insteadofanalligator.Thereworkingofurbanlegendsin
SupernaturalunderlineshowfamiliaraspectsofAmericanculturearedrawninand
seenfromnewperspectivesaspartofageneralstrategy.Althoughsomeelementsof
theshowencouragehumor,otherelementsevokeotheremotions,suchasempathyor
sorrow.
6. Religion reimagined?
[6.1] Evenfictionalstoriesenableustoimaginetheconsequencesofourandothers'
actions.Byidentifyingwithacharacterinastory,weconsidernotjustwhatthe
charactershoulddobutalsowhatwemightdoinsimilarcircumstances(Schultze
2003,179).
[6.2] ThetheoryofmediatizationtellsthestoryofaWesternsocietythatascribes
moreandmorevaluetotheroleofthemedia.Mediatizationnotonlycauses
institutionalchange,butcanaffectourownactionsandimaginations.Popularculture
productsreflectanincreasingdemandforcomplexnarrativesthatgivepeoplefoodfor
thoughtratherthanrepresentingasingleworldview.Referencestoreligion,popular
culture,andoccultureinviteviewerstoengageondifferentlevels.Televisionseriesare
uniqueintheirabilitytoproducelongtermchangesinourimaginations.Pearson
argues,"Cinemareachestheendfartoorapidlyforthoseofuswhopreferour
solutionsalmostinfinitelydelayed,ourimaginaryworldsalmostinfinitelyexpanded
andourmiddlesalmostinfinitelyelaborated"(Pearson2007,248).Asinstitutionalized
religionstakeabackseattomediawhenitcomestorecirculatingreligious
representationsandmessages,medianarrativesbecomecentralprovidersofmaterial
thatshapesreligiousimaginations.Themainfocusofthispaperhasbeenhow
Supernaturaloffersnewperspectivesonreligiousconcepts,andIarguethat,because
itdoesso,theseriesisaframeforrenegotiatingourreligiousimaginations.An
investigationofSupernaturalaudiencesandinparticularofdevotedfanswouldhelp
determineifandhowthisrenegotiationmanifestsinaudiences.Supernaturalhas
severalofthecharacteristicsthatPearsonidentifiesincultTV.Hillsdiscussescult
audiencesandproposestheterm"neoreligiosity"whenconsideringcultfandom(Hills
2002).Itisbeyondthescopeofthisessaytothoroughlyenterintosuchadiscussion,
althoughitisanobviousnextstepinresearchintoreligionandTVfictions.However,
thatfictionalnarrativescanbeusedtolegitimizebeliefsystemsisoneofthepointsin
Clark'sstudyofAmericanteenagers'receptionofthesupernatural.Clarknotes,"They
citedavarietyofevidencefortheirviews[imaginationsaboutaliens],including
televisionprogramsorfilmssuchasUnsolvedMysteries,Contact,IndependenceDay,
andTheXFiles"(Clark2003,3).Furthermore,Winstonarguesthat"watching
televisionisalinkinthechainofsacredstorytelling,alatterdayversionofWestern
traditions,suchashearingscriptures,'reading'stainedglasswindows,orabsorbinga
PassionPlay"(Winston2009a,2).Therealimpactofacontinuousmediatizationof
religionremainstobefullygrasped,butSupernaturalcertainlyplaysaroleinthis
process.
7. Acknowledgments
[7.1] ThankstoAnnemetteTrabergforintroducingmetothewonderfulworldofthe
Winchesters.IamindebtedtoProfessorStigHjarvardforhiscommentsonearlier
draftsandforengagingwithmeinongoingdiscussionsoftheconceptsof
mediatizationandbanalreligion.IalsoowethankstoAssistantProfessorLynn
SchofieldClarkfortheinspirationtolookatchangingperspectivesinTVfictionsandto
specialissueeditorAssistantProfessorCatherineTosenbergerforusefulinputonthe
folkloreaspects.TheDanishNationalResearchSchoolforMedia,Communication,and
Journalism(FMKJ)fundedthisessayandmadeitpossible.Thanks!
8. Notes
1.AcomprehensiveanalysisofmediatizationprocessesinregardtoreligioninTV
fictionswouldincludeagreaterhistoricalperspectiveinordertodetectlongterm
changes,andareceptionstudytouncovertheimpactofTVfictionsasagentsof
religiouschange(Hjarvard2008).Thismorecomprehensiveanalysisisthefocusof
myPhDdissertation,tobecompletedin2011.
2.Asamediascholar,Icannotclaimanyindepthinsightintofolklorestudies,but
certainlyitishelpfultoconsider"theattitudesofthecommunity"(Oring1986,124)
towardaspecificnarrativewhenlabelingsomething"religion"or"religious."
3.TheepisodetitleisareferencetoJudyBlume's1970teennovelAreYouThere
God?It'sMe,Margaret.MichaelLandonplayedJonathanSmith,anangel,intheTV
seriesHighwaytoHeaven(1984–89).AlthoughthemoralsoftheangelinHighwayto
Heavenmightbettermatchourexpectations,Landon'scharacterisyetanother
exampleofamediatizedimageofanangelasitfitsinacontemporaryframe.
4.Studiesofthebrain(Gallagheretal.2001)haveshownthathumanscanattribute
thoughts,beliefs,anddesirestootherpeopleandobjects.Scientistslabelthis
cognitivefunction"adoptinganintentionalstance."Thehumanabilitytoattribute
mindandintentionalitytoothersiscentraltounderstandingtheroleofreligion,as
supernaturalagentsareoftenconstruedasintentionalagents.Ourabilitytoascribe
mindstononlivingobjectsconnectstoBoyer's(2002)argumentthatgodsareoften
humanlike(theyhaveminds,beliefs,anddesires)andGuthrie's(1993)argument
that,withinreligion,objects,beings,andelementsfoundinnatureareoften
anthropomorphized.
5.Thisinvitationisreflectedinfans'onlineresponsestoSupernatural,asdiscussedin
Tosenberger,"'KindaLiketheFolkloreofItsDay':Supernatural,FairyTales,and
Ostension,"inthisissue.
6.ForSupernatural'syouthfulaudience,thereferencestosixtiesrockhelplegitimize
orrevitalizeculturalproductsthattheymightonlybefamiliarwiththroughtheir
parents.Contemporarypopularculturephenomenacanoftenencourageviewersto
revisitoldtexts;aDanishnewspaperstudyillustrateshowtheTwilightseriesinspires
readerstoreadclassicssuchasPrideandPrejudice,RomeoandJuliet,Wuthering
Heights,andAMidsummerNight'sDream,becauseTwilight'smaincharacter,Bella,
readstheseworksintheseries(Petersen2009).
7.SupernaturalslashfanfictionisanalyzedbyTosenberger(2008).
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Transformative Works and Cultures,Vol 4 (2010)
Praxis
"Hey, check it out, there's actually fans": (Dis)empowerment and
(mis)representation of cult fandom in Supernatural
Laura E. Felschow
State University of New York, Buffalo, New York, United States
[0.1] Abstract—AsSupernaturalentersseason5,itsstatusasaculthitis
becomingmoreevidentbothinthepressandwithinthetextoftheseriesitself.The
openacknowledgmentoftheshow'sfandomwithin4.18"TheMonsterattheEndof
ThisBook"hasalteredthepowerrelationshipbetweentheproductanditsfansand
broughtoncontroversyregardingthecreativeteam'sattitudetowardfandomin
general.ToinvestigatethisrelationshipbetweenSupernaturalanditsdevotedfans,
Iwillfirstdevelopaworkingdefinitionofthecultfanandillustratethemanywaysin
whichSupernaturalisanidealculttext,despitenothavingbeenmarketedbyits
producersandnetworkassuch.Havingsetforththisframework,Iwilloutlinethe
dynamicthatexistedbetweenSupernaturalanditscultfanspriorto"TheMonsterat
theEndofThisBook."Iwillthendemonstratehow"TheMonsterattheEndofThis
Book"simultaneouslyempowersanddisempowersSupernatural'scultfansby
representingthemwithintheshow'sdiegesisandwhattheconsequencesofthese
(mis)representationsmightbe.
[0.2] Keywords—Fancommunities;Internet;Television
Felschow,Laura.2010."Hey,checkitout,there'sactuallyfans":(Dis)empowerment
and(mis)representationofcultfandominSupernatural.TransformativeWorksand
Cultures,no.4.http://dx.doi.org/10.3983/twc.2010.0134.
doi:10.3983/twc.2010.0134
1. Introduction
[1.1] Withherhandclutchedtoherchest,ayoungwomangazestearyeyedatthe
twomenstanding,bewildered,infrontofher."Thebestpartsarewhentheycry,"she
declares,emotionridinghighinherwaveringvoice.Thewoman,publisherofthecult
novelizedcomicseriesSupernatural,isdiscussingoneofherfavoriteelementsofthe
belovedstories:thatSamandDean,themaleprotagonists,arein"touchwiththeir
emotions."Whatshedoesn'tknow,however,isthatthetwomenlisteningtoher
speakareinfactthe"real"SamandDeanWinchester.Thejokehereisthatthe"real"
SamandDeanarecharactersonatelevisionshow,Supernatural,andwe,asviewers
watchingtheprogram,recognizethismetanodtotheshow'sowndiehardfans.
[1.2] Episode4.18"TheMonsterattheEndofThisBook"isdivisiveamong
Supernaturalfandompreciselybecauseofthisopenaddresstotheshow'scoregroup
offans.Viewedbysomeasplayfulandinclusive,andbyothersasharshand
demeaning,thisseason4offeringillustratessomeofthewaysthatSupernaturaland
itscreativeteamhaverespondedtoitsstatusasaculttextwithadedicatedfollowing.
Whileitsrelationshiptofandomismostexplicitlyexploredwithinthecontextofthis
particularepisode,Supernaturalanditsancillaryproductsprovidemanyopportunities
toinvestigatethelevelofinteractionbetweenproducerandcultfan.Howmuchpower
andrespectdoesSupernatural'screativeteamreallyextendtotheirfanbase?Arecult
fansbeinggiventemporary,controlledaccesstotheirfavoriteprogram,orarethey
takingpowerbyactingwithoutinvitation?Ifso,howareSupernatural'sproducers
retrievingthatpower?DrawingontheworkofMattHills,Iwilloutlinewhatitmeans
tobeacultfanandwhySupernaturalhasfoundsuccessasacultshowbeforeplacing
theprograminabroadercontextofthecurrentlychanginglandscapeoftelevision
fandominordertomoreclearlyseehowSupernaturalrelatestoitscultfans.
[1.3] Supernaturalisnotthefirsttelevisionprogramtoselfreflexivelyacknowledge
itsdedicatedfansorthefirsttoapproachitsfanbaseinwaysthatgobeyondthe
product/consumerrelationship.AsdiscussedbyfandomtheoristssuchasHenry
Jenkins,JohnTulloch,andSharonMarieRoss,spectatorshipandreceptionareno
longeradequatetermsforhowthemodernfanoperatesintoday'smediaculture.The
barriersbetweenthecultfanandtheproducerarebeingbothchallengedbythefan
andwillinglyalteredbytheproducer.Interestedviewersarebeingallowed,even
asked,toaffecttheactionthatwilltakeplaceontheirscreen.Sometimesfansso
loudlydemandtobeheardthatsuccessdependsupontheproducersconcedingto
vieweropinion.However,thepoweraccordedtothefanisstillmostoftenatthe
mercyoftheproducersofthetext.Supernatural's"TheMonsterattheEndofThis
Book"highlightsthetenuouspowercultfansactuallypossessandhowtheshow's
creatorscanbothmisrepresentanddisempowerthemjustaseasilyastheycandothe
opposite.
[1.4] Beforelookingmorecloselyat"TheMonsterattheEndofThisBook"and
analyzingSupernaturalintermsoftherelationshipbetweentheproducerandthecult
fan,itisfirstimportanttounderstandwhatcultfandommeansandwhyandhow
Supernaturalfitswithinthatcategory(note1).
2. Neoreligiosity, interactive communities, and online fandoms
[2.1] Ina2007studyforTelevisionandNewMedia,VictorCostelloandBarbara
Mooreconducted"awebbasedsurveytocollectqualitativedataaboutonlinefans'use
oftheInternetforkeepingupwithafavoritetelevisionprogramandforinteracting
withotherfans"(124).Indoingthis,CostelloandMooreencounteredacommunityof
sophisticatedfansdevotedtotheexchangeofmeaningfulideasinonlineforums.The
collectivebodyofanonlinefandomchangedtheprivateactofviewingatelevision
programaloneinone'shomeintoagroupactivitythatsignificantlyenhanced
emotionalinvolvement(CostelloandMoore2007,127).SaraGwenllianJones
describesthesefansassuch:
[2.2] Fanscombineconspicuous,enthusiasticconsumptionofofficialtexts
andspinoffswiththeirowncreativeandinterpretativepractices.Fansare
viewerswhodonotmerelywatchfilmsbutalsowritefanfictionandcultural
criticism,producefanart,scratchvideos,websitesandsoon,andwhoseek
outotherfanswhosharetheirenthusiasm…Fansaredistancedfrom
"ordinary"consumersbecausetheirmodesofconsumptionareconsidered
excessive.(qtd.inCostelloandMoore2007,127)
[2.3] GwenllianJones'sdefinitionofafanisquitesimilartowhatMattHillsdefines
asacultfan.InHills'sestimation,thecultfanshareswiththefan"adeeppersonal
andemotionalinvolvement"whereinbeingafanconstitutespartofthesymbolic
projectofself(2000,73).Butcultfans,bothfascinatedandfrustratedbytheirchosen
text,willchallenge"discursiveandproductivemonopolies"and"delegitimize
institutionalauthority"throughfanactivities(Johnson2007,291).Inotherwords,a
fanofthetelevisionprogramGrey'sAnatomymaydiscussMeredithandDerek's
weeklyfightsduringthemorningcarpoolandengageinabriefconnectionoverthe
sharedexperienceofwatchingtheprimetimesoap.Meanwhile,acultfanmightlog
intoABC'sonlineforum,criticizeMcDreamyforhischurlishbehavior,lambastecreator
ShondaRhimesforutilizinggenericfemalestereotypesthatheorshefindspersonally
offensive,andthencreateapieceoffanfictionto"correct"thetexttorepresenttheir
ownmarginalizedinterests,suchasthedesiretosee"MerDer"breakupforalltime.
Cultfansmayevenorganizecampaignstomaketheirinterestsknown,suchas
shippingbottlesofTabascosauceorpoundsofpeanutstoproducers,aswasdonein
anefforttosavetheWB'sRoswellandCBS'sJerichofromcancellation.
[2.4] Theseactivities,whichsometheoristsandcriticssuchasGwenllianJoneshave
labeledasexcessive,arewhatpartlyseparatethefanfromthecultfan.The
behaviors,whichgoaboveandbeyondthe"normal"behaviorofthefan,havehelped
tocreateanimageofthecultfanasdeviantorOther.JoliJensonobservesthatthe
emotional"obsession"ofthecultfanislabeledas"bad"or"dangerous,"whilean
"unemotional,detached,'cool'behavior"ispermittedbysociety(1992,20–21).
Jensonrightlystatesthatthisoutlookis"insultingandabsurd"(24–25).Nevertheless,
cultfansintoday'smediaculturestillsometimesexperiencewhatSharonMarieRoss
callsan"usvs.themrhetoric"thatdevaluestheemotionalinvestmentsthatcultfans
makeintheirchosentextandprivilegespresumptivelyobjectiveacademicresponses
(2008,48).Tocombatthisdefinitionofcultfandomasdeviantandunequal,MattHills
(2000)utilizestheconceptofneoreligiositytomoreclearlydemonstratethevalueof
studyingthecultfan'semotionalresponsetoacertaintext.
[2.5] Itisimportanttounderstandthatthetermneoreligiositydoesnot
unequivocallymeanreligionasitiscommonlyused—thatis,aninstitutionalizedbelief
systemsuchasCatholicismorIslam.Nordoesneoreligiosityinvokecultpracticessuch
asthoseoftheBranchDavidiansorHeaven'sGate.AsHillsobserves,"organized
(institutional)religionmayhavedeclinedintheWest,butaprivatizedand
individualizedspaceremainsopentothevoluntaristicadoptionofsacredthemesand
ideas,anditisherethatdiscoursesof'cult'mediaandfandomfindspecificand
historicalcontext"(2000,76).Inotherwords,Hillsbelievesindividualneoreligiosityis
centeredonlooselygroupedthemesthatcanbederivedfromencounterswiththe
massmedia,experiencesthataredefinedintheprivatespherebytheindividualand
notbysociallyboundedinstitutionsinthepublicsphere.
[2.6] Furthermore,"whilereligionandfandomarearguablydifferentrealmsof
meaningtheyarebothcenteredaroundsimilaritiesofexperience…Attheveryleast,
thediscourseofmodernreligionmayprovidefanswithamodelfordescribingthe
experienceofbecomingafan"(DavidCavicchi,qtd.inHills2002,118).Mediaforms
canplayaroleinthe"ongoingconstitutionandreconstitutionofpatternsofsociability
andfriendship,"offeringindividualfansareasontocometogetherandformsocial
bonds,andasocialcommunitythatmaydeveloparoundatelevisionprogramfits
readilyintothesimilaritiesofexperiencethatdefineneoreligiosity(Longhurst,Bagnall,
andSavage2007,135).ThetelevisionstudyconductedbyCostelloandMoorefound
thatonlinefandomsfitthemodelofinterpretivecommunitieswherein"theparticipants
haveincommononlyaninterestinaprogram,adesiretotalkaboutit,andaccessto
theInternet"(2007,135).Aninterpretivecommunitydoesnotpassivelyreceive
mediacontent,butactivelycreatesmeaningsthatarepartlyitsown,shapedbyits
institutional,sociohistorical,andtextualcontext(Lindlof,Coyle,andGrodin1998,221;
TullochandJenkins1995,102).Thesemeaningsarevariableandtherefore
nonnormative;inotherwords,interpretivecommunitiesallowforvariedemotional
responsestomaterialthatmayormaynotadheretostrictlyprovableacademic
approachesorwidelyaccepteddefinitions.Thisconsiderationofdynamicreadingsthat
producemeaningbyactiveengagementwiththetext,firstputforthbycriticStanley
Fish,recognizesthesociallegibilityofapluralityofresponse(1980,2085–89).Hence,
forculturalstudiestheoristssuchasHills,thesubjectiveneoreligiosityofafandom
carriesequalweighttosupposedlymoreobjectiveacademicreadingsbycritics.Thus,
aninteractiveonlinefandomcanproducenewandmultiplemeaningsforatext,
whetheritbeafilm,anovel,atelevisionprogram,oranyotherkindofmedia.In
short,mediaisnotjustmediaanymore—howwereceiveitandshareitoffersthe
opportunitiesfornewsocialcommunitiesandnewwaysofthinking.
[2.7] Cultprograms,whichtendtohavewhatJohnFiske(1987)callsproducerly
storiesthatinviteviewerstocontributetotheirmeanings,ofteninspirestrongviewer
loyaltyandinvolvement(Ross2008,61).Thefaithfulviewersthatcompriseonline
fandomsdemonstrateanattachmenttoaprogram,itsactors,andthecharactersand
becomeemotionallyinvestedinthestorylines.TheInternethasonlyenhancedthis
involvementasitenablesdiscourseamonglikemindedcultfansacrosstheglobeand
offersrecoursetoviewerswhomayfeelasiftheycannotengageinanindepth
discussionoftheirfavoriteshowswiththeirimmediatefamilyandfriends.Viewers
becomeloyalnotonlytotheprogramanditsproducers,butalsotothesocial
communitythatiscentereduponit.Thissharedexperiencewithatextcanoften
transferfromonlineinteractiontofacetofacemeetings,gatherings/conventions,and,
forsome,longlastingfriendships(CostelloandMoore2007,134).Thisinteractive
discourseofcultfansonlineisanexcellentexampleofaprivatizedemotionalresponse
leadingtotheformationofkinshipwithsimilarlyfocusedindividualsbasedonthe
arbitrarydesignationofamediatextasthepointofconvergence.Thetextbecomesa
"sharedproperty"that"canpromptfanstolayclaimtotheirstatusasfans,"thereby
furthersolidifyingthebondtothetelevisionprogramandtheinterpretivecommunity
towhichtheybelong(Ross2008,57–58).InthecaseofSupernatural,acult
communitywithastrongfeelingofsharedownershiphasdefinitelytakenshape.A
closerlookatthemanywaysSupernaturalfitsintotheculttelevisionmodelreveals
whythisisso.
3. "Demons I get. People are crazy": Supernatural as a cult
property for the Other
[3.1] Supernaturalbyitsverynaturelendsitselfwelltocultsensibilities.Catherine
Johnson(2005)categorizessciencefiction,fantasy,andhorrortelevisionprograms
suchasStarTrek,TheXFiles,andBuffytheVampireSlayerasprimeexamplesofcult
television.InJohnson'sestimation,programsthatutilizeelementsofthesethree
genresarebytheirnaturecandidatesfordevelopingloyalanddedicatedfollowings.
ThepriorstudiesofprominentfandomtheoristssuchasHenryJenkins,JohnTulloch,
andCamilleBaconSmith,alongwithmanyothers,supportJohnson'sclassification.
Withitsuseoffantasyandhorror,Supernaturalshowedallofthemarkingsofa
potentialcultshowfromthebeginning,mostparticularlybyitsnarrativegroundingin
monsteroftheweekcasesandheavilymythologicaloverarchingstorylines.
GwenllianJonesstates:"Thefictionalworldsofculttelevisionaregovernedbylogics
thatmarktheirdistancefromtheeveryday.Gods,ghostsandmonstersaretangible
presencesintheserealms"(2002,85).Groundedinaworldinhabitedbymonsters,
Supernaturaltakesplaceinarealmofthefantastic,butitisalsoarealmwhereinthe
viewers'relationshiptothefantasticandthehorrificiscomplicatedbyacomplex
relationshipwiththeOtherthatonlyincreasestheshow'spotentialforcultsuccess.
[3.2] Thehorrorgenre,RobinWoodstates,dependsuponpatriarchal,capitalistic
heteronormativity,the"racial,ethnic,and/orpolitical/ideologicalOthers"andthe
relationshipbetweenthetwo(qtd.inBenshoff2004,63).Inotherwords,thereis
normalandthereismonstrous,andwhenthetwocollide,horroriscreated.Forthe
Winchesterfamily,thisOthernessthatostracizesthemfromnormalcyisdoubled.
Firstly,theyareOtheredbytheirencounterswithsupernaturalmonstersand
otherworldlybeings.AccordingtoNoelCarroll,inworksofhorrorlikethoseoutlined
abovebyWood,humansmustregardthemonsterstheyencounteras"disturbancesof
thenaturalorder"(1990,16,57).Forviewers,themonstersandghoststhatthe
Winchesterbrothersregularlyhuntwouldqualifyinthatcategory,andinthisway,
Supernaturalisaprogramthatfitswithinthehorrorgenre.However,inthe
Winchesters'world,thatwhichsocietyviewsasabnormal—thesupernatural—isnormal
(Jensen2008,28).ForDeanandSamandotherhunterslikethem,horrificandexotic
creaturesarepartoftheirdaytodaylives,andasviewers,weareinvitedtodealwith
theminthesamenonchalantfashion.Whilethesupernaturalisstillhorribleenoughin
principlefortheWinchesterstodedicatetheirlivestoprotectingciviliansfrom
monstrousattacks,iftheviewerassumestheWinchesters'matteroffactattitude
regardingtheterrorstobefaced,thehorrorfactorislessenedandaparticipationin
thefantasyofactingasasupernaturalhuntercanbeentered.Eitherway,
SupernaturalhasinvitedtheviewerintoaworldwithamajoritypopulationofOthers.
[3.3] TheWinchestersareplacedasOtherinoppositiontonormativeculturenotonly
bytheirinteractionwiththesupernatural,butalsobythesocioeconomicstatusthat
resultsfromthenecessarylifechoicesofahunter.DiscussingtheWinchesters'Gothic
lives,JuliaM.Wrightstatesthatbytheirmother'ssupernaturaldeath,theboysare
propelledfromacomfortable,middleclass,nuclearfamily,suburban(read:normal)
lifestyletoanunstable,insecureworldwherein"twoyoungchildren[are]leftalonefor
daysinacheapmotel,theirfoodrunningout,thesoleparentabsentbecauseofwork,
andaloadedshotgunleaningagainstthewallastheironlymeansofprotection"
(2008,7).Theirfather,JohnWinchester,wasmoredrillsergeantthandad,training
SamandDeantobewarriorsaftertheirmother'sterriblemurder.Theyhaveno
establishedhomeapartfromtheirbeloved'67ChevyImpalaandspendmostoftheir
childhoodandadultlivesontheroad,changingschoolsfrequentlyandstayingin
cheapmotelsortemporarysquats.StrangeistheprovinceinwhichtheWinchesters
live,whereplayingsoccerratherthantrainingtobowhunt(1.08"Bugs")orgoingaway
tocollegeratherthanlivinglifeontheroad(1.01"Pilot")areabnormaldesires.
[3.4] Economically,theWinchestersarelowerclass.Inordertoliveandcomplete
theirwork,theyrunfraudulentcreditcardscams,carryaroundacacheofillegal
weaponsandfakeIDs,andfrequentlyfindthemselvesonthewrongsideofthelaw.
WhileinearlierepisodesSamattemptstobeorpassesforupwardlymobileandoften
holdsDeantohigherstandardsofpoliteorlegalbehavior,byseason4bothbrothers
arefirmlyencampedinabluecollarlifestyleandSamdisplayslessreluctanceto
engageinimmoralorcriminalacts.AnylastclaimtonormalcySammighthavemade
isgoneby4.09"WishfulThinking,"whenSamstatesthathehasnowishtogobackto
hiscollegelifeandallhewantsis"Lilith'sheadonaplate.Bloody."Sam'smiddleclass
aspirationshavebeensetasideandhe,aswellasDean,operatesoutsideofwhat
Wrightcalls"theconsumerist,homogenizingaestheticofsuburbia";theyare"freedof
property,legality,andothermiddleclassconstraints"(2008,13).
[3.5] TheWinchesters'outsiderstatusisreinforcedbythefacttheyarepunished
whenevertheytrytotransgressboundariesandlayclaimtoanythingnormativein
termsofrelationshipsorlifestyle.Thisisdemonstratedmostclearlywiththefiery
deathofSam'sbelovedJessicaatAzazel'shands(1.01"Pilot")andDean'srejectionby
hisoneandonlyseriousgirlfriend,Cassie,afterhishonestadmissionofhishunting
activities(1.13"Route666").Relationshipsarenomoreeasilyformedintherealmof
thesupernatural;amongtheundergroundnetworkofhunters,theWinchesterfamily
remainsdistinctandseparate.AfterJohn'spassing,DeanandSamdiscoverawhole
worldofhuntersthattheyneverknewexistedbecausetheirfatheroftenalienatedhis
friendsandpreferredtoworkalone.YetifSamandDeanattempttoformbondswith
otherhuntersorcivilians,thosepeopleusuallywindupdeadorestranged.Inlater
seasons,theWinchesters'interactionwiththecivilianpopulationissoseverelylimited
thatmostoftheirtimeisspentwithdemonsandangels.Infact,theWinchestersare
exiledfromsocietytotheextentthattheyareOtheredfromthehumanracein
general.Morethanonce,bothoftheWinchestersarereferredtoorreferto
themselvesasfreakshavingmoreincommonwiththemonsterstheyhuntthanwith
otherpeople.ThroughouttheseriesDeanoftenreiteratesthesentimentheexpresses
in1.15"TheBenders":"DemonsIget.Peoplearecrazy."Bytheendofseason4,
thereisevensomedisagreementoverwhetherSam,havingingestedvastquantities
ofdemonblood,isstillhumanorifhehasbecomeoneofthecreaturestheyhunt.
[3.6] TheblurredlinebetweenhumanandmonsterleavestheWinchestersoutside
therealmofnormalcy.If,asstatedearlier,horrormediaandfolklorearethegenresof
theOther,Supernatural'sprotagonistsdoofferanopportunityforengagementonthat
plane.CatherineTosenbergerlinkstheworkofHarryBenshofftoSupernaturalby
statingthatanarrativethatequates"theirmonsterswithracial,gender,andespecially
sexualothers"hasapotentialtobereadasqueer,andthatSupernatural,indepicting
itsheroesasOther,opensupmyriadpossibilitiesforminorityidentifications(2008,
3.1–3.3).WhileTosenbergerisprimarilyconcernedwithquestionsofsexuality,
viewerswhomaystruggletofindrepresentationsoftheirlikenessesonthetelevision
screen,suchasfemaleorqueeraudiences,mayrespondstronglytomaterialthatis
offeredfromapositionoftheOther.WhileJenkinsstatesthatcultfandomsingeneral
arewellsuitedformarginalizedgroupsanyway,asparticipationandrecognitionwithin
fandomarepredicateduponcontributiontothecommunityandnotsocialstatus,this
doesnotadequatelyexplainallthereasonswhySupernaturalinparticularhasstruck
suchachordwithcultfans(1992,213).Consideringtheshowispredominantly
focusedontwowhitemenwhohavethusfarbeenpresentedasexclusively
heterosexualandtheshowhasbeencriticizedforitsattitudetowardbothwomenand
minorities,itseemsoddthattheshowhasdevelopedastrongcultfollowingconsisting
ofamajorityoffemalefans(Tosenberger2008,7.9).Whileaestheticappealhelps,
thatmanyconsidertheleadactorstobeattractiveisnotenoughtoaccountforthe
devotionoftheshow'sfandom.SomehowSamandDean,withamasculinityextended
bycars,guns,andmachineryandreinforcedbytheirlackofpermanentrelationships
withwomen,stillseemtoofferpointsofidentificationforviewersofdifferent
sexualities,genders,andraces.GiventhenumerouswaystheWinchestersareplaced
sofaroutsideofpatriarchal,capitalisticheteronormativity,enoughsubstantial
evidenceisofferedtoraisethequestion:whentheheroesaresodefinitivelyOther
despitetheirgender,sexuality,andrace,istheremuchneedforanyotherOther?
Thatisaquestionbetteraddressedasitsowntopicaltogether,buttheWinchesters
themselvesmaybeenoughtorepresentOtherforsomeoftheshow'sviewers.
[3.7] ThisOtheredstatusoftheWinchesterslinksdirectlytothepresenceofthecult
fan,foronecharacteristicofthecultfaniscertainlythisidentificationwiththeOtherin
relationtomainstreammedia:"They[thefans]dotheirowninterpretationofthetext,
ignoringtheopinionsanddesiresofproducers,advertisers,networkexecutives,and
critics.Andbecausefansgobeyondtheacceptedboundariesofviewing,theyare
sometimesridiculed"(Jenkins1992,86).ApartfromthedenigratedOtherstatus
mentionedpreviously,cultfansmayconverselyfeelasuperiorityorprideinbelonging
toaprivilegedgroupthatknowsmorethantheaveragefan.Thecultfanbelievesthey
aredifferentthanthenormalviewerandthereforetakeenjoymentfromconnectingto
aserializeddramasuchasSupernaturalthatallowsthemtocreateacommunity
fascinatedwiththefinerdetails,multiplestoryarcs,andheavymythology(Costello
andMoore2007,135).Itispreciselythisprivilegedstatusofthecultfanthat
producershavebeguntotapintotohelpsecurethesuccessoftheirproduct.Yetwhile
thecultfanmaybeviewedasapowerfultoolforthoseproducers,thecultfanisnot
merelyamindlessconsumermachine.Supernatural'sevolutionintoaculthitshows
thatwhiletheproducermostoftenhascontroloverboththetextandthefan,
sometimesthefancanexertcontrolovertheproducerandthetextwithoutbeing
expresslyinvitedorpermittedtodoso.
4. Off-screen and on: Changing the relationship between cult
fan and product
[4.1] AstheInternet'spopularityasameetinggroundforcultfansincreases,the
commercialviabilityofdirectlyappealingtothatparticularnichemarketalsogrows.
Realizingthepotentialofanaudienceofextremelyloyalviewerswhowouldbemore
likelytospendextradollarsongoodstiedintotheirfavoriteshow,producersseecult
communitiesonlineasopportunitiestoensurebuiltinaudienceswithpurchasepower.
Acultaudiencewithasolidreputationcanalsolendacriticalstampofapprovaland
offercreativecredibility(Harris1998,46–52).Butasproducersturntowardcultfans
ontheInternettoservetheinterestsofconsumerism,thequestionmustbeasked:Is
therelationshipbetweenthecultfanandproduceratwowaystreet,agiveandtake?
Arecultfans,toborrowTullochandJenkins'sterminology,a"powerlesselite,"ordo
theypossessrealinfluence(1995,145)?Thisquestionisatthecoreofthefandom
debateover"TheMonsterattheEndofThisBook."Toproperlyaddresstheissueof
possibledisempowermentoftheSupernaturalfansbyitsproducers,itisfirst
necessarytolookatthechanginglandscapeofproducer/fanrelationshipsandhow
Supernaturalfitsintothatpicture.
[4.2] TullochandJenkinsapproachtheissueofempowermentbydefining"theideal
audience"asonethatmindlesslybuysintowhatevertheproducersaresellingand
thencontrastingthatidealaudiencewiththeideaof"theresistantandcreative
audience,"whichisnowcommonlyassociatedwithcultfandomsbyacademics(1995,
4).Cultfansareaconduitbetweenthemassaudienceonwhomthesuccessofashow
sooftendependsandtheproducerswhohavethemostcontroloverthetext.Cultfans
mayproducetheirownmeanings,butTullochandJenkinspresentanimageofthefan
asrelativelypowerlessovertheproduct.Theirpowerlesselitewasaconceptionof
1995,however,andintoday'smediaculture,thepowerlesselitemayyetbe
powerless,buttheyareinhigherdemandbytheproducersthantheyusedtobe.In
Hills'sestimation,"fanconsumersarenolongerviewedaseccentricirritants,but
ratherasloyalconsumerstobecreated,"andthe"loyalconsumption"bythosefans
certainlyappealstotelevisionproducers(2002,36).Hegoesontostatethatthe
supposedlyresistantfanhasbecomeintegratedinto"marketrationalizationsand
routinesofschedulingandchannelbranding"(36).ForHills,ifproducerscourtfans,
thefansmaybegintofeelthattheyareempowered,butinrealitytheculturalpower
theypossessisverylimited(38).Hillsiscarefultostate,however,thatlocating
culturalpowersolelyinthehandsofonecamporanotherisproblematic,asitcan
neverbefirmlylocatedwitheithertheaudienceortheproducer(43).
[4.3] Bythesametoken,itisimportanttounderlinethathoweverpowerlessfans
mightbe,audiencesarenot"culturaldopes"anditshouldnotbeassumedthatthey
areunawareoftheirplaceintheproducer/fanpowerstructure(Grossberg1992,53).
Cultfansmaynotbeabletofullycontroltheproducttheyareconsuming,butthat
doesnotmeanthattheyconsumewithoutthoughtorcare.Andifthepowerbalance
betweencultfanandproducerisalwayschanging,theincreasedvisibilityofthe
Internet'seffectontherelationsbetweenthetwopartieshasgivencultfansgreater
reasontobelievethattheycanexercisemorecontrolthaneverbefore.Theremaybe
anexpectationforanaudiencetofollowtheguidelinessetforthbytheproducers,but
thecultfan/producerrelationshipcanbemoreaccuratelydescribedas"processesof
negotiation"thatcontinuallyalteranddevelopoverthecourseofashow'slife(Ross
2008,75).
[4.4] AsproducersbranchoutintotheInternet,cultfanshavebegunto"see
themselvesasanaudiencethatatleastoccasionallycanexertinfluenceoverthe
creatorsoftheirprograms,andtherefore,toalimitedextent,theyarepartofthe
creativeteam"(CostelloandMoore2007,137).ForumssuchasTelevisionWithout
Pity(TWOP)andEntertainmentWeekly'sFanTVhavebecomeeffectiveforumsforfans
tovoicetheiropinionsandoftenbeheard/readbytelevisionexecutivesandwriters
(TorrezRiley2008).Inthepast,copyrightissuesmadetherelationshipbetweenthe
industryandonlinefanscontentious,butsavvyproducersnowutilizetheInternetto
cultivatebuzzandmaintainviewerloyalty(Ross2008,108).Inasense,producers
haveexercisedcontroloveronlinefansbyinvitingthemtothepartybeforetheycan
crashit.Also,byreceivingencouragementoracknowledgmentfromproducers,
writers,andactors—orattheveryleastpermissiontoborrowcopyrightedmaterials
forfannishactivities—thesenseoffamilyandtogethernessamongfansisincreased.
Thisstrategyassumesthatpeoplewillbefarlesslikelytoabandonaparticular
programiftheyareimmersedin"lifestylemedia"—thatis,theyfeelattachedthe
show'sstarsandproductionteam,areengagedcreatively,andhavealargegroupof
friendswhoviewtheprogramaswell(Ross2008,117–18).
[4.5] Sometelevisioncreators/producersaretakingadvantageofwhattheInternet
hastoofferthembywayofconnectingwithfans,cultorno.VeronicaMarsseries
creatorandexecutiveproducerRobThomasandBattlestarGalactica'sco–executive
producerRonaldD.Moorebothcontributedtoa2006articleintheNewYorkTimes
thatinvestigatedthebreakdownofthebarrierbetweenfansandtelevisionproduction.
Mooreobservedthat"televisionwritersreallyworkinisolation[and]theInternethas
reallychangedtheimmediacyofthecontact"betweenwritersandviewers(Aspan
2006).TWOP'scofounder,TaraAriano,hasstatedthatwhilemanytelevisionwriters
cometothemessageboardsandcheckthingsout,ashowrunnerlikeRobThomasis
oneoffewwhoactuallyinteractwiththefansonthemessageboards.DuringVeronica
Mars'3yearrun,Thomasutilizedtheforumasafocusgroupbutthenbackedoffonce
heavycriticismsofcertaincharactersandstorylinesbegantoaffecthisnarrative
decisionsandunderminehisownpersonalgoalsfortheseries(Aspan2006).For
Thomas,theexecutionofhisindividualcreativevisionbecamemoreimportantthan
listeningtotheopinionsofthefans.BattlestarGalacticaexecutiveproducerDavidEick
agrees:"Iparticularlywanttoknowwhatthecriticismsare…buttheworstthingyou
candoistakeanyopinionoranysmallsegmentofopinions,anduseittodriveyou"
(qtd.inRoss2008,248–49).Inotherwords,showproducerswouldlikefanstobe
investedenoughintheirproducttooffertheiropinions,butthisdoesnotmeanthat
theyarenecessarilygoingtolisten.
[4.6] Fandom,however,doesnotalwaysremainheard/readbutnotseen.Overthe
lastdecade,someproducershavetakenthebehaviorsofcultfansandutilizedthem
asplotpointsorcharacterswithintheirshows.ProgramsfromTheWestWingtoThe
XFileshaveproducedepisodesthatcontainsly,knowingnodstotheirdevotedfans
(note2),whileBuffytheVampireSlayerpaiddubioushomagetotheirfansinseason
6byfeaturingatrioofvillainswhocouldbecategorizedasobsessivefanboyswitha
desireforpower(Johnson2007,294–98).Xena:WarriorPrincesswentfurtherthan
most,withthreeepisodesoverthecourseofitssixseasonrunfeaturing
acknowledgmentofitscultfandom(Ross2008,39–44).Thesetypesofepisodes
recognizecultfansandtheiropinionsinawaythatpostingsinonlineforumscannot—
openlyinthemainstreamforeventhecasualviewertowitness.Cultfansmayreceive
thisrecognitionasacelebrationoftheiruniqueconnectiontotheshow,whileothers
mayviewthismainstreamacknowledgmentasabetrayal,inthattheirprivileged
relationshipandspecialinterestshavebeenexposedforridiculeorcritiquebyany
passivechannelsurferwhomighthappentobewatching.
[4.7] Thesetwofacetsofteleparticipation—interactionwiththeproduceronlineand
acknowledgmentbytheproduceronscreen—andthedegreetowhichtheyarepresent
arestrongindicationsofhowtheproducersofaprogramviewtheircultfansandhow
theyarepreparedtointeractwiththem.WhileproducersofTheXFilesandLostwere
awarefromthestartthatthereexistedcultpotentialintheirproduct,otherprograms
weresurprisedbytheircultstatus,developingintoacultpropertywellaftertheir
inception(Johnson2005,100).Thebalanceofpowerbetweentheproducerandthe
fancanbeaffectedbythedegreetowhichaproductionstaffispreparedforthecult
activitythatsurroundstheirwork.WithSupernatural,thecultthathasgrownup
aroundtheprogramwasseeminglyunexpectedandasaresult,thepowerstructures
betweencreativeandthefansarelesscontrolled—strongbutstrained.In
Supernatural'scase,aninvitationtoparticipatewasofferedaftercultfanshadalready
invitedthemselves,and"TheMonsterattheEndofThisBook"demonstratesthe
ambivalentnatureoftheshow'sproducers'attitudetowarditsfans.
5. "Hey check it out, there's actually fans"
[5.1] Withacultfandomdescribedasboth"fiery"and"intense"byEntertainment
Weekly,thecomparativelysmallaverageaudienceof2to3millionviewersmakesup
foritsmeagersizewithlargeamountsofpassionanddevotion(Wheat2009,30–31).
WhenSupernaturalpremieredontheWBonSeptember13,2005,themostreadily
apparentmarketingstrategywasthatitfollowedGilmoreGirlsonTuesdaynightsin
hopesthatfansofJaredPadalecki,whohadpreviouslybeenonGilmore,wouldfollow
himtohisnewshow.BesidesthepresenceofPadalecki,theonlythingthesetwo
programssharedwasafocusonastrongerthanusualfamilialbond;thesimilarities
beganandendedthere.TheGothichorrordramaseemedanoddpairingwiththe
sunny,chattydramedy,butitpostedreasonableratingsinthetimeslot,retaining
aboutthreequartersofitsleadin(http://supernaturalwiki.com/index.php?
title=Ratings).SinceitsmovetofollowSmallvilleonThursdaysandtheWB'smerger
withUPNtobecometheCW,Supernaturalhasretainedmodestbutconsistentratings.
Yetithasnevergainedheavypromotionalbackingfromitsnetworkandremainsa
relativelyunheraldedstalwartinitslineup(Jester2009).
[5.2] UnlikethewatercoolersensationLost(2004–10),whichhadmillionsofdollars
ofstrongpromotionalbackingandacreativeteamofselfdescribedfanboysthat
purposelyandskillfullymarketedtheprogramasacultproperty,theWB/theCWdid
notputmuchweightbehindpromotingitsproductandSupernaturalproducersdidnot
act,atfirst,asiftheyknewtheyhadapotentialculthitontheirhands(Porterand
Lavery2006,158–62;Jester2009).ThecultfansofLostwereofferedovert
invitationstoparticipatewiththetextviaanofficialmessageboard,interactive
podcasts,hiddenEastereggs,alternaterealitygames,mobisodes,andotherextras
thatrequireddedicationthatwentwellbeyondthatofthecasualviewer.Fansofcomic
booksandfansonlineweretargetedaspossibleaudiencesfortheserializedscifi
mysterydrama,andnewapproachestomarketingsuchas"Haveyouseenthis
person?"adsfeaturingLostcharactersand"messagesinabottle"plantedon
shorelinesincreasedtheshow'svisibilitywhilerequiringpeopletodigabitdeeperif
theywantedtoknowtheirmeaning(PorterandLavery2006,158–62;Lachonisand
Johnston2008).Supernaturalfans,however,wereofferedthetextoftheseries'
episodesandlittleelse.WhereasLostinvitedfanactivityasameansofdrawing
interest,maintaininghype,andmakingmoney,thefansofSupernaturalcametothe
showwithoutastronginvitationtoparticipateandtheproducersplayedcatchupwith
theirrampantinterest.Theprogramgrewintoaculthitonitsownsteam.
[5.3] Ancillaryproductswerecreatedwellintotheseries'runinseason3asa
responsetooverwhelmingfandemand.Inthisway,Supernaturalfansdoseemtobe
TullochandJenkins'sidealaudience,asSupernaturalfansaremorethanwillingtopay
fortheirextrasandthenaskformore.Thusfar,Supernaturalhasspawnedanofficial
magazine,fivebooks,seasoncompanionguides,anOriginscomicseries,acollection
ofacademicessaystitledIntheHunt,andfanconventionsheldinDallas;LosAngeles;
Chicago;Orlando;Birmingham,UK;andSydney,Australia—aswellasthe2009
additionsofconventionsinCherryHill,NewJersey,andVancouver,BritishColumbia,
wheretheshowisfilmed.ThisimpressivetallyofSupernaturalpropertiesdoesnot
evenbegintotouchonthevastquantityoffanfiction,videos,art,reviews,andmeta
discussionthatareavailableonline,includingtheopencontentcollaborative
Supernaturalwikisite(http://supernaturalwiki.com).
[5.4] Supernaturalconventionsareusefulillustrationsofthekindoffanloyaltyand
highlevelofinteractionthatSupernaturalhascreated(note3).Theseconventions
allowaccesstotheshow'sfullrosterofactors—fromitstwoleads,JaredPadaleckiand
JensenAckles,rightdowntooneortwotimegueststars,anyonewhohasappeared
inaSupernaturalepisodeiswelcomeontheconventionstage.Unlikethefan
conventionschronicledinBaconSmith'sEnterprisingWomen(1992),whenitwas
difficulttodrumupenoughmoneyforoneortwoactorstovisit,Supernatural
conventionsmayfeatureasmanyas10oftheshows'actors.Conventiongoersmay
purchaseweekendpackages,brunchandcocktail/desserthourswiththestars,
questionandanswersessions,photoops,autographsignings,auctions,orconcert
ticketsformusiciansJasonMannsorSteveCarlson.Thatthesetwoperformershappen
tobeclosefriendswithseriesstarAckles(andhavelittletodowiththeseries)isonly
oneexampleofthekindof"friendsandfamily"attitudethathasbecomepartand
parceloftheSupernaturalexperienceandonethatfansdon'tseemtomindpayingfor
(ZubernisandLarsen2009,56).Padaleckihimselfisknowntopopintotheaudience
foranimpromptubearhug,whileotheractorscanbeseenhangingoutinthehotel
barandsingingkaraokewiththeattendees(58,61).
[5.5] Forthefanswhocannotattendconventionsinperson,thosewhodoattend
quicklysharetheirexperiencesthroughonlinecommunitiesandindividualjournals.
ConventiongoersracetotheWebtoposttheirphotosandvideos;someevenpost
immediatelyaftersessionsend,orsendtextmessagesandpicturestoonlinefriends
allovertheworldwhiletheactorsarestillonstage.Thesegatherings,alongwiththe
accessibilityofsomeoftheshow'sactorsontheInternetviablogs,Facebook,and
Twitter,haveearnedSupernaturalanimmenseamountofgoodwillfromitsfansand
areoftencitedinonlinejournalsasanimpetusforviewerloyalty(note4).One
Supernaturalfanwrote,"Whenyouconsidertheiraccessibilitytofansviaconventions
andthelike,I'dsaythey'vedoneaprettygoodjoboflettingusknowwe're
appreciated.FarmorethanthemakersofanythingelseontelevisionthatIknowof"
(invisiblelove,April3,2009).ActorCharlesMalikWhitfield(AgentVictorHenriksen)
echoedthefans'sentimentatthe2008ChicagoConvention:"It'skindoflikehanging
outwithfamily…it'salotoffuntointeractwithfansandgettheirperspectiveon
things"(ZubernisandLarsen2009,59).
[5.6] Butaudienceinteractiongoesbeyondlightheartedfun;eachconvention
inevitablybringsonwhatfanstermwank,withcertainfansactingoutoflinewhileat
theconventionand/orangrygossipspreadingabouteventsafterward.Whetheritbea
personwithanagenda(aswithanaudiencememberquestioningJaredPadalecki's
workwithPETAat"SalutetoSupernatural"Vancouver2009)orafanbeingtoohands
on(aswiththeimplementationofa"notouching"ruleatAsylum2009),fanshave
cometoexpectthattherewillbetroublewheneveralargegroupispermittedto
interactwiththeshow'sstars.However,eventhoughtherulessetforthareoften
broken,withtheoptionsofskippingconventionsandangeringfansorattendingand
makingfanshappy,eachconventionseesmoreandmoreoftheshow'sactorsmaking
appearances.
[5.7] Itisnotonlypostconventionwankthatcausescontentionbetweenfandomand
theactorsandproducersoftheprogram.Fanopinionalsohasdirectrepercussionson
Supernatural'stext.WhenfancommentsreachseriescreatorEricKripke,heoften
respondsindirectlytofans'concernsviaprintandvideointerviewsorrepliesdirectly
tofansonline,aswhenhepostedontheWebsiteDaemon'sTV(2008)regardingfan
outrageoverSamcallingDeana"dick"in4.06"YellowFever."Kripkehas,alongwith
membersofhiswritingstaff,alsorevealedthatcertainstoryarcsandcharactersinthe
showhavebeenaltered,reconceived,orentirelyaxedasaresultoffanreaction.Most
notably,inseason2thecharacterofJoHarvellebeganasastrongfemalecharacter
andapossibleromanticinterestforDeanWinchester(2.02"EverybodyLovesa
Clown").Shethenshiftedtomoreofalittlesisterfigureandadamselindistress(2.06
"NoExit,"2.14"BornUnderaBadSign"),beforeshewaserasedfromtheshow
entirely.TheadjustmentofJoHarvelleandherexitfromthenarrativewerebasedon
thereactionsfromtheshow'spredominantlyfemalefanbase,whichimmediately
madecleartheybrookednointerferencewiththeWinchesterbrothers'solid
relationshipbyanoutsidefemalesource(Borsellino2008,107–17).Thewriters
attemptedtoaddfemalecharacterstothemixagaininseason3withdemonRuby
andthiefBela,butbyseason4hadlearnedtheirlesson.Theonlynewleadcharacter
addedtotherosterwasCastiel,angeloftheLordanddecidedlymale,whileRubywas
revealedtobeatraitorandviolentlykilled.Femalecharacters,JoHarvelleandher
motherEllenincluded,maymaketemporaryvisitsinthefuture,butasforpermanent
fixturesinSupernatural'sworld,thewritersnowtakeheedofviewers'pastreactions.
[5.8] Itisinthewriters'roomthatmostoftheissuesbetweentheSupernaturalcult
fanandtheshowcometothefore.Therelationshipbetweenwriterandcultfan
appearstobeadoubleedgedsword;whilethecreativeteamhasdirectcontrolover
thetext,theyarepressuredbySupernatural'sincrediblyvocalfandom.With
Supernatural'sfanshaving"discovered"andcelebratedthetextindependentlyofa
dedicatedpursuitbythenetworkandanovertinvitationbyitsproducers,thedegree
ofsharedownershipfeltisstrongerthanthatofaprogramsuchasLost,wherethe
relationshipbetweentheproductandfanhasbeencalculatedandcontrolledsincethe
program'sveryinception.ForSupernatural'sstaff,thefigureofthecultfanisbotha
boonandaburden,simultaneouslyassuringtheirpowerandthreateningit."The
MonsterattheEndofThisBook"isanefforttotipthebalancebackintheproducers'
favorwhileacknowledgingthattheprogramisnothingifnotacultshow,buoyedby
fans'emotionalandeconomicattentions.Speakingofthisepisode,creatorEricKripke
statedatComicCon2009:"Ihavesuchatempestuous,loving,conflictedrelationship
withtheonlinefandomthat…Iwasattractedtothepossibilityofpoking…veryloving
fun"(Gonturan742009).Whetherornotthisfunwasinfactpokedlovinglyisoneof
themaincriticismsthatSupernaturalfansbroughtagainst"Monster"andoneofthe
mostimportanttoconsiderwhendiscussingthepowerstructuresbetween
Supernaturalanditsfandom.
6. The power of (mis)representation
[6.1] "TheMonsterattheEndofThisBook,"writtenbyJulieSiege(withstoryby
JulieSiegeandNancyWeiner),beginswithSamandDeanWinchestervisitingacomic
bookshopinthecourseofanongoinginvestigation.Thisinvestigation,however,is
promptlydroppedwhentheyareledtodiscoveraseriesofcultnovelstitled
Supernaturalthatmindbogglinglychronicleeveryintimatedetailoftheirlives.
AttemptingtotrackdownthewriterofSupernatural,theboysfirsthittheInternet,
wheretheyencounterasmallbutrabidfollowingthatDeanobserves"suredo
complainalot"whiledividingthemselvesintoferventfactionsofSamGirlsandDean
Girls.Deantakesissuewithacomplaintlodgedbyposter"Simpatico"(whichhappens
tobetheusernameofanactualTWOPcritic),whileSammakesparticularnoteofa
genreoffanfictionwhereinthetwobrothersengageinasexualrelationship
(Tosenberger2008,1.1)."AsinSamslashDean.Together,"heexplainstoDean,
leavingthembothfeelingdisturbed.TherealityisthatinSupernaturalfandom,this
Sam/Deangenre,identifiedbytheslangtermWincest,isoneofthemostpopular
romanticpairings,takingupanestimated40percentoftheonlinecreativeoutput
(Turner2008,157).
[6.2] Ifthewinkingjokehadstoppedthere,perhaps"TheMonsterattheEndofThis
Book"wouldwarrantonlyapassingmentionincriticalstudiesoffandomasan
audaciousacknowledgmentofcultfancriticism,fiction,andcommunity,butthe
knowingnodscontinueonandmuchmorepointedly.Injokesaremadeforthe
devotedfantocatch,suchasthepseudonymfortheauthorofthepulpserieswithin
theepisode,CarverEdlund,whichisacombinationofserieswritersJeremyCarver
andBenEdlund.IntryingtodiscoverthetrueidentityofCarverEdlund,Samand
Deanmeetwiththebook'spublisher,SeraSiege.Hername,anothermashupof
writers'names,isonlylistedontheIMDBinformationfortheepisodeandisnever
mentionedintheshow;hence,learningthisadditionalinformationisarewardonlyfor
fanswhogotheextramileanddotheirresearch.Thatthepublisherisawoman(and
notaman,as"CarverEdlund"isrevealedtobe)underlinesthisdirectanddebatably
hilarioussendupofthestereotypicalSupernaturalfangirl.Asshediscusses
Supernatural,Seralingersoverhercompletesetofthenovels,caressingtheir
bindingslovingly.SuspiciousofSamandDean'strueintentionsinpursuing
informationaboutthenovels,shequizzesthemabouttheWinchesters'birthdays,
favoritetunes,themakeandmodelofDean'scar,andSam'sscoreontheLSATs.She
referstoSamandDeanas"myboys,"acommonpracticeamongSPNfans,and
revealsherpentagramtattoo,whichmatchesthedesigntheWinchesterseachhave
inkedontheirchests(hersisinkedinafarmoresuggestiveandprivatelocation).
Goingastepfurther,thepublisherisportrayedbyactressKeeganConnorTracy,
whomfansintheknowwouldrecognizeashavingpreviouslyappearedasgrieving
widowandfuturemurdervictimKarenGilesin2.07"TheUsualSuspects"(note5).
[6.3] Fanresponsetothethreeopeningscenesoftheepisoderangedfromhonored
andamusedtoembarrassedandhurt.Someotherswereplainlyunsettledbytheopen
acknowledgmentoffandomandallofitsquirks,mostespeciallythementionofslash
fiction(Charles2009).(Episoderecapswithfanreactionareavailableat
http://tvguide.com,http://buddytv.com,andhttp://supernatural.tv.)Onefan,Zara,
postedapositiveresponseatsupernatural.tv:"Ilovedthiseppie!Allthereferencesto
thereallifefanstuff,fromSamgirls,Deangirls,tothecommentsaboutslashandthe
negativecommentsthataresometimespostedontheboards…Itwasaverycoolway
tovalidateusfans"(Supernatural.tv2009b).Morenegativeresponseswerearchived
atothercommunities,someofwhichfocusedontherepresentationnotjustoffangirls
inparticulartoSupernatural,butalsooffandomsingeneral.Sometimesreferredtoas
the"FandomisFightClub"rule—thatis,"Don'ttalkaboutfandom"—manyfanswere
botheredbytheironlineactivitiesbeingsoblatantlyexposed.Somefansexpressed
worryaboutmainstreamviewersnotreallyunderstandingthefullcontextofcultfan
practices,whileotherswereconcernedthey'dsuddenlyfaceuncomfortablequestions
fromcasualfansregardingslashfictionandthelike.
[6.4] SupernaturalhasnevershiedawayfromshiningalightontheInternetandthe
practicesofitsusers,soperhapsthiscollisionwasanaturalprogressiongiventhe
closenessoftheonlineworldtothetext.Sam'slaptopishismainresearchtoolandhe
visitsamateurandfancommunitiestofindleadsonpossiblecases;Internetsources
havebeencontinuallyreaffirmedwithintheshow'sdiegesistobeworthysource
material(Brickley2008,271).Funhasevenbeenpokedbeforeattheexpenseof
onlinefansofthesupernatural:1.17"HellHouse,"3.13"Ghostfacers,"and4.17"It'sa
TerribleLife"featuredtheduoEdZeddmoreandHarrySpengler,bumblingamateur
ghosthunters,Webmastersofhellhoundslair.com,andpointedly,hugeBuffyfans.
With"TheMonsterattheEndofThisBook,"Supernaturalturneditsgazeontoitsown
communityoffans,andinsodoing,furtherblurredtheboundariesbetweenfanand
product.
[6.5] "TheMonsterattheEndofThisBook,"however,referencesnotonlyitsfans,
butalsoitscreators.WhenSamandDeanlocatethetrueauthoroftheSupernatural
books,ChuckShurley,theyfindhimholedupinarundownhouse,selfmedicatinghis
headacheswithalcoholandwritinghisnovelsfornomonetarygain.Oncethebrothers
explainthatShurleyhassomehowbeenwritingabouttheirreallives,Chuck
determinesthat"there'sonlyoneexplanation.ObviouslyI'magod…Iwritethings,and
theycometolife.I'mdefinitelyagod.Acruel,cruel,capriciousgod.ThethingsIput
youthrough!"Thisbombasticassumptionshowsthewriteraslaughablyegotisticaland
presumablyissupposedtoshowthattheSupernaturalwritersarepokinglovingfun
notonlyatthefans,butalsoatthemselves,especiallywhenChuck,dismayed,
continues:"Didyoureallyhavetolivethroughthebugs?Whatabouttheghostship?I
amsosorry.Imean,horrorisonething,butbeingforcedtolivebadwriting…"These
selfdeprecatingreferencesaretoepisodes1.08"Bugs"and3.06"RedSkyat
Morning,"withwhichEricKripkehasmentionedbeingdisappointedattheirquality
(Knight2007,50–51,2009,12–13).ThisselfreflexiveexercisejokinglypositionsEric
Kripkeasanallknowing,allpowerfulgodandwe,thefans,ashisfollowers.While
thisisarelationshipreferredtoinjest,underneaththejokeliesakerneloftruth,even
moresolateronwhenChuckisrevealedtobeaprophetwhose"WinchesterGospel"
hasearnedhimprotectionfromthearchangels.
[6.6] ForwhileKripkeandcompanymaybelaughingatthemselves,theydosofrom
thecomfortofthewriters'room,aseriouspositionofpower.Indolingoutjokes,there
isthepresumptionthatbydirectingcriticismsatthemselvestherewillbeafeeling
thattheyarelaughingwiththefans,notatthem.Butjokesmadeatthewriters'and
fans'expensehaveunequalcosts,asthewritershavenothingtolosebymakingfunof
themselves."TheMonsterattheEndofThisBook"reinforcesthepowerofthewriters
andremindscultfansthattheymayonlyreceivewhatisoffered.Inthissituation,the
cultfans'activitiesandemotionalattachmentsareexposedformainstream
consumptionandthecultfanhasnowaytorecallthatinformationonceitisreleased.
Theacknowledgmentoffanbehaviorwithinthisepisodeisnotanovertinvitationto
participate,butademonstrationthattheproducers/writersoftheprogramareaware
ofexactlywhattheirfandomisdoingwithoutaninvitation.Whatevertheproducers'
statedintentions,whethertheirdiehardfansviewthisasaninclusiveorexclusive
act,acomplimentoraninsult,theendresultisthesame.Thecultfanisreminded
thats/hecannotdecidewhatistobeincludedandexcluded,whocanbe
complimentedorinsulted.Fansmayfeelacertainwayinresponsetotheepisode,but
theycannotchangeit.Theycanpostabouttheirangerortheirdelight,butthey
cannotcreateanofficialepisodeoftheirownwhereinthecultfanisdepictedina
manneroftheirchoosing.Byrepresentingtheirfansinthemannertheyseefitwithin
thecanonoftheprogram,Supernaturalhaswrestedsomecontrolbacktothesideof
productionandleftthefanstoeitheracceptitornot.Althoughnotaharshdisciplinary
actionlikethevillainyoftheobsessivefantrioinBuffy'sseason6,"TheMonsteratthe
EndofThisBook"canbeseenasaremindertoSupernaturalfandom,deliveredwitha
smile,ofwhoexactlyisincharge.
[6.7] Asiftoshowthatitwasnotagestureofillwill,theacknowledgmentoffandom
withintheshow'scanonwillapparentlycontinueinseason5.In5.01"Sympathyfor
theDevil,"Chuckturnstohisselfprofessednumberonefan,Becky,forhelpwhenhe
isunabletogetamessagetoDeanandSam.TakingabreakfromwritingaWincest
ficinordertospeakwithChuck,BeckyisexcitedbyChuck'scallbutquicklybecomes
disappointedwhenshebelievesChuckismerelymakingfun.AfterchastisingChuckfor
treatingherlikeacrazyfangirlwhodoesn'tknowthedifferencebetweenfantasyand
reality,shegiddilyproclaims:"Iknewit!"whenheinformsherthestoriesarereal.
This"I'mhonored/I'minsulted/I'mhonored"flipflopofareactionbyBeckyechoes
fandom'sreactionto"TheMonsterattheEndofThisBook."Becky,unlikethefan
figuresdepictedinBuffy,isthenenlistedasanaidtotheheroes'quest,helpfully
gettingtheimportantmessagetoSamandDean(andtakinganopportunitytocoo
overSamandfeelhimupintheprocess).Beckymayreturninlaterepisodesorshe
maynevershowupagain,butthemessagetotheshow'sfansisclear.Cultfansof
Supernaturalmaybevocal,sometimesdemanding,sometimesdifficult,butacult
showneedsitscultfansinordertocontinueon.WhetherSupernatural'scultfanslike
itornot,therewillalwaysbeSeraSiege,tearingupovertheboys'hardestmoments,
andtherewillalwaysbeBecky,smilingathercomputerscreenasshetypesupher
latestWinceststory.Offensivetosome,endearingtoothers,Supernatural'sproducers
may(mis)representSupernatural'sdedicatedfans,butintheend,SeraandBeckyare
theonlycultfansoverwhomtheproducershavecompletecontrol.Andwhile
Supernatural'srealcultfanswillneverhavemorepoweroverthetextthanits
producers,thatdoesnotmeantheyareentirelypowerless.
7. Acknowledgments
IthankJuliaArébalo,TarahBrookfield,MeganReilly,andErikaSweetforreviewing
andcommentinguponearlierdrafts.
8. Notes
1.Throughout,thetermproducerwillbeusedforthesakeofeaseandclarityto
representnotjustthosewhoholdthetitleofproducer,butalsothoseinvolvedinthe
preproduction,production,andpostproductionofthetext,i.e.,thewriters,directors,
editors,andnetworkexecutives.
2.TheWestWing3.16"TheU.S.PoetLaureate"featuredJoshLymaninteractingwith
hisownteamofonlinefangirls.TheXFiles6.18"Milagro"depictedScullydealingwith
anadmirerwritingstoriesinvolvingherasacharacter.ThethreeXena:Warrior
Princessepisodesthatnodtofandomare2.15"ADayintheLife,"6.13"YouAre
There,"and6.16"SendintheClones."SeeRoss(2008,39–40)fordetailed
descriptionsoftheseepisodes.
3.CreationEntertainmentisresponsibleforthebulkofSupernaturalevents.EyeCon,
heldinOrlando,Florida,andhostedbyInterstellarProductions;AllHellBreaksLoose,
heldinSydney,Australia,andhostedbyTheHubProductions;andAsylum,heldin
Birmingham,UK,andhostedbyRogueEvents,areamongthefewnotpartofCreation
Entertainment'scatalog.TheSupernaturalteamhasalsomadeappearancesatthe
SanDiegoComicCon.Supernaturalfansannuallyholdanunofficialfansonly
gatheringcalledWinchesterCon(or"Wincon")atchanginglocations.
4.SupernaturalgueststarsJimBeaver(BobbySinger),ChadLindberg(Ash),and
conventionentertainerJasonMannsallholdFacebookaccountsandleavethemopen
topublicconsumption,whileSamanthaFerris(EllenHarvelle)hasherownblog,
samanthaferris.net,whereshecommunicatesdirectlywithfans.Season4addition
MishaCollins(Castiel)hasbecomesomethingofasensationwithhisTwitteraccount,
whereheconverseswithSupernaturalfanswhocallthemselves"Misha'sMinions."
5.Otherfandomnodswithin4.18"TheMonsterattheEndofThisBook"includethe
diner'sname,"Kripke'sHollow,"acombinationofshowcreator'sEricKripke'sname
andStarsHollow,thefictionaltownofPadalecki'sprevioustelevisionprogramGilmore
Girls,withLuke'sDinerasoneofthemainlocales.DeaninstructingSamtousethe
MagicFingersorwatchCasaEroticaisareferencetopreviousepisodes2.13"Houses
oftheHoly"and2.04"ChildrenShouldn'tPlayWithDeadThings,"respectively.
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Transformative Works and Cultures,Vol 4 (2010)
Praxis
Annihilating love and heterosexuality without women: Romance,
generic difference, and queer politics in Supernatural fan fiction
Monica Flegel and Jenny Roth
Lakehead University, Thunder Bay, Ontario, Canada
[0.1] Abstract—Thisessayexaminesthedifferinggenerictropesandsexualpolitics
evidentinSupernaturalslashandinJ2fanfic.Wearguethatwhilesomestories
withinSupernaturalfanfictionprovidehappyendingstothecharactersthatare
deniedthemintheshow'scanon,dark!ficinsteadfocusesontheintensityand
exclusivityofSamandDean'slove,thusilluminatingdangersattheheartofthe
onetruelovetrope.WealsoarguethatRPSwrittenwithintheSupernaturalfan
communitydemonstratesgreateradherencetoconventionalromancetropesand
normativesexualities,andthusrevealsimportantideologicalconstructsof
heteronormativity.
[0.2] Keywords—Fanfiction;Gender;J2;Realpersonslash;Sexuality;Slash.
Flegel,Monica,andJennyRoth.2010.Annihilatingloveandheterosexualitywithout
women:Romance,genericdifference,andqueerpoliticsinSupernaturalfanfiction.
TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0133.
doi:10.3983/twc.2010.0133
1. Introduction
[1.1] Withintherealmoffanfiction,realpersonslash(RPS)isoftenconstructedas
thegenreevenslasherslookdownupon.Tooeasilyassociatedwithstalking,
fanaticism,andtinhattism—tinhatisaderogatorytermappliedtofanswho,other
fansbelieve,failtorecognizethedifferencebetweenfictionalstoriesaboutrealpeople
andthosepeople'sreallives—RPSisbannedfromthelargestfanfictionsite,
Fanfiction.net,because"it'sconsideredokaytoplaywithcharacters,butnotwithreal
people"(Lee2003,71).Despiteitsdenigration,RPSfictioninSupernaturalfandomis
extremelycommon:accordingtotheSuperwiki,RPSstoriesappearedwithinthefirst
yearoftheshow'shistory(http://www.supernaturalwiki.com/index.php?
title=Real_Person_Fiction&oldid=12623),therearenumeroussitesdevotedtopairing
themainactors(note1),andasmanyashalfofthestoriesbeingwrittenbythe
fandomonLiveJournalareRPS.AccordingtotheSuperwiki,oneexplanationforthe
unusualpopularityofRPSinSupernaturalfandomisthat"becausethemainpairingin
thefandom,Sam/Dean,isincestuous,slashwritersuncomfortablewiththishave
turnedtowritingRPS,evenifitisagenretheywouldhaveshunnedinother
fandoms."Suchanexplanationdoesnotaccountforthemanyauthorswhowriteboth
slashandRPS,however,norforthestorychallengesthatincludebothgenres(note
2).PopularfanfictionrecommendationsitessuchasCrackImpala,generalfanfiction
communitiessuchasSupernaturalfic,andcommunitysitessuchastheSupernatural
RoundTableandtheSupernaturalNewsletter,forexample,alldealwithboth
SupernaturalslashandRPS.Ingeneral,itwouldappearthatSupernaturalfandom
acknowledgesandacceptsbothgenresequally.
[1.2] AstheSuperwikisuggests,somefans'discomfortwithWincestmayaccount
forsomeoftheprevalenceofRPSinthefandom,butwefindabetterexplanationfor
itspopularitytobethatRPSdoessignificantlydifferentworkthanthecanonbased
slash,particularlyinitsconstructionofromanticrelationships.Slashisaslippery
genrewhichhasbeendefinedmultiplyasbuddystorybromance,romance,orjust
plainporn(orpr0n,asthecasemaybe)(BaconSmith1992;Scodari2003;Lee2003;
Kustritz2003;Woledge2005,2006;Driscoll2006;Green,Jenkins,andJenkins2006).
Oneofthereasonsforthedifficultyofdefiningslashisthatstoriestendtocontain
elementsthatcanbeascribedtoallthreecategories,andthemeaningofthetextcan
shiftdependingonhowdifferentreaderstakeupthestoriesindifferenttimes,places,
andcultures.TherearecertainlymanysimilaritiestobefoundbetweenSupernatural
slashandJ2RPS(namedfortheactors,JaredPadaleckiandJensenAckles),butthere
arealsofascinatingdistinctions:J2RPS,whichisnotrestrictedbythefamilial
relationshipinthecanon,isfarmorelikelytofollowtraditionalnarrativesofcourtship,
basedinlargepartontropesfromromanticcomedy,whileslashisoftenbasedupon
themore"epic"narrativeof"onetruelove";J2RPStendstoplacetheboyswithin
communitiesoffriendsandfamily,whereastheslashfocusesinlargepartontheboys'
isolation;J2storiesareoftenlightheartedintone,whiletheslashisoftendarkand
focusesuponimagesofclaustrophobia,desperation,andsuffering(unsurprisingly,
giventhesourcetext);andRPSstoriesare,ontheirsurface,farmorelikelytodeal
directlywithissuesofhomosexuality,homophobia,andstraightandqueerpolitics
thanistheslash.
[1.3] Whatisfascinatingabouttheexistenceoftworelated,interchangeablyenjoyed
andvalueddiscoursesinSupernaturalfanfictionisthatfansthemselveshave
organicallycreatedthisdistinction.Thatistosay:thereisnoreason,ultimately,for
thisseparationbetweentheoftenmoreconventionalromanceofJ2RPSandthe
sometimesisolateddesperationofslash;fanfictionisfamouslycapaciousinthe
narrativesitencompasses,andalternateuniverse(AU)storiesarenotuncommon.
Supernaturalfanfictionauthorscan,anddo,writeslashstoriesfeaturingSamand
DeanthatincludemanyofthecharacteristicsweascribetoJ2fictionabove,andJ2
writersalsocraftstoriesthatareasdarkandangstheavyasevenSupernatural
canon;nevertheless,itoftenseemsthatgiventhechoice,eventhechoiceofagenre
sodislikedasRPS,fansdochoosetowritedistinctlydifferentstoriesinJ2RPSthan
theydoinslash.Inonecase,theauthorAeroplane_artreworkedwhatwasoriginallya
Sam/DeanAU,"SkyinaBox,"inordertomakeitJ2bychangingthecharacters'
namestothoseoftheactorsassociatedwiththeshowandtheirfriends.Tellingly,one
recommendationforthenewversionargued,"ItsomehowworksevenbetterasaJ2
story"(Lexzilla,"J2AURecs,"LiveJournalpost).Readingaselectionofboth
SupernaturalslashandJ2RPS,wewillexaminethelogicthatallowsastoryto"work
better"withinthelattergenre.Wewillarguethatthedistinctionsbetweenthetwo
speaktotheconstrictionsandlimitationsofbothslashandpopularromance:RPS
stories,thatis,providenarrativeimaginingsthatarenotsoeasilyencompassedwithin
theslashframework,and,conversely,theslashpairingprovidessomethingthat
cannoteasilybesubsumedwithinpopularromance.Therefore,theseparationofthe
twogenresinSupernaturalfandomrevealsfans'owncomplexreactionstoand
negotiationsofgenericdifference.
[1.4] Someoftherestrictionsandlimitationsatworkwithinthesegenreshavetodo
withthesexualpoliticsinherentinpopularromanceandtheculturalconstructionsof
queerness.Oneoftheaimsofculturalstudiesistoexaminesocalledlowculturetexts
—suchasfanfiction—inordertounderstandtheworkingsofideologyandto
interrogatedominantculturalvalues.Byrevealingitssocialconstruction,Supernatural
slashandJ2RPSshowthatpopularromanceoffersacomplexspaceinwhichromantic
tropescanbebothsubvertedandperpetuated.Furthermore,whilebothgenrescan
tellussomethingaboutthenegotiationandtransformationoftraditionalromance
tropes,theyalsorevealmyriadquestionsaboutrepresentationsofsamesexdesirein
relationtobothisolationandcommunity.Thelatteris,forus,oneofthemost
intriguingdifferencesbetweenJ2RPSandSupernaturalslash.Itjustmightbethe
casethathappyendingsformale/malepairsdonotnecessarilysignaltransgressiveor
subversiveromanticrelationships,andthatdirectlydealingwithissuesof
homosexualitydoesnotnecessarilysignalabreakfromheteronormativenarrativesof
romanceandpartnership.
2. Supernatural slash
[2.1] In"'TheEpicLoveStoryofSamandDean':Supernatural,QueerReadings,and
theRomanceofIncestuousFanFiction,"CatherineTosenbergerconvincinglyargues
thatSupernaturalslashwriterssubverttheirsourcetextbecause"theymakethings
happy—aconsistentthemeofSupernaturalslashisthataromancebetweenSamand
Deanwillgivethemameasureofcomfortandhappinessthattheyaredeniedinthe
series"(2008,1.5).Shesupportsherargumentwithreferenceto"moderngenre
romancenovels,"inwhichtrueloveisrepresentedas"onenesswiththebeloved."
Incestuouslove,shesuggests,is,"arguably,theneplusultraofoneness,aslovers
areunitednotsimplyinbodyandsoul,butinblood"(2008,2.1).InSupernatural
slash,fannishrepresentationsofincest"positSamandDean'sromanticattachmentas
merely'anextensionandintensification'oftheiralreadyoverwhelminglove'"(2008,
4.8).
[2.2] WhileTosenberger'sreadingofSam/Deanstoriescertainlyaccordswithmuch
ofthefictioncurrentlycirculatinginthefandom,itdoesnotencompasstheSam/Dean
storiesthatexploretheirincestuousrelationshipasoneofpain,desperation,and
annihilation.Certainly,the"overwhelminglove"thatTosenbergerrefersto—andwhich
isclearlypresentinthesourcetextandinmostofthefanfiction,genandslash,
writtenabouttheshow—canlenditselfbothtoutopianexplorationsof"onenesswith
thebeloved"andtomoreclaustrophobicexaminationsofatooclose,toointense
pairing.
[2.3] TheseclaustrophobicexaminationsofSam/Deanloveprovideacommentary
upontheverynotionof"onetruelove"andtheinherentdysfunctionattheheartof
thatconcept.TosenbergeracknowledgesthattheinabilityofSamandDeantoform
romanticattachmentsintheshowleadstoan"intense,exclusive,excessive"love
betweenthecharacters.Shearguesthatthisloveis"notnecessarilyromantic,[but]
ourculturecodesromanticloveassimilarlyexcessive,sotheshowmakesitveryeasy
toreadSamandDean'sexcessiveloveasromantic"(2008,2.2).Whileweagree,we
alsoarguethatwhenSupernaturalslashstoriesrepresent"onetruelove"innegative
waysorsubversiveways,thentheromanticnatureofsuchexcessiveloveiscalled
intoquestion;inotherwords,storieswhichfocusonthedangerousordarkerelements
ofthelovebetweenSamandDeanmayprovideacriticalcommentaryupononetrue
loveromance,asopposedtoiterationsofit.
[2.4] Dark!ficandangstheavyplotsandcharacterizationshavealwaysbeen
commoninSupernaturalfanfiction,echoingthedarktoneoftheshowitself,andfans
have,fromthebeginning,exploredthedangersinherentintheintenseloveSamand
Deanshare.Aswell,theshow'srepresentationofSamandDean'srelationship,
particularlyinseasons3and4,hasincreasinglyfocusedonthepaintheyexperience
asaresultoftheirintensecodependency.AfterDeansellshissoultobringSamback
fromthedeadattheendofseason2,thegroundissettoexaminetheimplicationsof
hisdecision.Bobby'sconfrontationwithDeanin2.22"AllHellBreaksLoose2"reveals
thatDean'sdecisionisbasednotsolelyonloveforSam,butalsoonDean'sself
hatred;SamcastigatesDeanfornotbeingabletothinkofhisownneedswhenhe
yells,"Idon'twantyoutoworryaboutme,Dean.Iwantyoutoworryaboutyou"
(3.06"RedSkyatMorning").In3.11"MysterySpot,"theTricksterattempts,in
typicallyunhelpfulfashion,toteachSamalessonaboutloveandselfsacrifice,
arguing,"Thewayyoutwokeepsacrificingyourselvesforeachother?Nothinggood
comesoutofit.Justbloodandpain,"andin3.16"NoRestfortheWicked"evenDean,
themodelofselfsacrificingloveinthefirsttwoseasons,saystoSam,"You'remy
weakspot.AndI'myours,"andfinallyacknowledgeshismistakeinsellinghissoul:
"Lookhowthatturnedout."Season4,withitsfocusupontheriftbetweenSamand
Dean,inparttheresultofthesacrificestheymadeforeachotherinthepast,further
examinedthepossibilitythatthelovethatSamandDeansharemaybeascapableof
tearingthemapartasofholdingthemtogether.Seasons3and4,thatis,reversethe
messageofseasons1and2thattheyare"strongerasafamily"(1.20"DeadMan's
Blood"),andinsteadrepresenttheWinchesters'familialtiesasatacticalweaknessin
thewaragainstevil—"Imean,"saysDean,"whatwe'lldoforeachother,howfarwe'll
go?They'reusingitagainstus"(3.16"NoRestfortheWicked").Suchcanonical
commentaryreconfigurestheintenselovebetweenSamandDeantoexaminethe
consequencesofarelationshipthatseemstoknownoboundsandthathasthe
potentialtobebothselfannihilatingandutterlyisolating.
[2.5] Therefore,thoughTosenbergerpointsoutthat"manyfansarguethat[Samand
Dean's]loveissoexcessivethatsexualdesirewillnotfundamentallyaltertheir
investmentineachother"(2008,4.8),itisneverthelessalsotruethattheexploration
ofasexualrelationshipbetweenSamandDeaninfanfiction,particularlyinthelight
oftheshiftingcanonicalrepresentationsoftheirlove,oftenincludesarecognitionof
theproblemsthattheadditionofasexual,romanticelementbringstoapairingthatis
alreadytooclose.InFleshflutter's"There'saDevilWaitingoutsideYourDoor"(May9,
2008,LiveJournalpost),Carmenishorrifiedtofindthatshehasbeenmerelyastand
inforDeaninheraffairwithSam:"Samandme…wasn'taboutmeatall.Iwasjust…
thenextbestthing,asteppingstone."Dean'sresponserevealsthedepthsofhis
relationshipwithSam:"Deangoesverystill,shouldershunchedandhiseyesfixedon
herwarily,nothingbutacorneredanimal.Thenhestraightensupandsmileswithout
anythingwarmorhappytoit.'WhatfuckinghopedidIhaveoftellinghimno?'"That
thisstoryissetintheWishuniverseDeanencountersin2.20"WhatIsandWhat
ShouldNeverBe"demonstratesthatwhatmightbewrongwithSamandDeanisnot
somuchthenightmareworldtheyoccupy,butalackofboundariesthatmeanseach
risksbeingabsorbedintheneedsoftheother,sometimesagainsthiswill.
[2.6] InCandle_Beck's"GoneAgain"(August23,2008,LiveJournalpost),itisthe
veryprospectofclosecommunionwiththeotherwhichtearsSamandDeanapartas
Samseekstoavoidselfannihilation.DeanofferseverythingtoSam:"'IfIcangetall
ofyou,'Deansayswithoutlookingover.'Youcanhaveallofme.'"Samcanonlyargue
helplesslybackthat"thisthingiskillingbothofus"whiledesperatelyholdingout
againsttheunityDeanoffershim:"Jesus,Dean,youalreadyhavealmosteverything.
Thisthing,it,it'stoomuch,it'saskingtoomuch."Similarly,"onenesswiththe
beloved"iscodedasdangerousabsorptioninBritomart_is's"MeandtheDevilBlues"
and"BuryMyBodydownbytheHighwaySide"(April23,2008andMay1,2008,
LiveJournalposts).Inthesepost–season3stories,SamtakesDean'sdemonicsoul
intohisbodyasawayofsavingDean,andisleftdealingwithDean'sdemonic
impulses.WhenBobbyreactswithhorrortowhatSamhasdone,Demon!Dean!Sam
attackshim:"WhenBobby'sbodyslamsagainstthewall,Sam'snotsureifit'shimor
Deanthatdoesit.Heleaveswithoutcheckingforapulse,needstogetoutofthere
andnevercomeback."TheattackismetwithmatteroffactnessfromDemon!Dean:
"Should'veletmekillhim.He'lltellothers.Huntus."SamrepliesthatBobbyis"a
friend."Dean'sreply—"Youdon'tneedhim.Youhaveme"—ismetwithacceptance
fromSam:"'Iknow,'Samsays,andit'strue.Hehaseverythingheneeds'"(April4,
2008,LiveJournalpost).Thisdarkversionof"onenesswiththebeloved"meansthat
Sam'sacceptanceofsocialisolationandtheliteralannihilationofhisindependent
identityisconstructedinaccordancewithademon'sconceptofneed.Theendingmay
becodedasromanticbecausethebrothersachieveonenessandunion,butthe
completionSamandDeanfindineachotherisdangerous,and,importantly,it
inevitablyisolatesthemfromalargercommunity.
[2.7] Tosenbergerarguesthatthe"threatofcommunityexpulsionthatcomesfrom
thebreakingoftheincesttabooissimplynotpresentforSamandDean"(2008,5.3),
butcommunityexpulsiondoesstructuremanyoftheWinceststories.Typical
explanatoryslashdevicesincludedistancingthecharactersfromrealitybyplacing
theminthealternatespacesoffantasyorsciencefiction,andisolatingthem(Woledge
2006,101).Thesedevicesallowthecharacters'sexualrelationshiptodevelopata
distancefromrealworldpolitics,andtheycometogetherbecausetheirisolationor
displacementcreatesamoreintimatebondandgreaterfrissonbetweenthem.In
Sam/Dean,however,suchisolationisattimesfiguredasasourceofpain.
[2.8] Xantissa's"WeaponofChoice"offersanexcellentexample.Inhisjournal,John
revealshisincreasingawarenessofyoungSam'spassionatefeelingsforDeanand
asks,"OhGod,howcouldIhavefailedmysonssobadly?!"John'sselfrecrimination
comesfromhisdesiretobe"abetterfather"who"managedtogive[his]boysareal
life,notthisconstantfight"(July2,2006,LiveJournalpost).Similarly,inVamphile's
"SniperVision,"Johnnotestheboys'codependencyandworriesabouttheircloseness:
he"wassometimesconcerned,afraid,ofthismonsterhe'dcreated.Almostno
personalspace,fewifanypersonalbelongings,perpetualfearofdeathor
abandonmentandconstantdisplacement.Theyhadnothingtoholdontobuteach
other."Later,whenhefindsthemlockedtogetherinanembrace,Johnargueswith
himself:"It'swrongthey'realltheyhave"(March24,2009,LiveJournalpost).The
worldinwhichtheboysturntoeachotherforsomethingto"holdonto"isoneof"fear"
and"nopersonalspace,"notfreedom.
[2.9] Insomecases,theapocalypticnatureofSamandDean'sstoryallowswriters
toexploretheirsocialisolationinshockinglyliteralways.InFryadvocate's"MoreGlory
toTheirEyesthanBlood,"forexample,SamandDeancometogetherintheirfinal
moments,waitingforthedestructionthathasbefalleneverythingelse:"Deanopened
hismind,openedhismouth,andleanedintokissSam,longandhard.'We'reallthere
is,'Deansaid,andSamgavehimselfoverwithasoftcry"(March30,2006,
LiveJournalpost).Sam'sfinalsurrendermirrorsthatoftheentirehumanrace—their
relationshipcanbeconsummatedonlyintheabsenceofthatworld,anditis,inmany
ways,aformofconsolationforthelossofthatworld.
[2.10] Similarly,Dru's"LionandLamb"(Drvsilla,January22,2009,LiveJournalpost)
endswiththeapocalypsedespiteSam'sassertionthatheandDeanmanagedtobeat
thesystem,thatgoodandevilare"alldispelledbecausewefinallygotthechanceto
havethatlastbigbadconfrontation,butinsteadoffightingtothedeathwefucked
eachothersenseless."Theirlovemakingisthecatalystthatkillseveryone,and
afterward,theyfindthemselvesinapastoral,prelapsariannearwilderness.Their
abilitytoliveinaworldwherethey"weren'tafraidanymore,neverhadtobeagain"is
directlyconnectedtotheunpeopledlandscapetheyinhabit.Theirlove,andthehappy
ending,areonlypossiblewheneveryonehasbeen"absolvedofmortality."
[2.11] WhatmanySam/Deanstoriesthereforeexploreisthecharacterofaromantic
orsexualrelationshipthatisbothtoointenseinitsclosenessandisolatingbyitsvery
nature.InSometimesophie's"TotheEnd,"theendoftheworldisaverted,butSamis
utterlydevastatedbythelossofhiscommunity:"Afterwards,Samcries;forBobby
andEllen,foreveryoneelse…DeanmovestoputhishandonhisshoulderandSam
flinchesawayasifburnt."Deanisunabletooffercomfortbecausetheirphysical
intimacyisforceduponthem—itisnotareflectionoftheirlove,butofthedamage
causedbyoutsideinfluences,anactofdesperationthatmustcontinueinorderto
keepdarknessatbay.ThestoryendswithDean'shopethat"maybe…somedaysoon,
Samwilllistentohim…WillhearIwantedtodoitratherthanjustrape."Hisfinal
thoughtsare"Noneofitisgoingtobeeasy.It'sthepricethey'llhavetopay"
(November15,2008,LiveJournalpost).
[2.12] ItwouldbeamistaketosuggestthatsuchdarkexplorationsofSamand
Dean'sloveforeachothersomehownegatethatlove,orthepleasurethatauthorsand
readersfindinexploringit.Wewouldargue,however,thatasarifthasdeveloped
betweenSamandDeanintheshow'scanon,sotoohasSupernaturalslash
increasinglyshowntheirloveasannihilatingordysfunctional,oralternatively,shifted
someofitsfocustotheDean/Castielpairing.ThegrowingnumbersofJ2stories(as
evidencedby,forexample,thehighernumbersofJ2storiesinthelatest
Supernatural/J2BigBangstorychallengethaninpreviousyears)suggesttousthat
fansare,inpart,findingmoreopportunitiesforhappyendingsandromantic,domestic
blissinaSupernaturalbasedpairingthatisnotboundbytheshow'sincreasinglydark
canon.
3. J2 RPS
[3.1] Demon!Dean'sassurancethatSamdoesnotrequirefriendsinBritomart_is's
"MeandtheDevilBlues"and"BuryMyBodydownbytheHighwaySide"speakstoan
importantdistinctionbetweenSupernaturalslashandJ2RPS:community.In
leodragon1andpekover's"Can'tTaketheSkyawayfromMe"(Pekodragon,February
21,2009,LiveJournalpost),forexample,JensenbreaksupwithJaredandreflects
that"hemighthavelosthislover,buthestillhadhisfriends;theyweren'tthesame
atall,but…theywerebetterthannothing.Hesmiledfondlyatthem.Theywerealot
better."SuchaconsolationisalmostunimaginableintheSupernaturalworld.
Certainly,storiesinwhichSamandDeanachievethecoreromantictropeofdomestic
bliss,whichissignifiedinromancebytheweddingorbetrothalthatendsthestory
(Kaler1999,1,4;Smith1999,53–54;Regis2003,7,21),canbefoundin
Supernaturalfanfiction.Weargue,however,thatthehappyendingwhichprovides
the"peaceofmind[that]iscentraltotheconventionofromance"(Marks1999,12),
becauseofitsfamiliarretreattodomesticity,isfarmorecommoninJ2RPS,andthat
theunionachievedbetweenJaredandJensennotonlyiscodedashealthyandstable,
butfocusesonwhatSamandDeanoftenspecificallylack:thesupportofalarger
community,ofwhichtheromanticcoupleisonlyapart.Suchnarrativesprovidewhat
criticLauraKinsalearguesispartofthepsychologicalsatisfactionofromance:"the
integrationoftheinnerself,anintegrationthatgoesondaybyday…inthelivesof
womenandmenallovertheworld,because—yes—civilizationandfamilyandgrowing
uprequireofallofus…acertainturningawayfromadventure,fromautonomy,from
whatmighthavebeen"(1992,39).
[3.2] InordertocomparethetropesinJ2RPStothoseofconventionalromance
narratives,adefinitionofromantictropesisnecessary.Ourconsiderationinthispaper
isnottheromanceoftheheroicquest,butrathertheromanceofthelovestory,"the
narrativeoffallinginlove,withalloftheobstacles,hesitations,failures,anddelays
thatheightentensionandmaketheeventualconsummationoftheloverelationship
(whetherphysicaloremotional)triumphant"(StrehleandCarden2003,xiv).John
Cawelti'searlygenrestudyfoundthatinorderforastorytobearomance"its
organizingaction"mustbe"thedevelopmentofaloverelationship…usuallythrougha
seriesofobstacleswhichneedtobeovercome,"resultinginaconclusionwhichmust
affirm"theidealsofmonogamousmarriageandfemininedomesticity"(1976,42).
AlthoughCaweltipredictedin1976that"thecomingofageofwomen'sliberationwill
inventsignificantlynewformulasforromance,ifitdoesnotleadtoatotalrejectionof
themoralfantasyoflovetriumphant"(42),theextenttowhichtheromanticformula
has,infact,beentransformedbysecondandnowthirdwavefeminismisdebatable;
popularromance,particularlytheromanticcomedy,certainlycontinuestofollow
familiar,wellwornpaths.PamelaRegis'smorerecentdefinitionofromanceconfirms
this—in2003,asin1976,thecoreelementsofromanceareexpandedbutremainvery
muchthesame(2003,19–50).
[3.3] Furthermore,althoughrecentacademicworkhasacknowledgedthatromance
comesinmanydifferentforms,atitsbaseromanceis"formulafiction"inwhich"the
storyunfoldsseamlessly,theconclusiontiesalllooseendstogetherinahappyending,
andtheconventionsblendsoperfectlythatromanceiscompletelysatisfyingtoour
expectations"(Kaler1999,1).Thatbeingsaid,the"formula"ishighlycapacious:"the
exoticism,thefantasy,thelargerthanlifecharacters,theadventure,thebreathless
excitement"ofromance"pervadesandincludesallcategories—mysteries,horror,
thrillers,western,adventure,fantasy,sciencefiction,gothic,and,ofcourse,love
stories"(6).Atitsroot,however,romance"hasahappyending,alwaysandinall
ways.Thisendearingendingisthemostcriticalandenduringconventionofthe
romancegenre"(4).Itisthisgenericelementthathasbeencritiquedbysome
feminists,whoseeitasultimatelyanabsorptionofthefeminineidentityinto
patriarchy(see,forexample,Modleski1982;Radway1984;DuPlessis1985;Rabine
1985;Langbauer1990;Ganguly1991;Dubino1993;Shaffer1993;Jackson,1995,
50;GilbertandGubar2000;andFrantz2002,althoughthelatterdoesaddresshow
romancecouldbesubversivelyfeministwithitsexpressionsofafeminineeconomyof
exchangethatispreferabletopatriarchy,ifitwerelessderided),andbyothercritics—
feministsandnonfeministsalike—whoperceiveitasaliberatingcelebrationoffemale
empowermentandequality(see,forexample,Zidle1999;Botts1999;Heinecken
1999;Regis2003).Regardless,accordingtomostcritics,thehappyendingsignified
byconsummateunionisacoreelementthatmakesastoryaromance.Itcancertainly
bearguedthatSupernaturalslashreconfigurestheromancenarrative,particularlyin
itstroublingof"lovetriumphant,"whileJ2storiescontinuetoprovideSupernaturalfan
writersandreaderswiththeopportunitytorevelinmoreconventionalromantic
tropes,placingJaredandJensenindomesticandcommunitysettingswhichsatisfy
desiresformoretraditionalhappyendings.Thedifferencebetweenthetworevealsthe
extenttowhichculturalrepresentationsofhappinessthroughlovetriumphantare
ideologicallybound.
[3.4] ThecommunityfeaturedinJ2RPSstoriesis,ofcourse,animaginedonebased
inlargepartontheactors'reallifefriendsandrelativesandonastableofactorsand
actressesoftenfoundonotherCWshows.Generally,storiesintheJ2genrefeaturea
bestfriend;anumberoffaghags,formergirlfriends,orsoontobeexgirlfriends;
familymembers;andcostarsandothersassociatedwithSupernatural.Interestingly,
withintheRPSfanon,thepersonalitiesofthesecelebritiesarefairlyset—ChadMichael
Murray,whooftenplaystheroleofJared'sbestfriend,isfrequentlyrepresentedas
eitheramostlylovableoranutterlyunrepentant"douchebag"(thetermissocommon
astorequiremention),andChristianKaneoftenappearsasacynical,devoted,and
protectivesidekick.Whetherthesestoriesaremeanttoimaginativelyrepresentthe
actuallivesoftheboysorareentirelyAU,thesamegroupsofpeopletendto
constellatearoundJaredandJensen,andareoftendirectlyinvolvedineitherplacing
obstaclesinthewayoftheboys'loveorinbringingthemtogether—usuallythelatter.
[3.5] Whattheserepresentationsofcommunityprovideisawayofimagining
romanceassomethingnegotiatedinrelationtoalreadyexistingrelationshipsoflove,
loyalty,andcommitment.Forexample,onelovermustoftenprovehimselfworthyto
thebestfriendoftheother.Insomecases,theloverdemonstratesworthinessby
makingupforhurtinghisloverinthepast,asisthecaseinKeepaofthecheez'sNew
OTP'Verse:"'When'dyougetsosmartaboutJared?'Chadwonders,toneabit
suspicious…[Jensen]glancesupagainandhisgazesnagsonJared's.'WhenIlet
myselfknowhim.Wasn'thardafterthat.'…Chadnods,thensticksoutahand.'So,
friends?'"(September19,2006,SinfulDesireArchive).Exchangessuchasthisallow
theloverstotriangulatethroughtheirfriendsinordertohavetheirrelationship
troublesmanagedandhealedinpartthroughinteractingwithothers.
[3.6] Inmanystories,posturingorthreateningonthepartofthe"bestfriend"
revealsthesocialsurveillancewhichprotectsthevulnerableorwrongedparty.In
Sometimesophie's"TheJaredPadaleckiUntitledProject"(August22,2007,LiveJournal
post),forexample,bothChristianKaneandChadMichaelMurrayactoutthehostility
andangerthatisrepressedbythenowestrangedJensenandJared,whilein
Fleshflutter's"DoISeemBulletprooftoYou?"(June24,2008,LiveJournalpost)
ChristianKanejudgesJaredbeforetherelationshipbetweenthetwoboysbegins
—"There'sanewintensityinthewayhewatchesJared,whichissomehowevenmore
unnerving"—aswellasputtinghiminhisplaceaftertherelationshiphasimploded:
"ChriscomesupanddrapeshisarmoverJensen'sshoulder.ThegrinhegivesJared
isn'tveryfriendly."Here,asinsomeothercases,friendsattempttowarnoneofthe
boysawayfromarelationshipwiththeother—"'Jensen'saniceguytoo,'Jared
interrupts.'Yes,heis,'saysTom…'it'snothimI'mworriedabout.'"However,
protectiveactionsbyafriendmoreoftenspeaktodevotionthantoadesiretoscuttle
thehappinessofthecouple.
[3.7] TheJ2fanonalsoofferssomethingnotreadilyavailableinSupernaturalfan
fiction—significantandmeaningfulrelationshipswithfemalecharacters.Supernatural
fandomhasthereputationofbeingparticularlymisogynistic,largelyasaresultof
fans'responsestothefemalecharactersontheshow(note3).Onecouldarguethat
thismisogynyis,inpart,abyproductoftheshow'sownoverarchingmisogyny,
particularlyinseasons3and4,whichfeaturemanyfemalevillainsandfartoomany
examplesofgenderedandsexualizedinsultsandviolence.Thoughtherearecertainly
hatefulportrayalsofwomeninJ2fiction,presentingtheboys'reallifepartnersas
eitherjealousharpiesorviciousdestroyersoftheboys'happiness,therearealso
manypositiveandlovingportrayalsofwomen,suggestingthatJ2storiesofferfansa
placetoenjoythepositiveportrayalsofwomenasfriends,supporters,defenders,and
confidantessolackingintheshow'scanon.Certainly,suchnarrativessafelyenclose
womeninrolesthatnegatetheirpossibilityasloveinterests,buttheplacementof
womeninthenonbelovedroledoesexpandtheirframeofaction.
[3.8] InTitheniel's"Snapshots"(September15,2007,LiveJournalpost),for
example,SophiaBushisboththetoughasnailswithaheartofgoldprotectorand
supporterofatraumatizedJensenandanupandcomingfashionphotographerwitha
crushofherownonSandyMcCoy.Apocalypsos's"ITaughtYourBoyfriendThatThing
YouLike"(May23,2008,LiveJournalpost)featuresadelightfullysluttyAlonaTal,and
TithenielandSplashpink's"Orwell"(Orwell_fic,November1,2008,LiveJournalpost)
includesAngelinaJolieasakickassmedicwithaloveofexplosives.Insomecases,a
femalecharacterfillsmuchthesameroleusuallyoccupiedbythemalebestfriend,as
inAudrarose's"OpenMikeNightattheFreemont"(June23,2008,LiveJournalpost)in
whichAllisonMack,apoetrylovingbarista,advisesJaredonhisrelationshipwitha
disabledandemotionallydamagedJensen:"'Youhitonhisdog,'Allisonsaid…'What?'
Jaredasked,tryingtolookinnocent.'Ilikedogs.Andthat'sanawesomedog.''Youhit
onhimthroughhisservicedog.Youhavenoshameatall.'"Suchcharacters
demonstratethatwomenhaveindividualidentities,avarietyofinterests,andawide
rangeofsexualities.Furthermore,theydepictwomenascrucialmembersofthelarger
community.
[3.9] Familyalsoplaysanimportantroleascommunity,thoughsometimesavery
differentrolethanfriendsdo.Whilefriendsoftenrepresentthepeergroupoftheboys,
familysometimesstandsinforamoreconventional,traditionalsociety,particularlyin
thestoriesthatdealheavilywithissuesofhomosexualityandhomophobia.Insuch
narratives,familiesprovideimportantexternalbarriers—andthusromanticnarrative
tension—totheboys'burgeoningordeepeningrelationship,andofferfanauthorsthe
opportunitytoexploreoppositiontohomosexualitywithinaworldthatlooksmuchlike
ourown.
[3.10] J2storiesthatfocusonfamilialrejectionoftheboys'homosexuality
demonstratethepainthatcanresultfromabreakwithone'scommunity:PicAkai's
"ComingofAge,"forexample,illuminatesJared'sgriefandconfusionasheattempts
tofulfillhisfather'shopesforhimwhilealsoattemptingtostaytruetohimself:"Itried
sohardtomakehimproud,I…he'sthereasonI'mamechanic,youknow?…Andhe
wasproudofituntilthedayItoldhimIwasgay,andthenhejust…didn'tcareany
more.Didn'twanttoacceptIwashisson"(b_s_n_m,December9,2007,LiveJournal
post).Asfanwritersshow,suchrejectionbyaparentcanalsoresultinapainful
separationfromoneselfandone'sowndesires.Felisblanco's"InaMirrorDistortedand
Indistinct"(January19,2008,LiveJournalpost)recountsanincidentfromJensen's
pastinwhichhisfamilycondemnshomosexuality,whichcausesJensentoreject
himself:"He'snot.Notthat.Notthat.Whateverheisit'snotthat.Please,God,don't
letmebethat.Please,please,please."Inthisstory,asinothers,theboysareonly
abletorecoverfrompastexperiencesofrejectionandhomophobiathroughtheir
sexualandromanticconnections,whichreconfiguretheirrelationshipstotheirown
bodiesandtotheirlargercommunity:"It'sbeenfourmonths,oneweekandthree
dayssinceJaredkissedhimforthefirsttime.Sincehiswholelifechanged"(2008,
LiveJournalpost).Unitywiththebelovedherehealsthehurtsoftherejectionand
hatredthattheboysmayfaceinahomophobicworld.
[3.11] Althoughfamilyissometimesconstructedasanobstacle,manystoriesfocus
onmoremundaneissuesrelatedtotheboys'meetingtheirrespectiveinlawsand
beingacceptedintoafamilythatextendsbeyondtheirown.In"MeettheFamily"
(January28,2009,LiveJournalpost),oneofTithenielandSplashpink'sDaysinOur
Livesstories,Jensenmustdealwiththetensionofpreparingtheirfirstfamily
Thanksgivingdinner.Similarly,Not_Refined's"JensenInside"(February25,2008,
LiveJournalpost),astorythatconcernsitselfwithmentalillnessanditseffectson
relationships,relatesJared'sanxietyaboutmeetingJensen'smother.Inbothcases,
calminterludeswiththefamilyserveasfoilsforthedramainwhichtheboysusually
findthemselves,andremindthem,andthereader,thatfamilywillendurebeyond
excitementandupset,tobe,inmanycases,thefinalarbiterofthesuccessofthe
relationship.
[3.12] Insomestories,suchasthoseinTechnosage'sBreakLooseRanchseries,the
monogamouslovebetweenJaredandJensenprovidesthemodelwhichdisruptsthe
morecasualsexualityoftheirothergayfriends,thusallowingfortheirfriends'
"development"towardmorestableromanticrelationships:ChristianKane,thinkingof
JaredandJensen,reflectsthat"theydon'tgettobelikethat,becausehappilyever
afterandridingoffintothesunsetismovieshit…butwhathereallywantedwastosee
[if]itcouldbelikethat…Likeheartsandflowersandrainbowsandpuppiesand
weddingringsandgoddamnedforeverandnoonebutyou"("ThatTriangularCircular
LoveThing,"November29,2007,LiveJournalpost).Unitywiththebeloved,inthis
case,offersthecomfortnotjustofasoulmate,butalsoofbelongingtoand
negotiationwithinalargersocialcontract(note4).ManyJ2storiesoffer,thatis,what
theannihilistversionsofSam/Deanfictioncannot:immersionoftheboyswithin
communityframeworks,withinasocietythatreflectsthe"normal,"the(largely)
conventional,andtheacceptable,evenifthatacceptancehastobenegotiated,
workedat,andfoughtfor,inordertoelucidateamoretraditionalversionofhappily
everafter.
4. Sexual politics
[4.1] In"TheyCavort,YouDecide:Transgenericism,Queerness,andFan
InterpretationinTeenTV,"LouisaEllenSteinarguesthatthegenericdifferences
betweenTheOCandSmallvilleallowedfordifferentconstructionsofqueernessinfan
fiction:thecombinationof"teengenericelements"with"theapocalyptic,superheroic
andfantastic"allowed"Smallvilletoposequeernessmetaphorically,"whileTheOC,
withits"morecommonlyassociatedgenericelements,"allowedroomforfansto
address"sexualidentityovertlyasasocialissue"(2005,12).Weseeaverysimilar
distinctionatworkinSupernaturalfandom.LikeOCfanreadersandfanfiction
authors,SupernaturalRPSfanfictionauthorswhowritestoriessetwithinourworld
must"playwiththepossibilitiesoftheliteralratherthanthemetaphoric"(Stein2005,
14).Indoingso,theyhavetheopportunitytodiscusstherealityofgayrelationships
andhomophobiainawaythatSam/Deanslashoftendoesnot,inpartbecausethe
incestuousnatureoftherelationshipusuallytrumpsitshomosexuality.
[4.2] Ifweseetheacceptanceoffamilyandfriends,akeyfeatureofmanyJ2
stories,asemblematicofacceptancewithinlargersocialframeworksandthe
happinessof"fittingin"romantically,thenwemustalsorecognizetheproblematic
natureofthesexualpoliticsrepresentedinmuchJ2.KeepinginmindthatJ2stories
oftendealdirectlywithissuesofhomosexualityandhomophobia,manyofthestories
neverthelesspresentnoalternativestonormativesocialframeworks:Jared,Jensen,
andtheirfamiliesandfriendsareveryoftenportrayedasfirmlymiddleclassor
wealthyandholdingmiddleclassvalues,providinganobviouscontrasttothepoverty
andunderclassstatusoftheWinchesterboys.Furthermore,thoughmanyofthe
storiesdealwithhomophobia,theyareoftenalsosetinaworldinwhicheveryoneis
seeminglygay,renderinggayness,asanalternativetoheterosexuality,invisible.In
fact,whatthesestoriesoftenseemtoofferisnothomosexualityasanalternativeto
orcommentaryonheteronormativity,butrathermale/malemonogamousloveasthe
sameasmen'ssexual,romantic,andmaritalrelationshipswithwomen,aresultof
theircontainmentwithinWesternromantictropeswhicharerelentlesslyheterosexist.
AscriticsSusanStrehleandMaryPanicciaCardenputit,"lovenotonlymakesthe
worldgoround,butthewesternworldalsomakescertainformsandoutcomesoflove
goround"(2003,xi).Thustheverytropeswhichleadtoandincludeasatisfactory
happyendingcanonlybecodedas"satisfactory"and"happy"inasocietywhere
"scriptsofheterosexualromance"(DuPlessis1985,2)existnotonlywithinindividuals,
butalsoinsocialinstitutionssuchaslawandreligion.
[4.3] SomeexplanationfortheheteronormativeelementssoprevalentinJ2RPScan
befoundinTaniaModleski'sanalysisoftheroleromanceplaysto"'inoculate'[women]
againstthemajorevilsofsexistsociety"(1982,43).Modleskiargues,forexample,
thatromanceteacheswomentorecodeangerorviolenceaslove,thushelpingusto
copewiththedemandsthatpatriarchyplacesonus,whetherthosebethesocial
demandsforheterosexualunionandreproduction,orthedemandscreatedbya
systeminwhichhegemonicmasculinityisincreasinglyviolent.AsPamelaRegislater
putsit,romanceisaplacewherewomen'sproblemsareexplored(2003,29).When
twomenplayoutthesameroles,fights,andchallengesthatamanandwomandoin
aconventionalromance,itispossiblethatweareseeingaformofModleski's
inoculationatwork:evenwhenitistwomen,themessagesuggests,therelationship
isthesame,thefightsarethesame,theworriesarethesame;therefore,the
implicationisthatrelationshipsinevitablyplayoutwithinpowerstructures.The
femininedomesticspaceandtherelationalconcernsthatromanceoftenfocuseson,
andthataresocommoninJ2RPS,relyuponthecodesofheterosexualmonogamy
withinrelationshipsthatare,ontheirsurface,writtenasgay.Thiscreatestheparadox
thatinJ2womenareabsentincontextsthatarecodedheterosexual.
[4.4] Thus,J2RPSdoesnotnecessarilyresultinrepresentationsofgaynessinways
thatthepotentiallymoresubversiveSam/Deandoes.Toexplain,EricAndersonargues
thatthere"hasbeentensionbetweentwoworkingideologiesregardingthe
relationshipbetweenhomosexualityandthedominantsocialstructure…Assimilationists
desireinclusionintotheexistingsocialstructure,"while"reformists…havesoughtto
transformdominantsocialstructures"(2005,47).Whilewewouldnotarguethatfan
fictionwritersarenecessarilycognizantoforparticipantsinsuchdebates,wecertainly
arguethatthesuccessoftheassimilationistmodel,onethatusestheargument"I'm
justlikeyou"towintherespectofheterosexualsandtheirsupportforaimslikegay
marriage,hascertainlyaffectedtherepresentationofhomosexualityinthebroader
culturalarena.Itisimportanttorecognizethattherelativelackofrepresentationsof
gaypoliticalalliances,gayculture,ormoreflamboyantorcampexpressionsof
gaynessinJ2fictionmusttemperanyreadingsofeventhosestoriesthatdealdirectly
withthesubjectofhomophobiaasdoingqueerwork,particularlygiventhefactthat
manyRPSstoriesrewriteromanticcomedies,Harlequinromances,andDisneymovies,
replacingthefemalecharacterswithmales.Whilesomeofthesereplacementsmay
parodyheterosexualityandrevealtheperformativenatureofgender,theeaseof
adaptationsuggeststhataheteronormativeframeworkisfirmlyinplace.Such
substitutionsliteralizethe"I'mjustlikeyou"argument,simplyreplacingheterosexual
narrativeswithhomosexualversions,whilesimultaneouslyerasingbothwomenand
gaynessinaseeminglyqueertext.
[4.5] Supernaturalslash,bycontrast,moreoftenexplorestheconsequencesoftruly
alternativesexuality,andpartofitsabilitytodosomaylieinthewayitcomplicates
thehappyending.ThoughTosenbergeriscorrectthathappyslashstoriesin
Supernaturalfandomdosubvertthemiseryofthesourcetext,thedarker
representationsofWincestservetodisruptandsubvertsexualitythatiscoded
normative,despiteitsdeviations,andtofantasticallyimaginethestillalltoocommon
responsetorelationshipsthatdonotfitintotheheteronormativeframework:hatred,
isolation,andfear.AsElizabethWoledgeargues,"Theculturallydistantsettingsof
sciencefictionandfantasyclearlypresentwriterswithboththeopportunitytodiscuss
homosexualactsandalsotheopportunitytoseparatetheseactsfromculturally
specificidentities.Thesameculturaldistanceallowswritersthelibertytoexplore
gendervariationswithinthisthemeinmoreorlessexplicitways"(2005,52).Aswith
Smallville,inwhich,Steinargues,"thethemesofalienationandthesearchforidentity
easilytransmuteintohomoromanticismandsympatheticqueerness"(2005,21),so
toodoesSamandDean'srelationshipindarkfanfiction—onethatcutsthemofffrom
alargercommunityandplacesthemina"separateworld,"onethatis"fuckedupas
hell…butitjustdoesn'tmatterwhat'swrongsometimesbecauseit'stheirworldand
they'rebothinitandthatmakesitalright"(mimblexwimble,July6,2009,LiveJournal
post)—vividlyimagineboththepleasuresandthepainthatnonnormativeidentities
canprovide.
[4.6] DarkSam/Deanfiction,thatis,can,initsexplorationofanannihilating
relationshipthathasnofuture,noproductivity,noabilitytobeabsorbedorwelcomed
intothelargersocialframework,beseenasembracingwhatLeeEdelmanidentifiesas
"sinthomosexuality"—anidentitythat"findsitsvaluenotinagoodsusceptibleto
generalization,butonlyinthestubbornparticularitythatvoidseverynotionofa
generalgood.Theembraceofqueernegativity,then,canhavenojustificationif
justificationrequiresittoreinforcesomepositivesocialvalue;itsvalue,instead,
residesinitschallengetovalueasdefinedbythesocial,andthusinitsradical
challengetotheveryvalueofthesocialitself"(2004,6).Suchaconstructionof
queerness,onethatembracesthedeathdriveasameansofbattlingagainstwhat
Edelmanidentifiesas"reproductivefuturism"—aheteronormativeideologythatwould
haveusrestrictpersonalrightsandfreedomsinthenameof"theChild"andafuture
towhichthepresentmustalwaysbeheldhostage—aptlydescribeswhatispresentin
manySupernaturalslashstories:acelebrationofannihilisticloveasbothavalid
choiceinaworldthatrejectsdifferenceandameansoflocatingpleasureandjoyin
thatwhichmostpeoplewouldregardasunhealthy,unproductive,anddeviant.
[4.7] SamandDean'sdarkandhopelesslyunproductiveloveinsuchstoriesisnota
consolationforsomethingthattheycannothaveasaresultoftheirupbringingor
circumstances,butinsteadsomethingthatgivesthemwhatEdelmanidentifiesas
"accesstojouissanceinplaceofaccesstosense"(2004,37).InFleshflutter's"Drown
andFloatAway"(December20,2007,LiveJournalpost),forexample,AntichristSam
finallylocatesDean,whohasbeensentbyhunterstokillhim:"'YouaskedwhereI
was,'Deansaysatlast.'I'vebeenwiththem.Thehunters.They'veteamedup,got
organised…Theyknowyourweakness,Sam.Justlikeyouandmebothknowit.It's
me…Ikilledthem,'hesays.'Who'mIkidding?I'myours.Alwaysgonnabe.'"Here,
Dean'swordsdisruptthecanon'srepresentationofSamandDean'sloveasunhealthy,
or,moreaccurately,acknowledgesitwhilerejectingtheideathattheyshould
necessarilydesire"healthy"loveinthefirstplace.HisfinalwordstoSam—"Longlive
theboyking"—revelintherejectionofreproductivefuturism,placinghimandSamin
aperpetualboyhoodinaworldthattheyhaveemphaticallymadetheirown.
5. Conclusion
[5.1] ThegenericdifferencesbetweenmuchSupernaturalslashandJ2RPSreveal
multiplenegotiationsoftheconceptofloveandromance.J2RPS,likeromancein
general,playsadualrole.Itcertainlysubvertsnormativesexualitywithitsmale/male
relationship(s),butironicallyitoftenbolstersnormativesexualitybyitsuseof
heteronormativetropes—possiblyaninevitableeffectoftheromanceformula,whichis
itselfembeddedinahistoryofheterosexualsignifiers.However,theverypredictability
ofaheteronormativehappyendingispartandparcelofwhatmakesromanceworkfor
itsreaders,accordingtomanycritics,andthepossibilityforhappyendingsin
Sam/Deanisslim,giventhedarknessofthesourcetext.ThefactthatsomanyRPS
storiesofferuphappyendingsthatconformtoheteronormativefuturism"alwaysand
inallways"(Kaler1999,4)—ironically,giventhemale/malelovestory—indicatesthe
holdheterosexismhasonthepopularimaginaryandpopularromance.
[5.2] Itisimportanttonote,however,thatwriters'andreaders'relationshipswith
romantictropesiscomplex.SusanStrehleandMaryPanicciaCardenarguethat"few
people'sexperienceexactlyfitsthenormativemodelofromance.Butintheregisterof
ideology,commonlyheldnotionsofcivilization,humanity,andidentityremain
groundedinthestructuresofheterosexualunion"(2003,xi).WefindthatmanyJ2
RPSstories,likemanyromances,areexamplesof"dissentingperspectivesflaring
out…anddeeplyheldassenttoculturalnormstakingoverandrestrictingimpulsesto
moreradicalexperiment"(xii).TheannihilistisolationismofmuchSupernaturalslash,
ontheotherhand,offersaspaceinwhichtheeffectsoftheconnectionsbetween
romantichappinessandheterosexismcanbemoreradicallyquestioned.
6. Notes
1.ThreeLiveJournalcommunitiesspecificallydevotedtoSupernaturalrelatedRPSare
super_real,padacklesrps,andjsquared_rps.Aswell,therearetwoLJcommunities
devotedspecificallytofictionaboutactorsontheCWnetwork(formerlyWB),the
networkonwhichSupernaturalairs,whicharedominatedbyJ2stories:wb_rpsand
cw_rps.
2.See,forexample,theLiveJournalcommunitiesfortheSupernatural/J2BigBang
challenge(spn_j2_bigbang),theSupernaturalHarlequinchallenge(rewritingsof
Harlequinromancenovels:spn_harlequin;theReelSupernaturalchallenge(rewritings
ofHollywoodfilms:reel_spn),andtheAboutTwoBoyschallenge(rewritingsof
romanticcomedies:abouttwoboys.)
3.ThepopularfandommockerysiteFandomWankregularlyderidesthesexism
displayedbymanyinSupernaturalfandom.Suchmockerycouldbedismissedasmere
meanspiritednessonthepartofthewankas,yettheactorsontheshowalsoseemto
recognizethisproblem.MishaCollins,inaninterviewforAustralia'sChannel10News,
stated,"Thisisanincrediblysexistgroupofpeople,thisfandom,"towhichJared
Padaleckiadded,"Yes.Againsttheirownsex"("Jared,Jensen&Misha,"
http://www.youtube.com/watch?v=JoZYuKkjWGY).
4.AlthoughtheBreakLooseRanchseriesoffersmultiplesexualidentitiesframed
withinqueerdiscourses,forthepurposesofthisessaywehavefocusedonanexample
inwhichheteronormativityisevident.
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34.
Transformative Works and Cultures,Vol 4 (2010)
Symposium
Tlön, fandom, and source text: The effect of fan works on the
narrative of Supernatural
Deepa Sivarajan
Georgetown University, Washington, DC, United States
[0.1] Abstract—FandomhashelpedshapeSupernaturalthroughtheideasand
critiquespresentedintransformativeworks,andthroughitsverypresenceonline.
[0.2] Keywords—Fancommunity;Gender;TV
Sivarajan,Deepa.2010."Tlön,fandom,andsourcetext:Theeffectoffanworkson
thenarrativeofSupernatural."TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0171.
1. Introduction
[1.1] Supernaturalisanamalgamationofstoriesbuiltuponstories,inwhichthe
creatorsuseformsofmythandfolkloretocreatemonstersoflegend—asdothe
charactersofSamandDeanWinchesterthemselves,withintheshow.Theinformation
theyneedtodefeatacertaincreatureisrarelysetinstone,insteadrequiringresearch
intostoriesandmythsthathavedevelopedinnumerouscultures.Astruthandfiction
continuetomixintheWinchesters'lives,sometimestheyarefacedwiththeburdenof
talesliterallycometolife,suchasin1.17"HellHouse,"whenatulpaiscreated
becausemillionsofpeoplebelieveinit.
[1.2] Oneofthemostpoignantandfascinatingversionsofthisideacanbefoundin
JorgeLuisBorges'sshortstory"Tlön,Uqbar,andOrbisTertius"(1962).Inthetale,
themaincharactercomesacrossabodyofinformationaboutanimaginaryplanet,
describingthecustomsandcultureofitspeoplesospecificallythatitseemstoo
detailedtobereal,oratleasttoograndaprojecttobecreatedbyoneperson.
Eventuallyitisrevealedthatalargegroupofpeoplecreatedthisideainitiallybutit
wassustainedovergenerationsoffollowersand,intheend,Tlönbecomessopopular
andadmiredthatourworldbeginstoresemblethefictionalcreation.
[1.3] Thesepatternsbecomeusefulforwhattheyrevealaboutfandom,asthe
communalandtransformativenatureoffolkloreallowsworkstogothroughsimilar
changesandversions,andtheliteralfansofSupernaturalalsodrawfromtheepisodes
andcharacterstocreatenewopinions,hypotheses,fanworks,andmore.Butfans,
especiallythosewhofocusoncreatingtransformativeworks,havehadlittlereasonto
believethattheircreationswouldeverreflectbackontothecanonoftheshow—at
least,until4.18"TheMonsterattheEndofThisBook,"whichdepartedfromother
instancesofreferencetofandombydirectlyacknowledgingit.Italsovaluesthe
influencethatfans,bothrealfansandtheiravatarswithinthestory,mighthaveon
thegreaternarrative.
[1.4] Tlönwascreatednotthroughatraditionalteamofstaticauthors,butthrough
communitiesofpeopleseparatedbydistanceandtime,continuingtoaddontoand
shifttheideasofothers.SupernaturalhasshownitsfansthattheirTlönmaybe
transformingThePowersThatBe'sEarth,whichhasmanyimplicationsnotonlyforthe
communicationbetweenfansandcreators,butalsoforthenatureofcreators
themselves.Thoughtheeffectthatfanshaveisstillminor,Isuggestthatinthelong
runSupernatural'sfanshavegainedameasureofpowerthatwillhelpthemfeelmore
includedinthegeneralfanbase,communicatebetterwiththecreators,and,possibly,
forcethecreatorstoaddresscriticalanddifficultproblemsintheshow—allthrough
transformativefanworks.
2. Acting out fiction: "Screw you, Simpatico, we lived it"
[2.1] In"TheMonsterattheEndofThisBook,"fandomanditsinterweavingstories
areexplicitlydrawnintothenarrativeandmadeanintegralpart.AstheWinchesters
discovertheexistenceofabookseriesdepictingtheirlives,theyareforcedtoconfront
threeformsofaudiencesthatcanallbecomparedtofans.Chuck,theauthorofthe
books,believesthathewritesandcreatesmerelythroughhisimaginationwhenheis
insteadbeingusedasavesselfordivineprophecy,takinghisstoriesfromthelivesof
SamandDean(figure1).Hispublisherisequallyinvestedintheproductionofthe
books,butalsointhestoryandcharacters,displayingherselfasbothafanandan
authority.Andofcoursetherearethefansofthebooksthemselves,whoclosely
resembletherealfansofSupernatural.
Figure1.WriterChuckShirley(RobBenedict)isshockedtoseehis"characters"Sam
(JaredPadalecki)andDean(JensenAckles)cometolife(4.18"TheMonsterattheEnd
ofThisBook,"2009).[Viewlargerimage.]
[2.2] Totopitalloff,SamandDeanhavetorepresentthemselvesasfanstothe
publisherandaremistakenforfansbyChuck.Theyareforcedtoconfronttheidea
thatsomeoneelsemayhavesomecontrolovertheirlives.Theshowhascoveredthe
issuesoffreewillanddestinyinmanydifferentwaysthroughouttheseasons,andthe
experiencescauseSamtobelievethathehasasetpath,whileDeanragesashardas
hecanagainstfate.Onceagain,thebattlecomestoaheadin"TheMonsterattheEnd
ofThisBook,"whenSamandDeanareconfrontedbyarecordofwhatmaylieintheir
future.TheynotonlyfulfilltheirdestiniesexactlyasChuckwrotethem,buttheir
knowledgeofwhatisaheadperpetuatessomeofthepredeterminedevents.Without
Dean'sintentiontoparkhiscarinaneighborhoodandleaveitthere,hewouldnot
havebeenhitbyaminivanandplasteredwiththepinkBandAidsthatChuck'swriting
described.Sam'sknowledgeofLilith'sarrivalcauseshimtoplanaheadandpretendto
strikeadealwithher.
[2.3] Onceagain,theintextversionoffandom—Chuckandhisbooks,which
ostensiblytellSamandDean'sstoryinsteadofdictatingit—insteadhelpstochange
anddeterminetheoutcomeofSamandDean's"reallife."ThediscoverythatChuckis
aprophetalsocarriessignificance,givinghimahigherroleasaconduitfortheWord.
Hereoriginalworksarerespectedonalevelequaltothosethatmayseem
transformative;Chuckalsoshowsthattransformationofnarrativesisliterallyasoldas
theBible.Andfinally,theepisodeagainraisesthequestionofahigherauthority,a
literalauthorofevents,bringingusbacktoourowneternalquestionsofwhorulesour
lives—SupernaturalmayattempttoansweritforSamandDean,buttheansweris
rarelysimpleandcanstillmakeusquestionourselves.
[2.4] Ifthefictionalversionsoffandomareabletochangereallifeinthetheoretical
waysillustratedthroughthevariouslevelsofnarrativeintheshow,perhapsthereal
Supernaturalfandomhasalsoaffectedthecreationoftheoriginalsourcematerial.
Thiscanalsobeseenin"TheMonsterattheEndofThisBook,"and,most
significantly,itengagesnotonlywithdirectcriticismbyviewersbutalsowithfan
criticismintheformoffanworks,whichareusuallynotacknowledgedortakentobe
valid.
3. The effects of fandom on source texts
[3.1] Aslongaspopularcultureisfueledbytheneedtobepopular,especiallyina
worldofcommercializedentertainment,audienceswillhavesomemeasureofpower
overcreatorsofentertainment.ForSupernatural,therehavebeenanumberof
movementsandcomplaintsfromthefansthathaveaffectededitorialdecisionsinthe
show.Mostnotablehasbeencriticismregardingsomefemalecharactersin
Supernatural,promptingtheirremovalfromtheshow.Othercritiqueshavehadlittle
effect,suchasrepeatedoutcriesbyfansoverracist,sexist,andhomophobic
overtonesintheshow.Becauseofthesefailurestoacknowledgecriticism,manyfans
believethattheyareonlyabletoeffectchangewhereEricKripkeandtheother
creatorswerepreviouslyinclinedtothesuggestedalterations.
[3.2] Fansaffectingthecanonthroughdirectcriticismanddiscussionisthus
acceptedasaviableformofcommunicationwithcreators,despitevaryingeffects.
Moreremarkableistheideathatnotonlytheopinionsoffanscarryinfluence,butalso
theircreations,particularlyinthecaseoftransformativeworks.
[3.3] Inthepast,theonlyeffectshavebeenjokesorquipsthatareconsidered"fan
service,"suchaspeoplemistakingthebrotherforacouple,oracharacterin2.18
"HollywoodBabylon"whomentionstheshowGilmoreGirls,whichactorJared
Padaleckiactedinforanumberofyears.WriterSeraGamblehasalsojokedabout
"theepiclovestoryofSamandDean"(Borsellino2006);variousactorshave
mentionedthattheyenjoyreadingfanreactionsontheInternet;andactorMisha
Collins,whoplaystheangelCastielbeginninginseason4,hasevenmentioned
readingfanfiction.
[3.4] Butnoneofthesearesignificantonaneditoriallevel,andnooneparticularly
expectedfandomtobedirectlyacknowledgedintheshowbecausetherewasno
precedentforitinSupernaturalortelevisionitself.Onceagain,"TheMonsteratthe
EndofthisBook"shatteredthebarrierbetweenfandomandtext.WhenSamand
DeanencounterWebsitesabouttheSupernaturalbooks,theydiscoveronlineforums,
fanreactions,andevenfanworksthatmentionSam/Deanslash.Suchdirect
referencesgofurtherthanfanservice;thesefansareexpectedtobeanintegralpart
oftheentireexperience,sendingamessagetotherealaudienceofthetelevision
series.Theepisodeisalsolitteredwithreferencestothereallifecreatorsand
Supernaturalworks:thepublisherisnamedSeraafterwriterSeraGamble(figure2),
Chuck'spenname"CarverEdlund"isareferencetowriterBenEdlund,thedinerin
whichDeanandSameatiscalledKripke'sHollowaftercreatorEricKripke,andamong
thepostersonChuck'swallsisacoverfromanissueofthecomictieinSupernatural:
Origins(JohnsonandDowSmith2008),tonameafew(figure3).Becausethe
charactersofSeraandChuckareinpositionsthatarebothadministrativeandfannish
withintheepisode,thefactthattheyarenamedafterrealwritersofSupernatural
makesaconnectionbetweenthetwo,blurringthelinebetweencreatorandfan.
Figure2.CharacterSeraSiege(KeeganConnorTracy),publisheroftheSupernatural
seriesandselfprofessedfan(4.18"TheMonsterattheEndofThisBook,"2009).
[Viewlargerimage.]
Figure3.ThecoverofSupernatural:Origins#3,whichshowsupasaposteron
Chuck'swall(4.18"TheMonsterattheEndofThisBook,"2009).[Viewlargerimage.]
4. The implications of influence
[4.1] Manyofthelongrunningassumptionsabouttelevisionandfandomcanbe
refutedbytheseanalyses.Forexample,researchersassumethatfansbuyintothe
capitalistsystemofcommercializedentertainmentandcannotescapefromit,acting
purelyasconsumerswithbuyingpower.Fandomandtheinfluencefandomreflects
backontothesourcehelptodisrupttheonewayflowofinformation,givingfansa
greaterstakeandmakingthemmoreequalparticipantsinthelargerconversation
betweenmediumsandaudiences.Giventhecompetitivenatureoftheentertainment
industry,cedingmorepowertothosewhodon'tnecessarilyhaveawayinmayhave
implicationsfortheaccessibilityofentertainmentproductionorworkingtowardsocial
equalityintheentertainmentindustry.Thisbecomesproblematicwhenthepositions
playedbyfansareviewednotaspartofamutualconversation,butasfreefanlabor
fortheindustries.However,thismanipulationbythecreatorshasalwaysbeenseenas
unlikelyforSupernatural,giventhecontroversialnatureofthethemesinitsfan
works.
[4.2] Iftheideaoffanlaboraspoweriscontroversial,equallysoistheincreaseof
fanvisibilitythatbothcausedandresultsfromsuchinteractionsbetweenfansand
sourcetexts.Itisclear,however,thatnomatterwhatfansdo,thesocialnatureofthe
Internetandeffortstomakefandomaccessibletoanyonedoopenituptothepublic
eye,whetherspecificfansparticipateintheopeningornot.Forthosewhosee
increasedvisibilityasinevitable,itispreferabletohavepositivereportspublished.
Supernaturalfandomisastrikingexampleofbothsidesoftheargument,giventhe
popularityofWincestandrealpersonfictionnarrativesthatmaynotbeacceptedeven
byotherslashfans.ThespecificreferencetoWincestin4.18(figure4)causedpainto
fanswhodidnotwanttheiralreadycontroversialpracticestobefurtherexposed.On
theotherhand,byposingthereferenceasalightjoke,theeditorialteammayhave
beensendingamessagetosuchfansthattheyarejustaswelcomeasotherswho
loveSupernatural.Aftertheepisode,manyfanspointedoutthatthejokewasnot
particularlyoffensivetofansanddidnotbelaborthepoint;whenDeanreactstothe
ideaofslashbysaying"Thatisjustsick,"manyfansreaditastheinevitableresponse
forthecharacter.
Figure4."What'saslashfan?"DeanandSamdiscovertheirpopularityonthe
Internet(4.18"TheMonsterattheEndofThisBook,"2009).[Viewlargerimage.]
[4.3] Furthermore,engagingwiththesourcetextsmeansthatthecreatorsofthe
canonarenotonlyacknowledgingandcommunicatingwiththesefans,butinasimilar
way.Thisisparticularlysignificantgiventhequalitiestypicallyassociatedwithslash
fandom,populatedlargelybywomenandbyaminorityofqueermen:slashfandomis
lessgiventodirectcriticismthanstraightmalefandoms,anditsresponsestendtobe
throughfiction.ThecreatorsofSupernaturalhavedemonstratedawillingnessto
appreciateandparticipateinthetransformativeculture,evenwhenitmayberiskyor
unfamiliartotheirotheraudiencedemographics.
[4.4] Butwhatdoesthismeanforfannishopinionsthatarestillunacknowledgedby
thecreators?CriticismofSupernatural'ssocialdynamicshashadlittleeffect,and
manyfansfeelalienatedbysexist,racist,andhomophobicelementsintheshow.And
althoughmostoftheseargumentshavetakentheformofdirectcriticism,unlike
complaintsaboutspecificcharacters,theydonotprovideeasysolutionsforthe
creatorsoftheshowbecausefansrightfullyexpectthattobetheresponsibilityofThe
PowersThatBe.However,someofthebestknownformsofcritiqueare
transformativeinsteadofdirect—undoubtedlythemostfamousisthevid"Women's
Work"bySisabetandLuminosity
(http://www.viddler.com/explore/Luminosity/videos/2/),whichcombinesimagesof
violenceagainstwomenintheshowtorevealitssexism.Theacknowledgmentof
Wincestandtransformativeworksmaygivemorepowertothosewhousefanworks
fortheircritiques.Althoughtheburdenofaddressingtheseissuesshouldn'tbeplaced
onthefans,itmaybeenseenasaslightlymorehopefulindicator.
[4.5] Inanycase,theeffectsofthesenewdevelopmentsinshowslikeSupernatural
haveimportantconsequencesfortherelationshipbetweenfansandcreators,and
likelypositiveones.FandomhaschangeddrasticallythankstotheInternet,including
theattentiondrawntofandomthroughotherchannels,theincreaseofglobal
communication,thepossibilitiesofincreasingaccesstodifferenttypesofpeopleand
fans,andsoon.Therelationshipsbetweenstoriesandlife,fansandcreators,fan
worksandsourcematerial,andothercomplexdualitiesmayprovejustasimportant
asanyoftheotherfactors,helpingfanstoimprovetheirrelationshipswiththecanons
thattheylovesomuch.
5. Works cited
Borges,JorgeLuis.1962.Tlön,Uqbar,andOrbisTertius.InFicciones,17–35.New
York:Grove.
Borsellino,Mary.2006.Superwomen:Supernatural'sexecutivestoryeditorSera
Gamble.SequentialTart,December1.http://www.sequentialtart.com/article.php?
id=345(accessedJanuary24,2010).
Johnson,Peter,andMatthewDowSmith.2008.Supernatural:Origins.NewYork:DC
Comics.
Tosenberger,Catherine.2008."TheepiclovestoryofSamandDean":Supernatural,
queerreadings,andtheromanceofincestuousfanfiction.TransformativeWorksand
Cultures,no.1.http://dx.doi.org/10.3983/twc.2008.0030(accessedJanuary30,
2010).
Transformative Works and Cultures,Vol 4 (2010)
Symposium
"What you don't know": Supernatural fan vids and millennial theology
Louisa Ellen Stein
San Diego State University, San Diego, California, United States
[0.1] Abstract—TheMillennialdiscourseonreligion,dogma,faith,andbeliefare
evidentbothinSupernaturalanditsfanvids.
[0.2] Keywords—Audience;Authorship;GenerationMe;GenerationY;Millennial
Generation;Religion;Vidding
Stein,LouisaEllen.2010."Whatyoudon'tknow":Supernaturalfanvidsand
millennialtheology.TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0158.
doi:10.3983/twc.2010.0158
1. "God has left the building": The millennial generation and
religion
[1.1] Ina2008opinionpieceinUSAToday'sonlineblog,BostonUniversityprofessor
StephenProtheroposesthequestion,"Isreligionlosingthemillennialgeneration?"In
hisencountersteachingstudentsaboutreligion,Protherohasfoundwidespread
discomfortwithtraditionalreligion,oratleastwithcertaindimensionsoftraditional
religion—dimensionsthatmanywouldseeaskeytoreligiousbeliefsystems:dogma,
divinity,andheaven.Inhiswords:
[1.2] Theseyoungpeoplearen'tjustallergictodogma.Theyareallergicto
divinityandevenheaven.Inthereligionsoftheirimagining,Godisan
afterthoughtatbest.Andtheafterlifeis,asoneofmystudentstoldme,"on
thebackburner."
[1.3] …Whatwilltoday'syouthdowithreligionswhoseethicalinjunctions
arriveasstrictcommandmentsratherthanfriendlysuggestions?Willtheybe
abletoabidereligionsthatdividethehumanfamilyintothesavedandthe
damned,thatpresentasabsolutetruthwhattheysuspectismere
speculation?
[1.4] Protheroofferstheseobservationsinaculturalmomentwherequestionsof
religion,ethics,andmoralityhavecometothefore.Aswefacetwocontinuingwars,
deepeconomichardship,andpoliticaldebatesabouttheroleofgovernmentin
communityupkeep,culturalconversationsaboutsharedmoralsandtheriseordecline
oftraditionareomnipresent.Thusperhapsitisnotsurprisingthatwewouldseethese
themesraisednotonlyintheopedsectionofUSAToday,butalsoincontemporary
televisionprogramminganditsreception.
[1.5] Indeed,thequestionsthatProtheroraiseslikelysoundstrikinglyfamiliarto
viewersofthetelevisionprogramSupernatural,asthesearetheveryquestionsfaced
bytheprogram'scharactersandthusraisedbySupernaturalitself.Themain
charactersofSupernatural,SamandDeanWinchester,dowhattheycantoputthe
afterlifeonthebackburner,resiststrictcommandments(evenwhentheycomefrom
angels),andcertainlyresistthesplittingoftheirfamilyintothesavedandthe
damned,despiteseason4'srevelationthatDeanisachosenwarriorofheavenand
SamachosentoolofLucifer.
[1.6] Supernaturalisoneofmanyprogramsdirectedatthesocalledmillennial
audiencereferencedbyProthero,agenerationimaginedinpublicdiscourseto
embracemoralnuanceinaseeminglycontradictoryunionwithethicalhighground.
The"MillennialGeneration"isatermmadepopularbyculturalanalystsWilliam
StraussandNeilHowe(2000),amongothers.Inrecentyears,thetermmillennialhas
becomefairlywidespread,supplantingtheoverlappinggenerationalterminologyof
GenerationYandGenerationMe(note1).Thoseinvokingthemillennialsas
generationalcategorycastawidenet,imaginingagroupwithsharedculturalvalues
rangingfromcurrent12yearoldsto32yearolds(birthyearsfromthelate1970sto
thelate1990s).Soimagined,suchawideyetsupposedlyunifiedaudienceconstruct
appearssignificantformediainstitutions,businesses,andpoliticalandreligious
organizationsalike(note2).
[1.7] Inhis2008USATodaypiece,Protherosuggeststhatmillennialshavea
religiousvisionthatdivergesfromthoseofthepast(orfromthoseoftoday'sreligious
institutions),oneoftolerance,openmindedness,andfocusonthepresent:
[1.8] Whatmystudentslongforisnotsalvationaftertheydiebut
happiness…hereandnow…Theywanttodiscoverthemselvesandtogive
voicetotheirdiscoveries.Theywanttoexperiencejoybecauseoftheir
bodies,notdespitethem.Andtheydon'twanttobetoldwhattodowith
thosebodies,orwithwhom…Almostinvariably,theymixfunwithfaith…But
theydonotmixfaithwithdogma.Mystudentsarecareful—exceedingly
careful—nottotelloneanotherwhattobelieve,orevenwhattodo.Above
all,theywanttobetolerantandnonjudgmental.
[1.9] Again,thesethemesofwithholdingjudgmentandofpleasureinthenow
(promptedbydoubtintheafterlife)mayseemfamiliarandresonanttoSupernatural
fans,althoughperhapsthematchislessperfect.Supernaturaldoesnotopenand
closequestionsoffaith,butratherposesthemandholdsallpossibleanswersin
tension.Insodoing,theprogramhasprovokedprolongedanddiversediscussions
amongitsfans.Theintroductionofovertreligiousthemesinseason4ofSupernatural
(completewithangelsaswellasdemonsandreferencestoapossiblyabsentgod)has
elicitedfanexplorationsofquestionsofmorality,faith,andGod,aswellastheroleof
religion.
[1.10] Theseissuesemergeinconversationsaboutreligioninandbeyondtheshow,
buttheyhavealsosurfacedsomewhatmoreindirectlyinfantextualcreativity.The
centralityofthecharacteroftheangelCastieltoanewportionoffandomwhopair
togetherDeanandCastielasromanticpartnershaspromptedfansto(attimes
playfully)questiontheirowninvestmentinfandomasfantasy,pastime,and
literature/artform(note3).Giventhenew,overtlyreligiousthemedunderpinningsof
season4,fansfoundthemselvesaskingquestionssuchas:Whatdoesitmeantocast
anangelinaromanticand/oreroticsituationwithanothercharacter—ofthesamesex,
noless?Whatarethereligious,spiritual,moral,andethicalimplicationsofsuch
investmentsandauthorships?
[1.11] ShortlyaftertheintroductionofCastiel,fansstruggledwiththenotionthat
thenarrativesandfantasiestheywerewritingnowincludedanangeloftheLord
(ratherthansay,ateenwizard,ayoungSuperman,ortwodemonfightingbrothers).
AtvariousSupernaturalfanfictioncommunities,wesawdisclaimersdescribingslash
fictionfeaturingCastielasblasphemy.However,astheseasonprogressed,wesaw
moreandmorefictionthatintroducedbiblicalthemesbeyondthosespecificto
Supernatural,incorporatingotherangelsandevenGodasacharacter.Fanfictionand
fanvidstookupquestionsofGod,spirituality,dogma,faith,andtraditionasconcepts
tobeinterrogatedanddebatedinrelationtotheshowandattimesbeyond.
[1.12] Thequestionoftheroleofreligioninmillennialidentity—ortheroleof
millennialsinthefutureofreligion—isavexedone,fullofcontradictions.Where
StraussandHowe'sMillennialRising(2000)claimthatmillennialsareincreasingly
turningtoward/identifyingwithreligion,CooperativeInstitutionalResearchProgram
datasuggesttheopposite:thatreligiousengagementamongyoungadultshas
declinedonallfronts.Theirstatisticsshowthatthenumberofthosewhoidentifyas
belongingtoareligion,praying,orfocusingonspiritualconcernshaseitherstayedthe
sameordecreased(2007CollegeBoardNationalForum,
http://www.artsci.com/documents/CollegeBoardNatForumMillenialPresOct24_07.pdf).
Prothero'sopedechoesthissenseofdeclineorstasis,yetreintroducesthediscourse
offeredinMillennialRisingsuggestingthatthemillennialscouldpotentiallyofferanew,
revisedapproachtoreligiousbelief.ButwhereStraussandHowearguethatthisnew
religiosityincludesareturntotradition,Prothero'sanalysissuggeststheopposite:that
millennialsfirstandforemostwanttobreakfromtraditions,oratleastfromany
traditionsbuiltondogma.
[1.13] Thus,theconversationssurroundingmillennialsandreligioniscuriously
contradictory(alsoatendencyofdiscourseatlargeaboutthemillennialgeneration):
accordingtothemanyvaryinganalyses,blogposts,books,andnewspaperarticles,
millennialsseekareturntotraditionandorganization,yetwantlessdogmaandmore
acceptanceofdiversity.InSupernaturalweseetheseconflictingfactorswritlarge:the
showinvokesreligion,hell,heaven,dogma,salvation,andresurrection;itrecreates
thenarrativeofJesusviaDean'sresurrectionatthehandofCastiel.Andyetatthe
sametime,Supernaturalshowsusaheaventhatlookslikeacrimemovie,angelswho
appeartobemorallybankrupt,and,inseason5,apotentiallysympatheticLucifer.
Afterall,notcoincidentally,season5'spremiereepisodewasentitled"Sympathyfor
theDevil."
2. "What you don't know won't hurt you":Supernatural vids as
millennial reception discourse
[2.1] AsI'vesuggestedabove,wecan'tnecessarilydefinethemillennialsasa
generation—generationalconstructsareculturalfantasies,notscientificorhistorical
realities.However,wecanrecognizetheitemsunderdebateinpublicdiscourseabout
themillennialgenerationandseehowtheysurfaceintextsdirectedatandreceivedby
theagegroupunderquestion.Andindeed,whilethenotionofthemillennial
generationisaculturalconstruct,notnecessarilyahistoricaltruth,itisaconstruct
withenoughweightitselftoaffectthetextsdirectedatthegeneration(like
Supernatural)andthelargerculturalframeworksshapingreceptiondiscourse.
[2.2] AsSupernatural(andinturn,itsfandom)movesfrommoresubtleengagement
withmoralambiguitytodirectexplorationofmoralandreligiousthemes,thefantexts
thatspringfromit—includingbothonlinediscussionsandliterature/artwork—offera
richwindowintothecontestedspaceof(socalled)millennialreceptiondiscourse,and
morespecifically,intocontemporarydiscussionsofreligion,spirituality,andGod,as
wellasthespiritualormythicvalueofpopularculturaltextslikeSupernatural.
[2.3] Fortheremainderofthispiece,Iwillexploretwofanvideosthatfeaturenot
onlyCastielandtheangelstorylines,butalsoconsiderquestionsofGodandfaith.
Thesetwovids,"InHeaven"and"FallofMan,"exemplifytheinterrogationswithin
fandomthatintertwinequestionsoftheology,dogma,spirituality,andmorality—
questionsakintothoseraisedinthedebatesabouttheheartsandmindsof
millennials.
[2.4] FrancescaCoppa(2008)describesthefancultural/artisticpracticeofviddingas
"collaborativecriticalthinking"oftenputtothepurposeofproviding"alternative
perspectives"(5.1)relevanttofemalefanswithinaspecificfancommunity.JulieLevin
Russodescribesviddingasa"subculturalpractice"and"undergroundartform,"
suggestingthatwiththeincreasingvisibilityasremixculturebecomesmore
mainstream,vidsmaybe"dislodged…fromtheirinterpretativelandscape"andasa
resultbesubjecttomisrecognition(2009,126).Butvidsdonotexistonlywithinthe
vacuumoffancommunities.JustasSupernaturalitselfengageswiththepublic
conversationsaboutpolitics,morality,andreligionthathavecometotheforeina
particularculturalmoment,sotoodovidscontributetolargercontemporarycultural
conversations,inpartbyvirtueoftheirspeakingbacktothesourcetextstheytake
inspirationfrom.
[2.5] "InHeaven"and"FallofMan"demonstratehowviddersdrawonsourcetextual
material(attimes,incombinationwithotherculturalmediatexts,newandold)to
offerthroughartisticauthorshipanadditionalthreadinalargerculturalconversation—
aconversationthatisbothparticulartothismomentandthatextendsoverhistory.
BothvidsusetheviddingtraditiontonotonlyofferinterpretationsofSupernaturalbut
alsotoposesignificantquestionsofreligion,dogma,faith,andpersonalresponsibility.
Thusthesetwovidsserveascompellingexamplesofartisticandculturalworkof
contemporarytransformative/remixpracticeswithinandbeyondviddingandfan
communities.
FindmorevideoslikethisonBAMVidVault
Vid1.Castiel666,"InHeaven"(2009).
[2.6] Thisvid,byavidderwiththeappropriatelycontradictorymonikerCastiel666(a
unionoftheangelicandthesatanic)combinesatrancelikerepetitivesoundtrackby
BangGangwithaseriesofimagesfocusedontheangelicstorylineinSupernatural's
season4.Theslow,measuredpaceofthemusictrackisechoedinthevid'sediting,
andtogether,musicandimageprovideasenseofloomingheavenlythreat.
[2.7] ThevidopenswiththeintroductionofheavenviathefigureofCastiel,shadow
wingsoutspread,butcutsquicklytohisunexpectednegativeeffect,as,inhis
introductiontothenarrative,heburnsouttheeyesoftheoverreachingpsychicwho
summonedhim.ThevidthenmovestoimagesofDeanandCastielandthemore
militantangel,Uriel,intheunsettlinglyidylliclocationofalushgreenparkand
playground.Weseeamontageofviolenceperpetratedbyandagainstangels,
highlightingtheviolenceofangelshavingtheirgraceviolatedandangelsbeing
murderedbyotherangels.Thecontinuedrepetitionofthesong'slyrics("Inheaven,
everythingisfine,you'vegotyourgoodthingsandI'vegotmine")workswiththe
montageofimagesofangelicviolencetocumulativelycommunicatethemessagethat
heavenandangelsofferatrapandalie.
[2.8] TheintroductionofCastiel'sangelicsuperior,Zachariah,ratchetsupthestakes
ofangelcorruptiontotheleveloftheinstitution.Buttheviditselfbecomestruly
chillingwhenitintroducesthefactorofhumanbeliefinGodandangelsthroughthe
characterofJimmyNovak,thehumanwhoplayshosttoCastiel.Accompanyingthe
lyrics"You'vegotyourgoodthings/Andyou'vegotmine,"weseeJimmyNovakpray,
convulseasCastielprepareshimtobehisvessel,puthisarminboilingwaterto
demonstratehiscalling,andacceptCastielintohisbody.Thetwistinthelyrics
instigatesthevid'sclimaxbydrawingattentiontothemoresinisterdimensionsofthe
angelicuseofhumanityasatool.Drivingthispointhome,thevidconcludeswith
CastielforcingJimmytochoosetosacrificehimselfforhisdaughter.Thecombination
oftheseimagesandnarrativereferenceswiththesong'slyricsfinallysuggeststhat
angelicpoweriscooptingandpervertinghumandedicationpreciselythroughhuman
faithintheheavenly.
FindmorevideoslikethisonBAMVidVault
Vid2.Obsessive24,"FallofMan"(2009).
[2.9] Where"InHeaven"presentsananalyticoverviewoftherepresentationof
heaveninseason4,Obsessive24's"FallofMan"offersitsviewerinsightintoCastiel's
perspectiveashestruggleswithhisroleasDean'sangelicguide.Thisviddrawsona
widerangeofimagesbeyondSupernatural,weavingthemtogethertohighlight
Castiel'sincreasingselfawarenessashecomestotermswiththerolesthatheand
Deanmustplayinthefateoftheworld.Atthesametime,thevid'strajectoryisalso
suggestiveofCastiel'schangingfeelingstowardDeanandtowardGod.
[2.10] Supernaturalitselfofcourseevokesheaven/hellparallels(andtheresulting
moralambiguity)bycastingbothdemonsandangelsasnoirlikegangsters,withangel
wingsonlyglimpsedinraremomentsinshadow.IncontrasttoSupernatural'smore
muted,metaphoricapproachtorepresentationsofheavenandhell,"FallofMan"
reintroducesepicimagery,interweavingovertimageryofhell(notonlyfrom
Supernaturalbutalsofromother,moreexplicitsourcetexts)withamanipulated
imageofCastielwithfullwingsandwithvastimagesofapocalypticbattlegrounds
realizedratherthanimagined—again,fromcinematicsourcetextssuchasConstantine
(2005),TheDevil'sAdvocate(1997),andEndofDays(1999)withthebudgetand
genericornarrativeimpetustodepicthellandtheapocalypseasliteralexperiences.
Thisreintroductionofovertangelicandapocalyptic/hellishimagerydoesnotreinscribe
fantasticmoralisticdualities,butrathermakesovertthesuggestedmoral/spiritual
ambivalenceofSupernatural.Nowwemustfacethenotionthatanangel—wingsand
all—maystrugglewithmoralimperativesjustasahumanwould.
[2.11] Thelyricsofthisvid,incombinationwiththeimagery,suggestthatCastiel
haschosentoprotectDeanfromthetruthofheaven'sbankruptcy,spelledoutmost
clearlyintheclosingrefrain:"Whatyoudon'tknowwon'tkillyou."Indeed,thisvid's
visionoftheroleoftheheavenlyisakintothatbroughtoutbyCastiel666'sin"In
Heaven."Bothvidsemphasizethecanonicalrevelationinseason4'sfinalethatthe
angelsareworkingtobringtheapocalypse,thatthereislittledifferencebetween
heavenandhell,andthatGodmayverywellhaveleftthebuilding.
[2.12] However,"FallofMan"alsooffersapowerfulmontageparallelingDeanand
Sam'sphysicalconfrontationwithCastiel'sconflictswithUrielandtheotherangels.
Thisintercuttingsuggeststhatdespitethevid'stitle,itisCastielandnotDeanwho
hasfallen.Indeed,thevid'stitlesurfacesaslyricsonlyonce:thewords"thefallof
man"accompanyimageryofaflockofbirdsfallingfromtheskyandscatteringonthe
ground.Supernatural'sseason4alignsimageryofbirdswithangels—fromits
HitchcockianbirdwingopeningcreditstoCastiel'sbirdlikeheadtilt—inaneffortto
makeangelslessanthropomorphizedandmoreuncannilyinhuman.Initsliteralizingof
thebirdimagery,Obsessive24'svidequatesthefallofmanwiththefalloftheangels
(orperhapsviceversa).ThroughDean,Castielhasrecognizedthepossibleabsenceof
God,includingthedarker(inhuman)dimensionsofCastiel'sownbeing("Iwasnever
thatnice").ThelayeringofCastielandDeaninsimilarmotioninconjunctionwiththe
lyric"whatyoudon'tknow"transitionsthe"you"ofthevidfromDeantoCastiel;itis
Castielwhohasn'tyetfacedtheabsenceofGod,anditishisfall,hisrealizationof
heavenlybankruptcy(andthusperhapshisownmoralbankruptcy),thatfuelsthevid's
climax.
[2.13] Theultimatemomentinthisvidisitsfinalimage,whichincorporatesand
transformstheiconicimageryofAdamreachingtoGodfromMichelangelo's"Creation
ofAdam."WeseeAdamreachingforGod(whoisdepictedgivingAdamthebreathof
life),butthroughasubtledissolve,God(and,notincidentally,theangelswhoclingto
him)disappears,leavingAdamreachingouttonothing.Thepunchofthisconclusion
comesinourawarenessthatitisCastielwhohasnowacceptedtheabsenceofGod
andthebetrayalofhisbrothers.Andinthatclosingimage,withthecollapseofCastiel
andDeanas"you,"combinedwiththehighlyfamiliarbutnonsourcetextualimagery
ofMichelangelo'sSistineChapelceiling,we,theviewers,perhapsalsobecomethe
"you"strugglingwiththepossibilityoftheabsenceofGod.
3. Conclusion
[3.1] Both"InHeaven"and"FallofMan"couldbereadasmillennialtextspar
excellence,withSupernaturalusedasavehicletoraisemillennialquestionsofthe
necessaryreconfigurationoftheroleofreligion,dogma,faith,andbelief.Inthesame
stroke,wecouldacknowledgeSupernaturalitselfaspartofthismillennialdiscourse,
bothaskingthequestionsandshapingtheirabilitytobeasked."FallofMan"and"In
Heaven"inturnreframethequestionsandpushthemfurther."FallofMan"especially,
withitsincorporationofnonSupernaturalsourcetextsrangingfromBmoviestothe
SistineChapel,showsusclearlythatthesequestions,whilemomentarilyspecifictoa
cultural,historical,andgenerationalcontext,arealsoconnectedtolargercultural
debatesthatwecantraceacrosshistory,shiftingdiscursiveconstructsprobing
humanity'srelationshiptothedivine.Thus"FallofMan"isbothmillennialandhigh
renaissance,oratleastitlinksthetwo.Insodoing,itrendersclearlythepotentialof
viddingasartisticandculturalexpression,notonlyassubculturalandlocal,
communityspecifictradition,butaspartofmuchlargerarcsofculturalwork.Indeed,
vidding'scapacitytoquote,remix,rework,andremakethroughintricateprocessesof
visualandauralmontagemakeitanespeciallyaptformforrevealinginreliefthe
interconnectionswithinandbetweenindustryandaudience,cultureandsubculture,
andhistoricalspecificityandtranshistoricaldiscourse.
4. Notes
1.In2000,StraussandHoweintroducedtheconceptofthemillennialgenerationin
MillennialRising.Ataroundthesametime,thetermGenerationYhadbecomepopular
todefineasimilaragegroup(MartinandTulgan2001).In2006,JeanTwenge
introducedanotherterm,GenerationMe,todescribeapproximatelythesameage
group.Allthreegenerationaltermscoexistinpopulardiscourseaboutgenerational
communitiestodescribeoverlappingaudiences.
2.TheCW'stargetdemographicof18to34yearoldscoincidesroughlywiththe
boundariessetbyculturalcriticsseekingtodefinethemillennialgeneration.Pinning
downactualaudiencedemographicsatanygivenmomentisaslipperyproject;we
can'tsimplyassumethatthisdemographicencompassestheactualviewersof
Supernatural,letalonethosewhoparticipateinfandomormakevids.However,ifwe
approachthisnotionofthemillennialasadiscursiveconstructborneoutofindustrial
discourseandtheresultingmediatextsandreception,thenwecanunderstandboth
Supernaturalanditsaudiencereception,atleastloosely,asmillennialcreative
textuality.
3.Thesediscussionsevolvedinvariousfancommunitiesdedicatedtothecharacterof
Castieland/ortohisrelationshipwithDean.Ihavechosennottoprovidedirectlinks
tothesediscussionsoutofconcernforprotectingthesefannishspaces.
5. Works cited
Coppa,Francesca.2008.Women,StarTrek,andtheearlydevelopmentoffannish
vidding.TransformativeWorksandCultures,no.1.
http://dx.doi.org/10.3983/twc.2008.0044(accessedSeptember16,2009).
Martin,Carolyn,andBruceTulgan.2001.ManagingGenerationY.Amherst,MA:HRD
Press.
Prothero,Stephen.2008.Isreligionlosingthemillennialgeneration?USAToday,
February4.Availableat:http://blogs.usatoday.com/oped/2008/02/isreligionlos.html
(accessedSeptember16,2009).
Russo,JulieLevin.2009.Userpenetratedcontent:Fanvideointheageof
convergence.CinemaJournal48:125–30.[doi:10.1353/cj.0.0147]
Strauss,William,andNeilHowe.2000.Millennialrising.NewYork:Vintage.
Twenge,Jean.2006.GenerationMe.NewYork:FreePress.
Transformative Works and Cultures,Vol 4 (2010)
Symposium
What are little ghouls made of? The Supernatural family, fandom, and
the problem of Adam
Kristin Noone
University of California, Riverside, California, United States
[0.1] Abstract—AnexplorationoffamilyinSupernaturalthroughtheepisode"Jump
theShark"andthecharacterAdamMilligan.
[0.2] Keywords—Familynarratives;Fandom
Noone,Kristin.2010."Whatarelittleghoulsmadeof?TheSupernaturalfamily,
fandom,andtheproblemofAdam."TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0136.
[0.3] "Hediedlikeahunter.Hedeservestogooutlikeone."
—DeanWinchester
[1] Vampires,werewolves,suicidalteddybears,and,lately,ghouls:theseare,as
Deanhimselfonceputit,"thefamilybusiness."Moreaccurately,theWinchestersare
inthebusinessofdefendingfamily.WhenJohnWinchesteroffershimselfintradefor
thelifeofhisoldestsonin2.01"InMyTimeofDying,"whenDeanWinchesterquite
literallymakesadealwiththedeviltobringhislittlebrotherbackfromthedeadin
2.22"AllHellBreaksLoose2,"whenSamWinchesterbecomesaheartlesskilling
automatonafterDean'sdeathin3.11"MysterySpot,"weseetheheroesofthestory
definingthemselves,andtheirheroism,bytheirdevotiontofamilyaboveall.The
heartoftheshow,andthewayinwhichitmostactivelyoffersaresponseto
postmoderncynicismandmalaise,liesinSupernatural'sadvocacyoffamilyand
familialbondsasarefugeagainstthemonstersofthedarkness,arefugethathas
beeneagerlywelcomedbyviewersinthelargeandactivefancommunity.Whenthis
dysfunctionalbutfunctioningfamilybecomesdisruptedin4.19"JumptheShark,"the
threatisnotmerelytotheSamDeandynamicbuttothesenseofcomfortand
reassurancethatSupernaturalhassofarassertedinitsprivilegingoffamilyas
securityagainstunknownandpowerfulthreats.TheproblemofAdam,anewly
discoveredsonofJohnWinchester,isthathethreatenstodestabilizetheSupernatural
family,representingashedoesacompetingnarrativeoffamily.TheproblemofAdam
mustberesolvedinsuchawaythathecannotserveasaviablealternativefor
charactersorfans;hisdeathreinforcestheshow'scommitmenttothechoiceoffamily
asanethicalposition,whileemphasizingtheelementoftragedyinthebackgroundof
suchachoice.SamandDeanchoosetobetogetherasafamilybecausenoother
choiceisviable.IntheSupernaturalworld,onechoosesfreelytodevoteone'slifeto
thefamily,regardlessofone'sfamily'sflaws,oronedoesnotlive—literally,inthecase
ofAdam,aswellasmetaphorically.Inthisway,theproblemofAdamisresolved.As
fanreactiontotheepisodedemonstrates,"JumptheShark"successfullyupholdsthe
compellingthemeattheheartofSupernatural:intheend,thefamilymaybebroken,
confused,andconflicted,butitsmembersalwayschoosetofighttheirdemonsateach
other'ssideintheend.
[2] InhercriticalstudyFaithandChoiceintheWorksofJossWhedon,K.Dale
Koontzmakesacaseforboththeredefinitionandtheimportanceoffaithinpopular
televisionfantasy:"Whedon'swork,"sheconcludes,"hasmuchtosayaboutthe
transformativepoweroflove,theimportanceoffamily,thepossibilityofredemption
forpastactions,andthedangersposedbyfundamentalismandzealotry"(2008,8).
ForKoontz,faithappearsinWhedon'suniversenotasanelementoforganized
religion,butasasimplecoreofacceptanceandbelief.Buffyandherfriendsfind
strengthinoneanother'sdiverseabilities;theadoptedmisfitsinFireflyacceptother
membersofthefamilyforwhotheyareandhavefaithinthepowerofthebondsthat
tiethemtogether.Koontz'stermscanbeappliedequallytotheSupernatural'verse,in
whichtheWinchesterssacrificeeverythingtheyhaveforloveofthefamily,inwhich
bothSamandDeanobsessovertherolestheymayplayinbringingaboutthe
apocalypse,andinwhichGordontheVampireHunterservesasaterrifyingreminder
ofthedangersofobsessivezealotry—andperhapsafrighteningglimpseofapossible
futureSam,who,likehisfather,hasbecomeincreasinglywillingtosacrifice
everythingaroundhiminpursuitofhisgoal.Theimportanceoffamily,inSupernatural
asinBuffytheVampireSlayer,isparamount.Moreover,asKoontzasserts,itisa
familythatisrepeatedlychosen,despitemomentaryrejectionsordissolutions.Sam
departsforStanfordandanattemptatnormality,butwhenDeanasksforhishelpin
1.01"Pilot,"hechoosestoaidhisbrotherwithout(much)hesitation:
[3] Dean:Ican'tdothisalone.
Sam:Yes,youcan.
Dean:Yeah,well…Idon'twantto.
Sam:[pause]Whatwashehunting?
[4] Laterinseason1,SamtemporarilyleavesDeanafteranargument(1.11
"Scarecrow")butreturnsthemomenthebelieveshisbrothertobeintrouble;inlater
seasons,Johngivesuphisownlife,andtheopportunitytocompletehisquestfor
vengeance,tosaveDeanfromdeath(2.01,"InMyTimeofDying"),andDeantrades
hissoultobringSambackfromthedead(2.21–2.22"AllHellBreaksLoose")(note1).
EvenBobbySinger,fellowhunterandfamilyfriend,actstoprotecthissurrogatesons
onmanyoccasions,evenspeakingthememorableline"Familydon'tendwithblood,
boy!"toDean(3.16"NoRestfortheWicked").Thefamily,despitefightsandflaws,
remainsparamountforSamandDean,andthedesiretoprotectthefamilyemerges
asthedrivingforceoftheshowoverall.AvrilHannahJonessuggestsinheressay
"GoodandEvilintheWorldofSupernatural"that"Supernatural,likeotherformsof
popculturethatdealwiththemesofgoodandevil,offersitsviewersthehopethatevil
canbedefeatedbyhumanstakingresponsibilityfortheirownactionsandworking
together"(HannahJones2009,64,emphasismine).Hope,inotherwords,canbe
foundinthechoicetostandtogetheragainstevil,andthisisthechoicethat
SupernaturaladvocatestimeandagainintheactionsofSamandDean.
[5] Thisfamilydynamicfacesitsgreatestchallengein4.19"JumpTheShark,"in
whichtheWinchesterbrothersdiscoverayoungerbrothertheyneverknewtheyhad,
courtesyofJohn.AsSamputsit,Johnwasn'tamonk,afterall,andlifeisnot
foolproof.ButtheintroductionofAdamraisesamultitudeofquestions,especiallyas
SamandDean,andviewers,discoverthatAdam'sfamilylifewithJohninvolved
baseballgamesandbirthdayvisits—inshort,elementsofanormalizedAmerican
suburbanfamilynarrativethatwerenoticeablymissinginSamandDean'schildhood
experiences(note2).Theepisodethusprovidesapotentialchallengetotheshow's
definitionoffamily:Adam'srelationtoJohnandtoSamandDeanappearstorest
primarilyontheDNAheshareswiththem.Hehasnotbeengiventhechoicetoenter
intothehunterlifewiththem;hehasnotchosen,asSamhas,toplacefamilyovera
worldofnormalcy.Thisishardlyhisfault,ofcourse;Johnmadethisdecisionforhim
bynotinforminghimofhishalfsiblingsandthelifetheyallled.Adamisdeprivedof
anyopportunitytosearchforanewdefinitionoffamilybeyondthebloodheshares
withJohn;hethereforefunctionsperfectlyasarepresentationoffamilycompletely
alienatedfromtheWinchesterversion,setsofarapartthatheisunawareofthe
existenceofanotherversionoffamilylife.IfAdamandJohncouldleadafulfillingand
contentedexistenceinhappyobliviousnormality,theelementofchoicethattheshow
hasprivilegedthusfarintheWinchesterfamilybecomesdevalued,evenmeaningless.
[6] TheproblemofAdamwasfromthebeginningcorrectlyreadasathreattothe
Winchester"chosenfamily"byfans.CommentsontheCWmessageboardsreflected
thisthemeofconcern:oneuserobserved,"I'veneverbeensoworriedaboutan
episode…hopeit'sallgoodbytheendofthenight"(Mousisita,April23,2009)(note
3),andanothercommentedthat"athirdbrotheratthispointwouldonlydistractfrom
themainstoryline…SupernaturalisaboutSamandDeanonly,everyoneelseisjust
somethingtobounceoffthesetwomaincharactersandimpactthem"(lovepass77,
April24,2009).Supernatural,forthesefansandothers,isabout,tellingly,Samand
Deanonly.The"mainstoryline"isequatedwiththestoryofthesiblingswhochoose
eachotherovereverythingelse,evenlifeitself,everytime;asSherylA.Rakowski
observesinherdiscussionoffamilystrengthsandweaknessesintheshow,"forthe
Winchesters,needingfamilyandhavingtheabilitytoacknowledgeandsustainthat
needisthewellspringoftheirmission"(2009,106).Thefamily,asitisneeded,
acknowledged,andactivelysupported,liesattheheartoftheWinchestermission,the
narrativequestoftheshow.Adam,afamilymemberseeminglyunacknowledgedand
unneeded,appearsatfirstglanceasastartlingdistractionfromthismainnarrative.
[7] Thisdistractionisdefinitivelydealtwith,asSamandDeandiscoverthatthe
Adamthey'vemetisinfactaghoul,who—alongwithhismother—menacesSamina
particularlygruesomefashionuntilkilled,withfittinglybrutalheadshots,byavery
protectiveDean.Bytheendoftheepisode,Adamhasbeeneliminatedasaviable
alternative,bothliterallyandmetaphorically,andthethreatheposeswithhisdesire
todevourSam'sbodyisshowninbeautifuljuxtapositiontoSamandDean'sevident
concernforeachother'swelfare(note4).TheSupernaturalfamilyofSamandDean
hasonceagaindemonstrateditssuperioritybymeansofitsabilitytoovercome
threateningforces,whethernarrativeorphysical.
[8] Theshow,however,supportsamorecomplicatedreadingthanasimpleassertion
ofitsowndefinitionoftheOneTrueFamilyoverall.ThedeathofAdamispresented
asagenuinelytragicmoment,witharealsenseofloss,anemotionthatDean
reinforceswithhischoicetogiveAdamahunter'sfuneral:"Hediedlikeahunter.He
deservestogooutlikeone"(note5).Dean,andtheshow,maysupportaspecific
narrativeoffamilyasafunctionofchoiceoverbloodandknowledgeoverinnocence;
butthatdoesnotmeanthatthefailureofacompetingnarrativeoffamilyshouldnot
bemourned.IngivingAdamahunter'sfuneral,Deanacceptshimintothefamily;
importantly,thisisnota"Winchester's"funeral,buta"hunter's."Thefamilyisnot
definedbyblood,butbythelifeonechooses,thelifethatSamandDeanhavechosen
toshare.TheyofferAdamahunter'spyre,demonstratingtheiracceptanceofhimas
familyandasapersonofworthdespitehisseeminglyoppositionalembodimentof
family.IntheflamesofAdam'sfuneralpyre,Supernaturalsuggeststhattheseeming
oppositionisjustthat.Adam'salternatenarrativestillhasvalueforSamandDean;
Adamhimselfstillhasvalueforthem,andtheydemonstratethisvaluebygenuinely
mourninghisloss.Adam,atthemomentofhisfuneral,becomesamemberofthe
chosenfamilyofSupernatural,notbecauseofhisbloodbutbecauseSamandDean
choosetoconsiderhimso.Inthischoice,paradoxically,Supernaturalmakestheclaim
thatAdamandthenarrativeherepresentsmustalsohavevalue.Thefamilywhose
memberschooseeachotherfreelymaybethestrongest—afterall,ourheroesmust
prevail—buttheshowwillinglycomplicatesitsownthemesbysuggestingthatits
formulationoffamilyisnottheonlyonewithvalue.
[9] ThisuseofAdamwasembracedbyfans,asitprovidedaresolutiontotheir
concernswhilesimultaneouslyexpandingthethematicembraceoftheshow.One
postercommentedaftertheepisodeaired:
[10] IthinkKripkehandledthisreallywell.Throwingthekidbrotherin,
teachinghimhowtohuntandwhatnotisreallythestuffforfanfictionand
wouldhavecompletelythumbeditsnoseatthepointofthisparticular
episode.Thetruthis,theboysnevergottoknowAdam.Hewasalready
deadbythetimetheboysgotthereandtheAdamtheygottoknowwasn't
real.We'llneverknowiftheywouldhavegottenalongwithAdamandthat's
the,forgivemehere,wonderfullytragicpartoftheepisode.
(MasterofPuppets,April24,2009)
[11] The"wonderfultragedy"oftheepisodeliesinthatunansweredquestion:could
thesetwonarrativesoffamilyhavecoexisted?CouldSamandDeanhave"gotten
alongwithAdam"?Asecondposterconcurred:"Thebestpartoftheepisodeisthat
KripkemadesurethatAdamwasalreadydeadsothattheyneverreallygottoknow
himandlikelyneverwill.ThisepisodewasneveraboutAdam,oraddingathird
brothertothemix,itwasallaboutFamilyandSamandDeandealingwithFamily
issues,secretsandshowingtheirbondisstillthere"(lovepass77,April24,2009).
[12] Formanyfans,thisepisodeisaboutfamilyandthedefinitionoffamily—the
bondsthatarestillthere,despitechallengestothem.Specifically,somefansreadthis
episode,tellingly,ascenteringonvariousnarrativesoffamilyandtherespective
valuesofthosenarratives:
[13] PerhapsJohn,inhisownway,wantedtomakethingsrightbyAdam
andgivehimsomekindofnormalcy(theraretimeshesawhim)…something
hecouldn'tdoforDeanandSam.Everythingconsidered,IbelieveJohndid
thebesthecouldforallhissons.Hecommittedtheultimatesacrificeand
gavehislifesoDeancouldlive.Afatherhastotrulylovetodothat.
(SuperFanatic,April24,2009)
[14] Forthismemberofthefancommunity,John'sdualfamilieseachrepresentthe
bestJohncouldoffer;thelossofoneofthemintheformofAdambecomesatrue
sacrificeofavaluableideal.Overallfanresponse,inaninformalpollconductedbya
forummember(table1),displaysgeneralsatisfactionwiththeepisode(note6).
Table1.WhatdidyouthinkofJumptheShark?[threadtitle]
10(lovedit!!!!!!!) 40
9 18
8 8
7 3
6 3
5(justokay) 1
4 0
3 1
2 1
1(bad) 2
AccessedApril28,2009.
[15] Fandom,clearly,respondedwelltotheintroductionofAdamontheseterms:his
deathallowsSamandDean,afamilywhohaveconsistentlychoseneachother,to
reemergeastheseries'spreeminentimageoffamily.ButAdam'ssympathetic
portrayalandhunter'sfuneralsuggesttheshow'sinclusivityandwillingnessto
consideralternativenarrativesaspossiblesitesofvalue.PartofSupernatural's
continuingappealconsistsofthisinclusiveapproach,offeringanoptimisticviewof
tolerancethatsitsinastrangelycomfortablepairingwiththeotherworldlymonsters
andsituationsthatSamandDeanfacefromweektoweek.AsSupernaturalmakesthe
monsters,vampires,andwerewolvesintofamiliarsights,anacceptedpartofthe
lifestyleofonepeculiarfamily,italsonegotiatesothernessandalterityinmoresubtle
ways,providingarefugeforfamiliesofalltypesandcompositions.Family,to
paraphraseBobbySinger'swords,isreaffirmedasaconnectionthatneitherbeginsnor
endswithblood.
Notes
1.Thisisbynomeansanexhaustivelist;manyofthetensionsoftheshowmanifest
themselvesinstressandtemporarysplittingofthefamilydynamic,andamainsource
ofasyetunresolveddiscomfortthroughoutseason4hasbeentheemotional
separationofSamandDean.Untilthispoint,theshowhasreaffirmedtheimportance
offamilybyconsistentlydepictingareconnectionafterseparation;season4appears
tobeaffirmingtheimportanceofchoosingfamilybydemonstratingthenegative
consequencesofasustainedseparation.
2.ExcellentexamplesofJohn'sabsenteeparentingoccurmostnotablyinepisodes
3.08"AVerySupernaturalChristmas"and4.13"AfterSchoolSpecial,"amongothers.
Inallfairness,asatleastonefanhasobservedontheCWforumfortheshow,John
didpreservemementosofSamandDean'schildhoodaswell,suchasSam'ssoccer
trophyandDean'sfirstshotgun;thefactthattheboysaresurprisedtofindthis
memorabilia,however,suggeststhattheydidnotknowoforexpectsuchindications
ofparentalprideand"normality"fromJohn.
3.AllquotationsfromfansaretakenfromtheCWofficialmessageboardsfor
Supernatural,accessedApril27,2009.
4.Thisrelationshipdynamic,operatingalonglinesofpainandconcern,ismuch
belovedbyfandom,totheextentofitsformulationasaspecificcategoryoffanfiction
affectionatelyknownash/c,orhurt/comfort.
5.Adam'sfuneralpyreisoneamongmanyeffectivevisualimageslinkingdeathwith
fire,apairingemployedbySupernaturalsincetheshow'sopeningsequenceofMary
Winchesterburningtodeathontheceilinginseason1;here,themultiplelayersof
meaning—thepersonwhosebodytheyburnhasjustbeenrepresentedinquick
successionasaninnocent,avictim,athreat,andnowawarrior—suggestthe
complicatedandshiftingnatureofidentitywithregardtofamilialroles.
6.Thispollisnotinanywaystatisticallysignificant,relyingononlytheviewsofthe
77memberswhofeltstronglyenoughabouttheepisodetorateit,butitdoesoffera
representativeideaofthegeneralresponsetotheepisodeamongthesamepopulation
whohadpreviouslyexpressedsuchdoubtsaboutthenewWinchestersibling.
Works cited
CWLounge:SupernaturalMessageBoards.http://lounge.cwtv.com/forumdisplay.php?
f=13&order=desc(accessedApril27,2009).
HannahJones,Avril.2009.GoodandevilintheworldofSupernatural.InInthehunt:
Unauthorizedessayson"Supernatural,"ed.Supernatural.tvwithLeahWilson,53–66.
Dallas,TX:BenBellaBooks.
Koontz,K.Dale.2008.FaithandchoiceintheworksofJossWhedon.Jefferson,NC:
McFarland.
Rakowski,SherylA.2009.Apowerfulneed.InInthehunt:Unauthorizedessayson
"Supernatural,"ed.Supernatural.tvwithLeahWilson,97–10.Dallas,TX:BenBella
Books.
Transformative Works and Cultures,Vol 4 (2010)
Symposium
Supernatural bodies: Writing subjugation and resistance onto Sam and
Dean Winchester
Suzette Chan
Edmonton, Alberta, Canada
[0.1] Abstract—AlthoughSamandDeanare"marked"byvariousforces,wounds
tendtodisappearorberenderedinvisible.Fanfictionwritersbringtheseintothe
forefront,creatingphysicalremindersoftheplightsthatclaimtheirbodies.
[0.2] Keywords—Fanfiction;Television
Chan,Suzette.2010."Supernaturalbodies:Writingsubjugationandresistanceonto
SamandDeanWinchester."TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0179.
1. Introduction
[1.1] Collectively,theWinchesterbrothersonSupernatural(2005–)havebeentied
up,caged,beaten,cut,stabbed,shot,possessedbyademon,hitbyatruck,swarmed
byinsects,grippedbyyellowfever,andnonfatallykilledmultipletimesviathe
TricksterandaBabylonianwishingcoin.That'sjustallinaday'sworkfortheyoung
demonhunters.Cuts,bruises,andbreaksareusuallyhealedandforgottenbythenext
episode,whilemagicaldeathsaresoonreversed.
[1.2] Fromlivingundertheirfather'scommand,tobeinginfectedwithdemonblood
orresurrectedbyangels,ithasbecomeclearthatneitherSamnorDeanhasan
exclusiveclaimonhisownbody—orhisfate.Whentheydoevadetheclutchesofthe
supernatural,thebrothersphysicallyholdontoeachother,assertingtheirbodily
realityandtheirgenetic,affectional,andhumanbrotherhood—indefianceofthedivine
forcesthatbedevilthem.Inthispaper,IwilldiscusshowSamandDean'sbodiesare
constructedbythecommercialdemandsofthebroadcasttelevisionmedium,the
diageticeventswithintheshow,andfanreadings.
[1.3] SupernaturalwascommissionedbytheWB,nowtheCW,anetworkthat
targetsteensandyoungadults,emphasizingyouthandbeautyinitscasts.
SupernaturalisnotexemptfromtheCW'srules,eventhoughtheshowisabouttwo
griftingnearserialkillerslivingoutofanoldcar,fightingmonsterseveryweek.Jared
Padalecki,whoplaysSam,didnotwanttoappearshirtlessinthemovieFridaythe
13thbecause"I'malreadyontheCW,whichiskindofliketheprettyboynetwork"
(http://www.joblo.com/index.php?id=23727).Hehasalsodirectlyaddressedthe
commerciallydrivendemandformagichealing.WhenPadaleckibrokehiswristinreal
lifeduringseason2,hewashappythatthecastheworewaswrittenintotheshow
"becauseitsortoffrustratesmewhenthere'sashowandyou'recutupandyou're
bruisedandyourarm'sinasling,andthenthenextdayyou'resparklyclean.Weused
tojokeaboutitandcallitWBointment"(Knight2008,129).
[1.4] Theshowresolvesthetensionbetweenmarketabilityandstorytellingby
makingscarsdisappearandwoundsinvisible.Thepatriarchalforcesontheshow
"mark"SamandDeanforuglyfutures,butwithoutleavingunsightlyphysicaltraces.
Thefewvisiblemarkstheydohaveareacceptable,evenaestheticallypleasinginthe
caseoftheantipossessiontattoos,formainstreamprimetimeviewing.Deeperscars
remaininvisible.Markedbyabloodinfection,Sam'sscarsareinternaland
internalized,sothereisnosurfacedisruptionofhis(andPadalecki's)fresh,collegiate
looks.ButwhilecastingformersoapoperastarJensenAcklesasDeanfulfillstelevision
expectationsofbeauty,itgoesagainstthetextoftheelderWinchesterbrotherbeinga
lifelongwarriorandabitofaredneck.Themanypsychologicalscarsandtheangel
handprintthatDeanretainsindicatewhoownshim,andhow.
[1.5] Fanfictionwritersbringthesemetaphoricalandphysicalscarsclosertogether.
MostfanconstructionsofSamandDeanarejustashandsomeasthecharacterson
theshowandjustasresilienttotheeffectsofhardliving,heavydrinking,andbad
eating.ButmanyfanwritersgiveSamandDeanbodiesofconsequence,bodiesthat
bearthescarsofthepastandthatalsoexerciseproactiveagency,thuscreating
opportunitiesforSamandDeantomarkeachotherindefianceoftheindustrialand
patriarchalforcesactinguponthem.
2. Dean as Foucauldian hero
[2.1] Dean'sbodyisafieldofplaythatFrenchphilosopherMichelFoucaultwould
recognize:"thebodyisalsodirectlyinvolvedinapoliticalfield;powerrelationshave
animmediateholduponit;theyinvestinit,markit,trainit,tortureit,forceittocarry
outtasks,toperformceremonies,toemitsigns"(Foucault1977,25).
[2.2] JohnisthefirstauthorityfiguretoleavehismarkonDean.Despitealifetimeof
defendingJohnagainstSam'scriticisms,Deanharborsthethoughtthathisfatherwas
"anobsessivebastard"whomoldedDeaninto"agoodsoldier,anattackdog"who
mindlesslyfollowscommands(3.10"DreamaLittleDreamofMe").Asaconsequence,
Deantendstogravitatetowarddomineeringfatherfigures.Whilethishelpshimonthe
hunt,especiallywhenhegoesundercoverasafigureofpettyauthority(forexample,
asaprisoncardsharkin2.19"FolsomPrisonBlues"andagymteacherin4.13"After
SchoolSpecial"),italsoleavesDeanopentoattackfromthosewithrealpower,the
demonsandtheangels.
[2.3] AlastairisthesecondpatriarchalfiguretoscarDean.BecauseDean'sbody
doesnotbearanyphysicalscarsfromhistimeinhell,theshowcharacterizeshis
tortureasmetaphysical:hell'svictoryoverDeanisoverhispsyche,nothisbody.
"Theyslicedandcarvedandtoreatme…untiltherewasnothingleft.Andthen,
suddenly,Iwouldbewholeagain.Likemagic.Justsotheycouldstartinallover"
(4.10"HeavenandHell").WhatenduresisthepsychologicaltorturetowhichDean
subjectshimselfovergivingintoAlastair'stemptation:"Ienjoyedit,Sam.Theytook
meofftherack,andItorturedsouls,andIlikedit…NomatterhowmanypeopleI
save,Ican'tchangethat.Ican'tfillthishole.Notever"(4.11"FamilyRemains").
[2.4] AccordingtoDean,theangels"rehymenated"(4.05"MonsterMovie")him
whentheyraisedhimfromhell.ButtheyleaveCastiel'shandprint—acattlebrand
indicatingthattheownershipofDean'sbodyhaspassedfromJohn(hisbiological
father)andAlastair(hisfatherfigureinhell)totheagentsofGod,theFatherCreator
whoseexistenceDeanhasdisbelieved.ThefallenangelAnnaeroticizesthismarkof
submissiontopatriarchalforceswhensheplacesherhandonitassheandDean
undressin4.10"HeavenandHell."Atthatmoment,AnnaandDeanbondasformer
childsoldiersintheirfathers'wars.
[2.5] AfterAlastairrevealsthatDeanbrokethefirstseal,Deanfallsintoacrippling
depression,whichisironicallyanactofpassiveresistancetotheangels,asifDean
intuitivelyunderstandsthat"thebodybecomesausefulforceonlyifitisbotha
productivebodyandasubjectedbody"(Foucault1977,26).AslongasDeandoesnot
activelyhelpSamkillLilith,hedelaystheapocalypse.The"uppermanagement"of
heavenstagesanintervention(4.17"It'saTerribleLife")thatsucceedsuntilDean
lookspastthemetaphoricalcurtaintoseeZachariahoperatingthecontrols(4.22
"LuciferRising").Again,DeanchannelsFoucault:"Poweristolerableonlyoncondition
thatitmaskasubstantialpartofitself.Itssuccessisproportionaltoitsabilitytohide
itsownmechanisms"(Foucault1978,86).Inthesamevein,whenDeandiscoversthat
thearchangelMichaelcannotforciblypossesshim,herealizesthathisbodyisa
politicalsiteandwithholdsconsent,defyingtheangelsinadisplayofnegativeforce
(5.01"SympathyfortheDevil").Metaphysicalmarkssuchastheprospectofbecoming
Michael'svessel,thecoercionbythedemons,andhisfather'spsychologicalimprint
remindDeanthathisbodyhasneverbeenhisown.Duringtheapocalypse,Deanhas
influenceoverhisownfate,butonlyaslongastheangelsneedhisbody.
3. Sam's Gothic body
[3.1] Asconstructedontheshow,Sam'sbodyisarepositoryofGothictropes:"the
legaciesofthepastanditsburdensonthepresent;theradicallyprovisionalordivided
natureoftheself;theconstructionofpeoplesorindividualsasmonstrousor'other';
thepreoccupationwithbodiesthataremodified,grotesqueordiseased"(Spooner
2006,8).
[3.2] InSam'sstory,asintheGothicvampirenovel,thesethemesarecarriedforth
throughthedeviceofbloodinfection.Theburdenofthepastbecomesevidentas
Sam'sdiseasespreadsalongfamiliallinestodoomfourgenerationsofpastand
possibleWinchesters(demonsclaimthelivesofSam'sgrandparents,father,mother,
brother,andfiancée,thepotentialmotherofthenextgenerationofWinchesters),but
therearenooutwardsignsofit.Itiscomparabletoastigmatizeddiseasethatis
physicalyetnotvisible,andmustbehidden.Sam'sgreatestfearisrejectionbyhis
brotherforbeing"different"and"amonster"(4.21"WhentheLeveeBreaks").
Consciousofhisothering,Samtriestoturnthisinfectionintoavirtue.In4.04
"Metamorphosis,"hesays:"I'vegotdemonbloodinme,Dean.Thisdiseasepumping
throughmyveins,andIcan'teverripitoutorscrubitclean.I'mawholenewlevelof
freak.AndI'mjusttryingtotakethis—thiscurse—andmakesomethinggoodoutofit.
BecauseIhaveto."
[3.3] Samproactivelymodifieshisbodytomatchthenewmissionwithwhichhe
choosestodefinehimself.ResolvingtoavengeDean'sdeathanddamnationbykilling
Lilith,SamacceptsRuby'soffertotrainhim.Hisgrowingpowerisvisuallyrepresented
bySam'simposing,demonsmitingphysique.Serendipitously,thesesceneswere
filmedafteractorPadaleckispentthesummerbuildingupmuscletomatchthe
monsterhefacedinFridaythe13th(note1).Thisbitofphysicalmetastorytelling
expressesSam'sforcefulwillandforgesSam'sbodyintoanexceptionallystrong
vessel,bothofwhicharerequiredtocontainLucifer.
[3.4] AfterLuciferrises,Sambelievesthat"whoeverputmeonthatplanecleaned
merightup"(5.01"SympathyfortheDevil").ButinSam'smind,thestaininhisblood
hasbeenreplacedbyablotonhisconscience.Whilehisdemonicinfectionmayhave
beenclearedupbysupernaturalintervention,Sam'shumandeedscannotbeundone.
Previouslyashamedaboutwhathewas,Samisnowmortifiedaboutwhathehas
done:distrustedDean,consortedwithademon,andbecameaddictedtodemonblood
—essentiallybecomingavampire.In5.02"GoodGod,Y'All,"Samdecidestostepback
fromthehunt:"Theproblem'snotthedemonblood,notreally.Imean,whatIdid,I
can'tblametheblood,orRuby,oranything.Theproblem'sme,howfarI'llgo.There's
somethinginmethatscaresthehelloutofme,Dean."
[3.5] ThisisadifferentSamthantheonewhoappearedinthefirstepisodeofthe
series.Backthen,hewasconstructinganidentityasapillarofnormalcyinthe
rationalistprofessionoflaw.ButcollegeboySam—notthebadattitude,leatherclad
Dean—istherebelliousWinchester.LikeamoderndayLucyWestenra,onceinfected,
Samgoesontobreaktheskinofconvention,abandoninghisfamilyandthehunt,
allyingwithademon,andgivinghimselfovertothepowerofblood.Thetragedyfor
SamisthateverythinghetriedtodotosaveDean,tomaketheworldsafe,andallthe
alterationshemadetohischaracterandhisbody,wereironicallydrivenbythe
demons'agenda,carriedoutbySam'sbodyviabloodinfection.
4. Written on the body
[4.1] Thedemonsandangelsmaymetaphoricallyrideroughshodoverthe
Winchesterbrothersontelevision,butinfanfiction,SamandDeanaregivenbodies
thatbearthecallusesandscarsthattestifytotheirindividualhistories,victimization,
andresistance.TheshowdepictsSamandDeanasbeingabsolutelydevotedtoeach
otherandimpliestheirneedtoaffirmeachotherasphysicallyrealandhuman,
especiallyaftertheysurvivemetaphysicaltrauma(suchasSam'sreleasefromthe
timeloopin3.11"MysterySpot"andDean'sreturnfromhellin4.01"LazarusRising").
AsCatherineTosenberger(2008,2.1)notes,thebrothers'diageticallyintense
closenesseasilyleadsslashmindedfanstowriteSamandDeanaslovers,callingup
theRomanticandGothicliterarytropeofincestastheultimateexpressionofphysical
oneness:"unitednotsimplyinbodyandsoul,butinblood."
[4.2] Tosenbergercontinues:"Theintense,exclusive,excessivenatureoftheirlove
isnotonlycentraltotheplot,butalsonamedbythecreators,actors,critics,andfans
astheshow'sprimarystrength.Whilethisloveisnotnecessarilyromantic,ourculture
codesromanticloveassimilarlyexcessive,sotheshowmakesitveryeasytoread
SamandDean'sexcessiveloveasromantic"(2.2).
[4.3] InWinceststories,itiscommonforDean'sscarstobeseenthroughtheeyes
ofSam,whohasanewregardforhisbrotherafterspendingyearsawayinthenormal
world.Inarby_m's"Hell"(2005),postedjustweeksaftertheshowdebuted,Sam
conflateseroticdesirewithamelancholicaweforthesacrificesDeanhasmade:"All
musclesandscars;Deanwas(really)built,buthisbodyalsoborewitnesstoyearsof
thehunt."Proprietarysexualmarking(bites,hickeys,scratches)hasappearedsince
theearliestpublishedWinceststories.Injoyfulgirl41's"Can'tJustWalkAway"(2005),
Deanapologizesforleavinga"crescentshapedbruise"onSam'sshoulder.Sam
replies:"Ikindoflikeit."
[4.4] Inthesamevein,somefanficwritershavepickeduponanincreasingly
importanttropeonSupernatural,theequationofpossessionbydemonsandangels
withsexandsexualassault(note2).Oftencreatingmorenaturalisticuniversesthanis
possibleonnetworktelevisionorwithintheparametersofSupernatural'sheightened
genrereality,fanfictionwritersconverttheshow'smetaphorical,agencydenying
rapesintoconcreteplotpoints,especiallyinsexualfictionthatexploresthepower
relationsthathaveresultedinthecharacters'psychologicalscars.Theshow's
depictionofpatriarchalforces'useofDean'sbody—totheextentoferadicatinghis
identity—isexploredinficthatcastsDeanasavictimofrapeatthehandsof
monsters,demons,angels,andevenhisownfatherandbrother.Someofthatsame
ficascribesaneedortendencytowardsexualdominationtoSam,whosedesireand
behavioriseitherrootedinorblamedonthedemonbloodinhissystem.
[4.5] Thesetropesareeffectivelyemployedinthehurt/comfortepic"TheBright
LightsofDisturbia"byleonidaslion(2009a).Inthisfic,theYellowEyedDemon
reiterateshisclaimonSambyrapingDeanonmultipleoccasions,actingoutSam's
longharboredsexualfeelingsforhisbrother.Theattacksleaveanexternalscaron
Dean'stemple,internaltearingafteranearfatalrape,andpsychologicaltrauma.In
anincidentthatreimaginestheconfrontationin1.22"TheDevil'sTrap,"theYellow
EyedDemonrapesDeanwhilepossessingJohn'sbody,forcingSamtowatchtheliteral
andobscenemanifestationofSam'smainissuewithhisfather,John'sdominationof
Dean:"It[thedemon]brokeDeanwithdeliberate,calculatingmalice—fashionedhim
intosomeonewhowouldbeopentoarelationshipwithhisbrotherbecausehedidn't
trustanyoneelseenoughtogiveitago.ItrapedDeanassomekindofsick,twisted
giftforSam"(2009b).ButSamgoesontousemarkingstorepositionhimselfvisàvis
hisfatherfigures:John,hisbiologicalfather;Azazel,theYellowEyedDemonwho,in
vampireterms,siredSam;andDean,hisolderbrotherandmaincaregiver.When
Johnorderstheboystogetantipossessiontattoos,Samdraftsthemhimself,stepping
upasahunter,literallybyhisowndesign.Then,withoutJohn'sknowledge,despite
thedemon'sphysicalandsexualclaims,andcountertonormativerelationsbetween
siblings,Samdesignsasecondtattoo,amarriagerune.Atthetattooparlor,Sam
pitchestheideatoDean:"Iwanttomarkyou…This'llbedifferent.Justforus"
(2009c).
[4.6] Sam'sturnaboutmarksamomentofidentityreclamation,sharedexclusively
betweenthebrothers,awayfrompatriarchaleyes.Significantly,thereisoneother
personintheroominthisscene,anoriginalfemalecharacternamedTrish,who
tattoosbothsymbolsofprotectionontotheboys.Trishcanbereadasanavatarfor
femalefanfictionwriterswhowriteresistanceontoSamandDeanasacorollaryto
diageticandproductorialusesoftheirbodies—explicitlyoutliningthenaturalistic
implicationsoftheshow'sunrelentingimperilmentofattractiveyoungmencaughtup
inasexualizedplayofpowerrelations(note3).
5. Conclusion
[5.1] OnSupernatural,SamandDean'sdestiniesaredefinedbytheintereststhat
claimtheirbodies.Butthephysicalmarksremaininvisible,fulfillingbroadcast
televisiondemandsforunmarredbeauty,blankslatesonwhichbothproducersand
fanscanwritestories.Fanfictionwritersplaywithideasandthemesthatcanbe
developedtoonlyalimitedextentontheshowduetotime,budget,broadcast,or
marketingconstraints.InSupernaturalfanfiction,writersexploreSamandDean's
perpetualsubjugationbypickinguponkeytextualcuesaboutthecharacters'histories
andconstructingbodiesthatarephysicalrepositoriesofexternalforces'agendas,as
wellassitesofresistance.
[5.2] However,ontheshow,thenearcompleteabsenceofscarsontheWinchester
brothersdisplacestheirbattlesfromthephysicaltothemetaphysicalplane.The
emotionalscarsoftheiractionsandofbeingactedupon,andtheproprietarymarks
leftinSam'sbloodandonDean'sshoulder,havegroomedthecloseknitWinchester
brotherstoreceivethewarringarchangelbrothersLuciferandMichael.Ascharacters
whoseactions—selfpreservationinDean'scaseandmisguidedheroisminSam's—led
totheapocalypse,whatisfrighteningabouttheWinchesterbrothers'twinnedfateis
notonlythelossofphysicalcontroloftheirbodies:itisalsothepossibilitythatthey
willbecomplicitintheirowncorruption."It'snotoneofthekeydramaticurgesforthe
viewerstofeellikehe'sgoingtodieornot.Ourdiscussionislivingwithangst,living
withfear,livingwithallthethingsthatrequirecatharsis,"saysSupernaturalproducer
BenEdlund(http://www.acedmagazine.com/component/content/article/95celebrity
event/3527supernaturallookstothewalmartapocalypse)."Supernaturalisanon
stopnightmare.Thosemenandtheirdreamsarethwartedeveryweek."
6. Acknowledgments
[6.1] ThankstoKatherineKeller,WolfenMoondaughter,andJustinJordanfor
commentingonearlierdrafts.Iamgreatlyindebtedtomyeditor,SuzanneScott;my
enabler,CatherineTosenberger;andmymentor,thelateGilbertBouchard.
7. Notes
1.In2009,Men'sFitnessmagazinenamedJaredPadaleckioneofthe25fittestmenin
theworld."PadaleckialsomadesurehewasatpeakfitnessfortherecentFridaythe
13th.'There'snothingworsethanwatchingsome120pounddudekillingthebadguy,'
hesays"(http://www.mensfitness.com/fitness/469?page=3).
2.Asthepossessionsbecomeincreasinglytiedtothebrothers'fates,Dean'sjokes
aboutthembecomegrimmer.WhenMegpossessesSam,Deanlaughsaboutthe
"naughty"connotationsofSamhaving"fullonhadagirlinside[him]forlikeaweek"
(2.12"BornUnderaBadSign");whentheangelsintroduceashakyconceptof
consent,Deanlikensthesituationtoprisonrape:"Igotanarchangelwaitingformeto
dropthesoap"(5.08"TheCuriousCaseofDeanWinchester").Inbetween,Sam
confrontsRubydirectlyontheissue—"Whosebodyareyouriding?"(4.09"IKnow
WhatYouDidLastSummer")—forcinghertoswitchtoavacatedbodybeforehe
allowshertoengagehimfurther.
3.SamandDeanhavemanytraitsoftheFinalGirlinslasherhorrormovies.While
FinalGirlshavegenderneutralormasculinizednames(Stretchinthe1974Texas
ChainSawMassacreandErin,ahomonymofAaron,inthe2003remake),"Sam"isas
popularanicknameforSamanthaasitisforSamuelandDeanisnamedafterhis
maternalgrandmother,Deanna;justasFinalGirlsaretomboyish,SamandDean's
feminizedfeatures(Sam'slonghair;Dean'slusheyelashesandlips)areroutinely
fetishizedbyfanfictionwriters;andalthoughSamandDeanarenotasvirginalor
sexuallyunavailableasFinalGirls,theyareemotionallyunavailabletowomenandsex
isontheirtimetable.InMen,Women,andChainSaws,CarolJ.Clover(1992)argues
thattheFinalGirlisthesexuallyambiguousvictimherothroughwhichmaleviewers
canidentify:femaleenoughtobeinscribedwithfearandmaleenoughtotriumphover
figuresoftroubledortroublingmasculinity(sisterobsessedMichaelMeyersin
Halloween,motheridentifiedJasonVoorheesinFridaythe13th).AsSupernatural's
FinalBoys,SamandDeancouldbereadasthesubjectobjectsofthefemalegazeas
itpeersintoaworldoftroubledortroublingfemininityasplayedoutinMary'sbad
motherdealwiththedevil,MegandRuby'ssexualaggression,andtheboys'feminized
victimizationatthehandsofanendlessparadeofmaleandfemalevillainswhotie
themdown;shoot,stab,orpokethemwithphallicobjectslikeguns,knives,and
fingers;orattempttoseducethem(thesirenNickandLucifer,bothofwhomappear
inshiftinggenderidentities).Ironically,in2009remakesofclassicslasherfilms,
PadaleckiandAckleswerecastinleadrolespositionedasFinalBoys.InFridaythe
13th,Clay(Padalecki)istheFinalBoyalongsideWhitney,hisFinalGirlsister;inMy
BloodyValentine,Tom(Ackles)closestheFinalGirlKillerloopbybeingsetupasthe
herovictim,butturningouttobethemonster.
8. Works cited
arby_m.2005.Hell.Fanfiction.http://arbym.livejournal.com/7676.html(accessed
January31,2010).
Clover,CarolJ.1992.Men,women,andchainsaws:Genderinthemodernhorror
film.Princeton,NJ:PrincetonUniv.Press.
Foucault,Michel.1977[1995].Disciplineandpunish:Thebirthoftheprison.New
York:Vintage.
Foucault,Michel.1978[1990].Thehistoryofsexuality:Anintroduction,volume1.
NewYork:Vintage.
joyfulgirl41.2005.Can'tjustwalkaway.Fanfiction.
http://joyfulgirl41.livejournal.com/261178.html(accessedJanuary31,2010).
Knight,Nicholas.2008.Supernatural:Theofficialcompanion,season2.London:Titan.
leonidaslion.2009a.Thebrightlightsofdisturbia.
http://archiveofourown.org/works/181007(originallypostedat
http://community.livejournal.com/leonidasden/47893.html,accessedJanuary31,
2010).
leonidaslion.2009b.Thebrightlightsofdisturbia,chapter39.Fanfiction.
http://archiveofourown.org/works/181007/chapters/266292(originallypostedat
http://community.livejournal.com/leonidasden/60365.html,accessedJanuary31,
2010).
leonidaslion.2009c.Thebrightlightsofdisturbia,chapter34.Fanfiction.
http://archiveofourown.org/works/181007/chapters/266284(originallypostedat
http://community.livejournal.com/leonidasden/55466.html,accessedJanuary31,
2010).
Spooner,Catherine.2006.ContemporaryGothic.London:Reaktion.
Tosenberger,Catherine.2008."TheepiclovestoryofSamandDean":Supernatural,
queerreadings,andtheromanceofincestuousfanfiction.TransformativeWorksand
Cultures,no.1.http://dx.doi.org/10.3983/twc.2008.0030(accessedJanuary26,
2010).
oftheBible,thesymbolofthecross,Catholicpriests,andJudeoChristianoccultism
(forexample,Enochianmagic),andtheWinchesters'origininpredominantlyChristian
Kansas,theshow'shellismostlikelyintendedtobeaChristianone.Yetneither
Luminosity'svidnorthedepictionofDeaninhellattheendof"NoRestforthe
Wicked"matchesthearguablymorecommonbiblicalimagesofhellasafieryplaceor
astateofseparationfromGod.Theydepictinsteadadarkandgloomyhellfilledwith
sufferingsouls(figure1).TheprecedentforSupernatural'sdepictionofhell,The
Inferno,byDanteAlighieri,isoftenconsideredtohavefirmlyestablishedtheWest's
viewofhell,anditholdsculturalsignificancewithinthefandom.Dantedescribeshell
ascomprisingninecircles:Limbo,Lust,Gluttony,Greed,Wrath,Heresy,Violence,
Fraud,andTreachery.Thefirstsixholdthoseguiltyofsinsofincontinenceor
unreasonabledesire,whilethefinalthreeareforthebrutishandmalicious(Dante
2000,chap.11).Sinnersareplacedinthecirclecorrespondingtotheirmostgrievous
sin;punishmentinhellthusdependsonasin'snatureandconsequentlyrevealsthe
sinner'snature.
Figure1.Deaninhell,from3.16"NoRestfortheWicked"(2008).
[1.3] Sincenormallyonlysinnersgotohell,thequestionofwhetherSamandDean
havesinnedisimportant.ForDeantheanswerisanemphaticyes,asbeforehisdeath
Dean'saggressivebehaviorsuggestedthathewasguiltyofwrath,andapersonified
Envyitselfidentifieshimas"practicallyawalkingbillboardofgluttonyandlust"(3.01
"TheMagnificentSeven")(note1).Inadditiontothesethereisalsoblasphemy,
demonstratedbyDean'sstatementsthathehasfaithonlyinwhatheseesandthat
"there'snohigherpower,there'snoGod…justchaosandviolenceandrandom,
unpredictableevilthatcomesoutofnowhere"(1.12"Faith,"2.13"Housesofthe
Holy").ThesecommentsindicatethatDeanwasanatheistoragnosticpriortohis
descent,beliefstraditionallyconsideredblasphemousinandofthemselves.
[1.4] WhetherSamhassinnedisnotasclear.Priortohisbrother'sdescenttohell,
Samisneverdepictedasoverlyviolentoraggressive.Notonlyishisbehavior
moderate,butheisafaithfulpersonwhobelievesinGodandangelsandevenprays
"everyday"(2.13"HousesoftheHoly").NoneoftheSevenDeadlySinsidentify
themselveswithSam.Infact,theonlyconflictsheisshowntobeinvolvedinare
betweenhimandhisfamily,andeveninthemheonlybroods(Deanremarkson
Sam's"broodyandpensiveshoulders"in4.18"TheMonsterattheEndofthisBook").
Itseemsastretchtocallbroodinessasin.However,Dante'smodelsuggestsasinof
whichSamcouldbeaccused:sullenness,punishedinthefifthcircle,muchas
Luminosity's"TheFifthCircle"suggests.
2. Moderation
[2.1] InLuminosity'svid,Sam'sfallintohellbegins"assoonashecamebackto
life,"althoughheonlybecomesawareofituponkillingthecrossroadsdemonabout
fivemonthslater(sockkpuppett,May1,2008,LiveJournalpost;3.05"Bedtime
Stories"isalsobeingreferenced).AtthepointinSupernaturalwhenhesummonsthe
crossroadsdemon,Samhasbeenspendingallofhisenergyattemptingtoprevent
Dean'sfall,becomingincreasinglydesperate.Thisdesperationisbothvisuallyand
audiblyrepresentedin"TheFifthCircle"bytheidentificationofDeanasSam's"one
grainofsand,"towhichSamclingsamongtheimageryofthe"threedropsofwater."
ThedepictionofSam'sfallintohelltakes22seconds,atthevideo'sclimax,andhe
certainlyfallsintothehelldescribedbyDante'sInferno:thevideobeginswitha
woodcutoftheInferno,animagereaffirmedbythebackgroundduringSam'sfall.The
circleSamfallstoissimilarlyidentifiedbythevisualimagery,asthevideois
bracketedbyimagesofaperson(presumablySam)ridingonaboatoverdarkwater,
andthenbeingpulledintothewaterbyangrypeople.ThismatchesDante's
descriptionofthefifthcircleofhell,where"water…darkerthanthedeepestpurple"is
filledwiththewrathful,"peoplewithangryfacesinthatbog,/naked,"who"struck
eachotherwiththeirhands"(Dante2000,7.103,110–12);hiddeninthewaterare
thesullen,"soulswhosesighs/withbubblesmakethewater'ssurfaceseethe"(119–
20).
[2.2] SullennessisclearlySam'ssin;fanshavelongnotedhistendencytowardit.
"TheFifthCircle"alsohighlightsSam'srelianceonhisbrotherforsupport:lackingthat
support,Samwillapparentlydrownunlessheisabletoexpiatethissin.Howthisisto
bedoneisnotmadeclear.Luminosityoffersasuggestion,sayingitisSam'srefusalto
embracehisdestinyas"averypowerfuldemonicforce"thatprolongshisstayinhell
(May1,2008,LiveJournalpost).IfSamembraceshisdemonicnatureandusesit,he
canreleasehispentupangerandbitternessbyessentiallyburningitup;touse
Dante'slanguage,ifSam'sincontinentlykeepinghisangeriniscausinghissoulto
suffer,hemustreleaseitinordertobecomemoremoderate.Oncehehasdoneso,
Samwillbeoutofhell(note2).
[2.3] AndwhatofDean?Deanhascertainlyfeltlust,buthedoesnotsufferDante's
punishmentforthissininthehelldepictedin3.16"NoRestfortheWicked,"thatis,
beingflungonwhirlwinds.Why?Simplyput,Deanisnotincontinent.InTheInferno,
DantedescribeshisconversationinthatcircleofhellwithFrancescadePolenta,who
revealsthatsheisbeingpunishedforhavinganaffairwithPauloMalatesta.Insteadof
acceptingtheblame,FrancescablamestheaffaironPaulo'sbeauty,herhusband's
cruelty,andthestoryofLancelotandGuinevere(Dante2000,5.121–38).Thisisnot
howDeanthinks;hemaysleeparound,buthewouldn'tbetrayfamilyforsex.Infact,
Deanapparentlywantstosettledown,ashisreactiontoCassieRobinson'srejection
andhisdreamoflivingwithBenandLisashow(1.13"Route666,"3.10"Dreama
LittleDreamofMe").Deanmaybealittlelustful,butheisnotflungonthewindsof
hispassion,sohislustisunlikelytodamnhim.Dean'scontinencealsoexplainswhy
hedoesn'tsufferpunishmentforgluttonyandviolence,whilehisagnosticismabout
God(Deanwouldbelieveinhimifhehadsufficientproof)explainswhyhedoesn't
sufferforbeingblasphemous.Heiscertainlyguiltyofcommittingfraud,but
consideringthathedoessomerelytoobtainsuppliesnecessaryforhislifestyle,the
onlytypeoffraudhecouldbecondemnedforisschism,whichwillbedealtwithbelow.
[2.4] ThatDeanisdepictedasmoderateisimportant.Thismoderationisperhaps
onlyseenbyhisfamilywithinthespaceoftheshow,butfansalsonoticeit.IfDean
wereacrazedandsinfulperson,hewoulddeservepunishment.Instead,fans
emphasizeDean'srestraintandcareforthosearoundhim,andbynotusingimagery
drawnfromDante'svisionoftheothercirclesofhell,theshowacknowledgesthese
aspectsofhim.Conversely,Sam'semotionalstate,alsomostvisibletohisfamilybut
noticedbyfans,isindicatedbytheimagerydrawnfromDante'sInfernoin"TheFifth
Circle."
3. Dean's scandalous nature
[3.1] InSchism,asubdivisionofFraud,theeighthcircle,adevilhackssinnersopen,
repeatingtheactioneverytimetheirwoundsclose;therearesomanywoundedthat
"neitherthoughtnorspeech/hasthecapacitytoholdsomuch"(Dante2000,28.5–
6).ThiscloselymatchesDean'sdescriptionofahellwheredemons"slicedandcarved
andtoreatme…untiltherewasnothingleft.AndthensuddenlyIwouldbewhole
again…justsotheycouldstartinallover"(4.10"HeavenandHell").Deanhas
companyinSchismbesidesthosewhodeviatedfromchurchdoctrine.Therearealso
thosewho"sowedscandal"(Dante2000,28.34–36),which,accordingtoThomas
Aquinas'sSummaTheologica,meanstheywerestumblingblockscausingspiritual
downfall(1997,2.2.43.1).Sinnersinthiscirclehavepreventedtheirownorothers'
spiritualgrowthbysplittingwiththechurch;Deanseeminglyfollowsnodoctrine,sohe
cannotsplitfromit,buthisrefusaltobelievewithoutproofisscandalous.This
refusal'seffectonDeanisenactedliterally:ashisspiritualbeinghasbeencut,Dean
himselfnowis.ThisdirectandsimplesymbolismbrieflymakesDean'ssinclearto
fans,especiallythosewhowereunawareofhisrelationtoscandal,whilelayingthe
groundworkforsomeofDean'slateractions,suchasbreakingthefirstseal.
[3.2] ThatDean'sroleinthemytharcofSupernaturalisimportantisclear—
ReverendRoyLeGrangetellsDeanhehasajob,andupontheirreturnfromhell
CastieltellsDeanGodhasworkforhim(1.12"Faith,"4.01"LazarusRising").When
thefinalsealisabouttobebroken,ZachariahtellsDeanheistokillLucifer,giving
Deanaholyrole(4.22"LuciferRising").Unfortunately,Dean'sscandalousnaturehas
preventedhimfromacceptingangelsandtheexistenceofGod,limitinghim;asCastiel
says,Dean'sproblemisthathehasnofaith(4.01"LazarusRising").Thesimplestway
tofixthisisbyprovidingproof;sinceonlyangelsandGodcantakesomeoneoutof
hell,Deanmustgotheresotheycanunequivocallyprovetheirexistencebyrescuing
him,allowinghimtoaccepttheirexistenceonhistermswhileabsolvinghisscandal
andallowinghimtobecomethedesiredholywarrior.Thisneedforunequivocalproof
explainsthelengthofDean'sstay:anyshorterandDeanmightclaimthathehad
survivedbyhisownwillpower.
[3.3] Yetafterthirtyyearsinhell,DeanacceptsAlastair'soffertostophistorturein
returnforDean'storturingtheothersinners,anactionseeminglyuncharacteristicfor
moderate,holyDean(4.10"HeavenandHell")andonethatbreaksthefirstseal.
Dean'smakingthisdecisionissignificant,asDantecommentsthatsinnersinhell
"havelostthegoodoftheintellect"(Dante2000,3.18).Still,ifDeanisnolongera
sinner,whydidhebreaktheseal?Castielstates,"Thefirstsealshallbebrokenwhen
arighteousmanshedsbloodinhell.Ashebreaks,soshallitbreak,"linkingtheseal
withDean'srighteousnessasaholywarrior(4.16"OntheHeadofaPin").Clearly,
punishingsinnersisrighteous,andDeanpunisheswithskillcomparabletoAlastair's,
butheadmitshefeltgoodwhiletorturing:"ThatpainIfelt?Itjustslippedaway"
(4.11"FamilyRemains";seealso4.16"OntheHeadofaPin").Escapingpainby
inflictingitisnotrighteous,butitishumanandunderstandable,anditisthissplit
betweenhumanneedandrighteousbehaviorthatbreakstheseal.Nevertheless,once
Deanisrescuedhisscandalisabsolved:heisnolongerdamned,andthusisreleased
fromhell(note3).
4. Conclusion
[4.1] Sam'sactionsduringDean'sabsenceandafterhisreturnarenotablyunlike
thosepriortohisbrother'sfall:heembraceshisdemonicnaturewithassistancefrom
Ruby,inpartbydrinkingherblood,andthroughoutseason4consistentlyuseshis
abilitiestofight,exorcise,andkilldemons(4.01"LazarusRising,"4.16"OntheHead
ofaPin").Heisinitiallyexcitedatmeetingangels,buthisfirstencounterwiththem
leaveshimdisillusioned;however,noreferenceismadetoanychangeinhisbehavior
asaresultofthisdisillusionment(4.07"It'stheGreatPumpkin,SamWinchester").
Finally,attheendoftheseason,SamkillsLilith,usingupallofhisdemonicabilities
andbreakingthefinalsealintheprocess(4.21"WhentheLeveeBreaks").What
Luminosity'svidpredictsthuscomestopass.Byembracinghisdestiny,Samfinally
stopsdrowninginthemiseryhisbrother'sfallcausedhimandleaveshellbyreleasing
allofhiswithheldangerintheformofhisdemonicabilities;thisreleasefinallyends
whenheburnsoutuponbreakingthefinalseal.Samhaspurgedhimself,thoughhe
willhavetodealwiththeconsequencesofdoingso.
[4.2] Deanbreaksoutofhisgrave;hethenreconnectswithSamandultimately
acceptstheexistenceofangelsafterexhaustingallotherpossibilities,althoughhe
struggleswiththeideaofsufferingforthegreatergood(4.01"LazarusRising,"4.02
"AreYouThere,God?It'sMe…DeanWinchester").Deanundergoeshisfirsttestof
battlereadiness,butnoonecantellhimifhepassed;laterheiscalledtotorture
Alastair,witharguablesuccess,andultimatelyjoinstheangelstopreventSamfrom
becomingdemonic(4.07"It'stheGreatPumpkin,SamWinchester,"4.16"Onthe
HeadofaPin,"4.21"WhentheLeveeBreaks").Suchactionsdemonstratethechange
thathasoccurredinDean.AlthoughhepreviouslydidnotbelieveineitherGodor
angels,henowtreatsCastielasapeerandhasopenlysworntofollowtheLord'swill;
healsoincreasinglyconsidersthemoralitybehinddifficultchoices,suchasSam's
decisiontodrinkdemonblood(4.21"WhentheLeveeBreaks").
[4.3] Therefore,allusionstoDante'sInfernooperateonmultiplelevelsin
Supernatural.Theimagery'ssimplesymbolismquicklydevelopstheWinchesters
throughonetoonecorrelationswiththeirpersonalities,anditsrichnessenablesthem
toforeshadowthescopeoftheupcomingapocalypsebyemphasizingthedramaof
theirdescentsintohell.Finally,theculturalsignificanceoftheimagesinestablishing
theWest'sviewofhellandininspiringmediaiswellknown;consequently,theimages
arefamiliareventofanswhohaven'treadDante,andparticularlytothoseresponsible
forcreatingmostofthefandom'sviewofhell.Bydrawingontheseelements,
Supernaturaland"TheFifthCircle"managetobothemphasizetheaspectsofthe
Winchestersthatfansaredrawnto(forexample,Dean'scaringandmoderatenature,
Sam'sangstandconnectionwithDean)andsimultaneouslyshowwhatwassinfulin
thebrothers,whattheyneededtobeabsolvedoftocontinuesmoothlytoward
Armageddon.
5. Notes
1.DialogueisquotedfromepisodetranscriptsatHorrorNews
(http://www.horrornews.net/supernatural/transcripts/SEASON_TRANSCRIPTS.html),
theRoadhouse(http://dana.thedudes.nu/roadhouse/supernatural/index.html),and
theSuperwiki(http://www.supernaturalwiki.com),allaccessedApril14,2009.
2.TheideathatSamcanfreehimselfthiswayseemsmoreappropriatetoDante's
purgatory,whereinthosewhoarewillingtoredeemthemselvesfromtheirsinswork
outtheirtime.Asneither"TheFifthCircle"norSupernaturalevermentionspurgatory,
andsinscannotbeatonedforinheaven,itmakessensethatthispossibilityisplaced
inhell.
3.ThisraisesthequestionofwhetherDeanwouldn'thavebrokenthesealifrescued
sooner;thedescriptionCastielgivesoftheangels'urgencytoreachhimsuggeststhat
hewouldn't(4.16"OntheHeadofaPin").
6. Works cited
Alighieri,Dante.2000.Theinferno.Trans.RobertHollanderandJeanHollander.New
York:Anchor.
Aquinas,SaintThomas.1997(1945).BasicwritingsofSaintThomasAquinas.Ed.
AntonC.Pegis.Indianapolis,IN:Hackett.
Transformative Works and Cultures,Vol 4 (2010)
Symposium
From canon to fanon and back again: The epic journey of Supernatural
and its fans
Melissa Gray
St. Paul, Minnesota, United States
[0.1] Abstract—TherelationshipbetweenSupernaturalanditsfansistested
throughthesuspensionofdisbeliefwithitsevolvingmythosandthroughits
canonicalportrayaloffandom.Thistestinghasallowedtherelationshiptogrow
deeperandmoreextensivethanmostsimilarrelationships,andwhileitisnot
alwayssmooth,itremainslargelypositive.
[0.2] Keywords—Fandom;Fantasy;Willingsuspensionofdisbelief;Worldbuilding.
Gray,Melissa.2010."Fromcanontofanonandbackagain:Theepicjourneyof
Supernaturalanditsfans."TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0146.
[1] Enjoyinganyfictionaluniverse,suchasSupernatural,ispredicatedona
relationshipoftrust:thewillingsuspensionofdisbelief.Thisisanageoldagreement
betweenthestorytellerandthelistener:she'lltellherstorywell,andhe'llbelieve.In
thecaseofSupernatural,itscreatorsaretrustingthatwe'rewillingtogivethemthe
opportunitytoestablishtheSupernaturaluniverseproperlyandtellthecharacters'
stories.Inreturn,we'retrustingthatitwillbeworthourwhiletostayandbeengaged
—thatthepayoffwillbeworththeemotionalandmentalworkinvolvedinbelieving
thingsthatrangefromjustoutsideourdirectexperienceto,frankly,thepreposterous.
Oncethoroughlyengaged,adevotedfanwillputupwithafairamountof
inconsistencyandhardworkifshetruststheuniverseanditscreators,andbelieves
thatshewillenjoytheresults—entertainment,edification,thrillsandchills,beloved
charactersandcomplexrelationships.
[2] Supernaturalisanemotionallyauthenticthreedimensionaluniversewith
characters,suchasthebrothersSamandDeanWinchester,whoseessentialrealitywe
recognize.TheWinchesterfamilyaremonsterhunters,andalthoughmuchoftheirlife
isinherentlyunbelievable,itstillhasenoughelementsrecognizableaspartofour
realitytohelpfanssuspendtheirdisbelief.Thebasictenetsforthisuniverseare
(mostly)laidoutearly:weknowthebasicstoryofhunting,theWinchesterfamilyand
itscursebytheendof1.01"Pilot."Laterchangesintheuniversearerevealed
organically,withlayersaddedratherthanelementsreplaced—evolution,not
revolution.Theuniversemaintainsenoughinternalconsistencythatevenfantastic
elementsarebelievableincontext.Andofcoursetheshowisentertainingona
numberoflevels.Theseelementsarethecorereasonswhypeopleareabletosuspend
theirdisbeliefandactivelyengagewithanyfictionalworld.
[3] ThemosteasilybelievableaspectsofSupernatural,aswithanystory,arebased
onrealityasweknowit.There'snothingreallyunfamiliarhere,justfamiliarelements
indifferentcombinations,ifperhapstakentoanextreme,andeasilyextrapolatedfrom
ourreality.Thehumanelementsareestablishedonthislevel—relationships,families,
emotions—anditisextremelyimportantthattheseelementsfeelauthentic.Ifthe
charactersdon'tringtrue,neitherdoestheiruniverse,andengagingfans'willing
suspensionofdisbeliefisincreasinglyunlikely.Ifthecharactersandtheirrelationships
arebelievable,fanswillfollowthemandtheiruniversejustaboutanywhere.
[4] Intheeyesofthefans,Supernaturalhandlessomeofthehumanelementsvery
wellindeed.Oneofthebiggestappealfactorsoftheshowisthecharacters,primarily
SamandDean,butalsoawholehostofsecondarycharacters,includingtheirfather,
JohnWinchester;fellowhuntersBobbySinger,EllenHarvelle,andEllen'sdaughterJo;
andmorerecentlytheangelCastiel.They'rethreedimensional—onecouldimagine
meetingSaminacoffeeshopandhavingaconversationwithhim.They're
sympathetic—bytheendofseason4,SamandDeanarebrokenandsad,havingboth
donehorriblethings,butfansstilllovethemandwantthemtohavehappilyever
after.Theyareindividualswithbelievablepersonalities,faults,andlifejourneysthat
fanscanempathizewithandlaughandcryover.
[5] Supernatural'scharactersalsohaveintenserelationshipsthatweempathizewith
andenjoy,especiallybetweenSamandDean.Fanshavecelebratedtheirbrotherly
bond,theirbromance,asthecoreoftheshoweversince1.01"Pilot,"whenwelearn
thattheycan'tcountonanyoneelsetogothedistance.Werevelinthestrengthening
oftheirrelationship—indicatedonthecosmicscalebyDeangoingtohellbecausehe
can'tfacelivingwithoutSam,andSamexperiencinghisownformsofhellwithout
Dean.Onasmallerscale,theirgrowingclosenessisshownbynumerousinstancesof
brotherlyaffection(exchangingendearmentsintheformofjerkandbitchaswellas
epichugs),forbearance(beingforcedtolistentoendlessmulletrock),help(taking
eachother'swordforthingsthatarejustunbelievable),andirritation(engagingin
prankwarsinvolvingitchingpowderandkrazyglue).
[6] Unfortunately,eventsovertakethem,andSamandDean'srelationshipstartsto
showserioussignsofstress.TheirunderstandableinabilitytocopewithDean'stenure
inhell,theirunceasingmanipulationbyangelsanddemons,andtheincreasingstress
onbothbrothersinducedbythecomingapocalypseandtheirrolesinittaketheirtoll
onthebromance.Theirresultinginabilitytocommunicate,theirtendencytokeep
secrets,andtheirabsorptioninthepainoftheirestrangementare,arguably,aprime
factorinthesuccessoftheangels'anddemons'planstothrowanapocalypse.
[7] Manyfansdidnotreactwelltothebreakdownofthebromanceandtheresulting
trialseparationinseason5.Therewasmuchgnashingofteethoveraperceivedlack
ofSaminseason4,accompaniedbymuchcontroversyoverwhetherCastielwasgoing
totakeSam'splaceinthefrontseatoftheImpalaandDean'slife.Fansmoreorless
successfullymaintainedtheirtrustinSupernatural'screatorsbyreassuringthemselves
thatthecreatorscouldn'tpossiblykeepthebrothersapartindefinitely,either
emotionallyorphysically.Fansalsohopedthattheirtrustwouldberewardedinthe
endwithastrongerbrotherlyrelationship.Lazy_daze,inresponsetoacommentabout
herreactionto5.02"GoodGod,Y'All!"andSamandDean'sseparation,writes
reassuringly,"IthinkthissplitupisneededforareunionandIdostillhavefaiththeir
loveisstrong—itclearlyhurtthembothsomuch,anditwillcomebackaroundto
them.Idohavefaithforthisseason!Iamsadyouarelosingenthusiasm:(Isaystick
withit!"(LiveJournal,September18,2009).
[8] FanshavesevereproblemswithotheraspectsoftheSupernaturaluniverse,such
asitsarchaictakeongenderpolitics.SometimesSupernaturalpresentsitselfasan
extensionoftheoldboys'clubfortheyoungandviolent.Thestoriesaresometimes
winceworthy;manywouldsay(asmanyhave)thatthetellingof4.08"Wishful
Thinking"completelymissedthepointwiththenerdandtheprincessstoryline—the
problemwasn'tthatthenerddidn'tgettheprincess,butthattheprincessdidn'tgeta
chancetosayno.Thereareveryfewcontinuingfemalecharacters;theyalmost
alwaysgetkilledoff.IhadhopeforEllenandJo—theylastedintoseason5,butno
longer,alas.Variousaspectsofhabituallyusedlanguagearedisrespectfulofwomen:
bitchisomnipresent,andmenaremenwhilewomenaregirls.Muchofthefanbase,a
sizableportionofwhichismadeupofwomen,doesnotappreciatethis.Fanshave
expendedconsiderableonlineinkpointingoutthesefaults.Theirsubsequentavowals
oflovefortheshowinspiteofitsproblemsisasignnotofthetrivialityoftheshow's
faults,butofthestrengthofitsvirtues.
[9] I'veseensimilarsentimentsexpressedaboutproblemsfanshavewithsomeof
Supernatural'sotherissues.AsAlayaDawnJohnsonsaysinher"OpenLettertoEric
Kripke,"whichaddressestheequallydisturbingracefailoftheshow,"Iwantyouto
knowthatthisisafanletter…TherearesomeproblemsIneedtodiscuss,someissues
thathaverepeatedlycroppeduponyourshowthatIjusthavetotalkabout.Butthis
isstillafanletter.IloveSupernatural.Inmyopinion,it'sthebestspeculativegenre
showontheairatthemoment"(http://theangryblackwoman.com/2009/09/09/an
openlettertoerickripke/).Johnson,andfanslikeher,takethetimetothoughtfully
addresstheissuesthatdisturbthem.TheytrytotellThePowersThatBe(TPTB)what
needstobechanged—"Ican'tignoretheaversive,stereotypicalanddamagingways
thatyourshowdealswithrace,"Johnsonwrites—whileatthesametimeexpressing
theirsincereaffectionfortheshow.Thisdemonstratesthefans'passionfor
Supernaturalandtheirbeliefthatit'ssomethingworthspendingtimeandenergyon—
somethingmorethanmereentertainment.
[10] OtheraspectsofSupernaturalprovemoreofachallengetothewilling
suspensionofdisbelief.Supernaturaloriginallybilleditselfasahorrorshow,including
fantasticalelementsdrawnfromurbanlegends,folklore,andmythologyinauniverse
thatotherwisemostlyadherestoourunderstandingofrealitytocreateaseriesof
relativelyuncomplicatedmonsteroftheweek(MOTW)episodes.However,it'sno
longerahorrorshow;ithasbloomedintoafullblown,richlytexturedfantasy
universe,thebasictenetsofwhichdifferwildlyfromthoseofourreality.Successful
fantasyrequireshighlysophisticateduniversebuildingskillsbecauseitmeanscreating
auniversefromthegroundup.InthecaseofSupernatural,thecreatorsbeganwitha
baseofcarefullyconceivedfantasyandjudiciouslyinsertedenoughelementsfromour
realitytobuildamatrixthatallowsthemtotelltheirstoriesandforwhichfansmore
orlesswillinglysuspendtheirdisbelief.Fantasyrequiresmoreworkfromboththe
universebuilderandthefans,tomakethewillingsuspensionofdisbeliefsuccessful.
Neitherpartycanrelyonthecreateduniversehavingacoreofsharedrealityaswe
knowittofacilitatethecommunicationofideas,astheycaninrealitybasedand
horroruniverses.
[11] TheSupernaturaluniversebuildersstartbypresentingfanswithahorrorshow,
onebasedinrealityasweknowitbutdisplayingcarefullyselectedaspectsofthe
createduniverse.Additionalfantasticelementsaregraduallyintroduceduntilthefull
gloryofthefantasymythosisrevealed.Thisisaneffectivetechniquethatworksonly
withsufficientattentiontodetail;therevealhastobesmoothandgradual,andit
worksbestiftherevelationisonlyfullyseeninhindsight.Inthecourseofoneof
Supernatural'shorrorbasedMOTWepisodes,elementsmightbeincludedthatare
relevanttothatparticularepisodeandcontributetothatepisode'shorrororreality
basedmotifs.However,thoseelementsarelaterrevealedtoforeshadowsomething
moremomentousthatcontributestothefantasymythos.Hence,in1.09"Home,"
whentheghostofSamandDean'smother,Mary,tellsSamshe'ssorry,oneplausible
interpretationisthatshe'ssorryaboutthepoltergeistattackingSamandhishavingto
revisithistragicorigins,bothmainmotifsofthatepisode.Butlater,in4.03"Inthe
Beginning,"welearnthatshewasalsosorryformakingthedealwiththeYellowEyed
DemonthatledtoSambeingfeddemonbloodasaninfantandstartedhimdownthe
roadtopossiblybecomingtheAntichrist.Regardlessofwhetherthesesortsoflayered
revelationsarecreatedaccordingtoapreconceivedplanoraresuccessfulthanksto
carefulmanipulationofextantmaterial,theyareimportantinintegratingthehorror
andfantasyepisodesandformingthemintoaseamlessmytharc.
[12] OneofthebasicfantasytenetsoftheSupernaturaluniverseisthatthe
Winchesters,SamandDeaninparticular,arethemostimportanthumansinthe
world,influencingeventsonacosmicscale.Thisisonlyexplicitlyrevealedthroughthe
oncomingapocalypseinseason4;DeanisthefirstofthesealsbindingLucifer'scage,
Sambreaksthelastseal,andtheGospelofWinchesterisabiblicalrecordofitall
revealedtotheProphetChuckandpublishedastheSupernaturalnovels.However,the
Winchesters'significancehasbeenanunderlyingthemefromtheteaserofthepilot
episode,withtheintroductionoftheYellowEyedDemon.In3.11"MysterySpot,"the
Trickster—aminorgod(laterrevealedtobeanarchangel)—saysthatoneofthe
reasonshe'stoyingwithSamistotoughenhimupsohecansurvivealonewhileDean
isinhell.4.03"IntheBeginning"showsDeantravelingintothepastandprecipitating
theYellowEyedDemon'sinterestinhisfamily,therebyarguablyalsoprecipitating
Armageddon.In2.21–2.22"AllHellBreaksLoose,"theYellowEyedDemontagsSam
asthepossible,andpreferred,leaderofhisdemonarmies.In1.22"Devil'sTrap,"the
YellowEyedDemontellsSamthathehasplansforhimandalltheotherchildrenwho
werefeddemonblood.SamandDeanarenolongerregularbluecollarguysfrom
Lawrence,Kansas,inatoughspot.Rather,theyhaveemergedastheinstigatorsof
Armageddonandthepotentialsaviorsoftheworld.Thisisnotourrealityatall,and
yetasaresultofthesuccessofthefantasymythosanditsorganicreveal,we
embraceit.
[13] ThewillingsuspensionofdisbeliefwhenappliedtotheSupernaturaluniverseis
acomplexpropositionforbothcreatorsandfans,requiringalotofthought,passion,
andwill.Buttheinteractiongoesbeyondthecreators'universebuildingandthemere
suspensionofdisbeliefandintotherealmoffansactivelyengaginginafictionalworld.
Supernaturalhasmovedinpartfromthehandsofitscreatorsintothehandsofthe
fans,whoareappropriatingandtransformingthecanonintofanon—alivingmythology
thatfansgifttotheshow'screatorsandtoeachotherthroughfandom.
[14] TheauthenticityandrichnessoftheSupernaturaluniverseistrulyappreciated
bythefans,andthefanshavebuiltacorrespondingrichnessandauthenticityintothe
fandom.Weshareourheartfeltreactionstoandinterpretationsoftheepisodesand
thesituationsthatSamandDeangetthemselvesinto.Weidentifywiththecharacters,
theirrelationships,andtheirsocietyandusethemtoholdupamirrortoourown
societyandourselves.Wetellstoriesthroughprint,vids,comics,dolls,andother
mediaaboutrelationshipsandsituationswehaveneverseenonscreen.Wecreate
metathatspeculatesaboutaspectsoftheSupernaturaluniversethatarenever
explicitlydiscussedbyTPTB.Wetrulyhaveasenseofinvitingthesecharactersinto
ourlivesasliving,growingpeoplewhohavebecomeourfriends.
[15] Thisiswhyfandomissorewarding:thevastsharingofpointsofviewand
creativitythatmakesitouruniverse,belongingtothefansaswellasthecreatorsof
thecanon,withourowncharactersandsettingsandsituations.Icannolongerwatch
episodesthewayTPTBlikelyintended.Ibringnotonlymyuniqueexperiencestomy
viewing,butalsothewealthoffanonbackgroundmaterialthatI'veabsorbedoverthe
years,bothmyownandthatofothers.Plastic!Sam'swaffledance,theImpalaas
sentientbeing,theWinchesters'experienceswhileSamwasatStanford—thesebitsof
fanonallenhancemyenjoymentoftheshow,andthereforetherichnessoffandom.
It'sacomplexandfulfillingrelationship.
[16] Totheconsternationofsomefans,therelationshipdoesn'tendthere.TPTB
havetakennoticeoffandomandshowntheirappreciationbylettingSamandDean
Winchestermeettheirfans.Thishasbecomeanongoingthemeintheshow,withfan
charactersfeaturinginthreeepisodesbeforetheseason5hiatus.Fanreactionhasby
nomeansbeenallfavorable,andreactionhasgrownincreasinglyambiguouswith
eachnewfanfeaturingepisode.ThedissatisfactionisnotsomuchwithTPTBbreaking
downthefourthwallandportrayingfansandfandomonscreen,butwithhowtheyare
beingportrayed.
[17] Muchofthefanreactionhascenteredaroundthepersonalitiesofthefansbeing
shown.Ofthefourfanswe'vespentanyrealtimewithonscreensofar,BeckyRosen
(from5.01"SympathyfortheDevil"and5.09"TheRealGhostbusters"),istheleast
popular.Apparentlyshe'sTPTB'schosenrepresentativeoffandomingeneraland
onlinefandominparticular,andmanyfansfindherembarrassing.Sherepresentsan
extremeinfandom,andmanyfansthinkTPTBmightbetterhavedecidedonsomeone
moremiddleoftheroadforthefancharacterwho'sgottenthemostscreentime,and
whoverywellmightappearagain.FansknowthatthereareBeckysoutthere,butthat
theBeckysaregreatlyoutnumberedbyfanswhounderstandtheconceptsofpersonal
spaceanddiscretion.Beckyisrefreshinginherrefusaltobeembarrassedbyher
obsession,however,andshemaybeadeliberatecommentaryonsomeofthefans
whomactorsJaredPadaleckiandJensenAckleshaveencounteredatconventions.She
mayrepresentawayofTPTBgettingalittleoftheirownback.
Figure1.BeckyRosen(EmilyPerkins)inSupernatural5.09"TheRealGhostbusters"
(2009).[Viewlargerimage.]
[18] SeraSiege,thepublisheroftheSupernaturalbooksfrom4.18"TheMonsterat
theEndofThisBook,"hasnotelicitednearlyasmuchfanreaction.Shecomesacross
asasmart,professionalwomanwhofangirlsaseriesofbooks,butshedisplaysher
obsessionappropriatelyandhasalifeoutsideofit.Manyfanscanidentifywithher;
she'sintheircomfortzone.
Figure2.SeraSiege(KeeganConnorTracy)inSupernatural4.18"TheMonsteratthe
EndofThisBook"(2009).[Viewlargerimage.]
[19] DemianandBarnes,theliveactionroleplayers(LARPers)fromthe
Supernaturalconventionin5.09"TheRealGhostbusters,"seemtohavehitachord
withfandom.Fansseethemassweetandcelebratetheirrelationshipasapositive
portrayalofhomosexuality.
Figure3.Demian(DevinRatray)andBarnes(ErnieGrunwald)inSupernatural5.09
"TheRealGhostbusters"(2009).[Viewlargerimage.]
[20] AsanodtotheimportanceoffandomtoSupernatural,TPTBhavenotbeen
committinggratuitousfanportrayal.Ineveryepisodeinwhichthey'veappeared,not
onlyhavefansplayedarolevitaltotheplot,buttheirfannishnessisalsovitaltotheir
role.In4.18"TheMonsterattheEndofThisBook,"SamandDeanmostlikely
wouldn'thavegottenChuck'saddressfromhispublisherwithouttheirdemonstrably
sharingSeraSiege'senthusiasmforthebooks.In5.01"SympathyfortheDevil"and
5.09"TheRealGhostbusters,"BeckyfeedstheWinchesterbrothersvitalinformation
thatsheonlyknowsbecauseshe'spluggedintothefancommunityandtherefore
knowntoChuck,andbecauseofherclosestudyoftheprimarytexts.Alsoin5.09
"TheRealGhostbusters,"DemianandBarnes,whileplayingtherolesofSamand
Dean,uncovercrucialinformation(themap)anddigupgraveswhiletherealSamand
Deanareoccupiedfightingghosts.Thisusefulnessamelioratessomeoftheantipathy
displayedtowardtheportrayalofthefans.
[21] Anotherbigfandomreactionhasbeentothediscussion,briefthoughitwas,of
male/maleslashfanfiction,particularlyWincest(Winchesterincest).Many
SupernaturalslashfansfeeloutedbyTPTB'sdeliberateandexplicitdiscussionof
Wincestin4.18"TheMonsterattheEndofThisBook"andBecky'swritingofaslash
scenein5.01"SympathyfortheDevil."ThiswasnothelpedbyanEntertainment
Weeklyarticle'sgratuitousmentionofWincest
(http://www.ew.com/ew/article/0,,20270843,00.html).Manyslashfanswerehappyto
beimmersedintheirownworldawayfromthemainstreamandreallydidnotwantto
havetodiscusstheconceptofslashfanfiction,especiallyincestuousslash,withtheir
"mundane"friendsandfamily,eveniftheirparticipationinitwasnotpartofthe
discussion.Withmale/maleromancebeingthenextbigthingontheromancenovel
front(http://www.laweekly.com/20091217/artbooks/manonmanthenewgay
romance),alongwiththelureoftheforbiddenandthethrillofreportingsensational
news,themediaattentionisnotsurprising,butneitheristhediscomfortofthefans
whofeelbetrayedthatTPTBwouldoutthemforalaugh,exemplifiedby
Counteragent'sGoodFourthWallsMakeGoodNeighbors
(http://community.livejournal.com/supernaturalart/1796967.html).
[22] TherelationshipbetweenSupernaturalanditsfansisnotalwayssmooth,butit
isdeeperandmoreextensivethanmostsimilarrelationships,andthetrustremains
mostlyintact.Thelevelofreciprocitymaynotbeuniqueinfandom,butitiscertainly
unusual,anditbespeaksacommitmenttocommunicationandthepresenceofalove
relationshiponbothsides.Idon'tthinkwe'veseenthelasttwistinthisrelationship.I
wonderwherewe'lldecidetotakeitnext?
Transformative Works and Cultures,Vol 4 (2010)
Symposium
"I'm glad we got burned, think of all the things we learned": Fandom
conflict and context in Counteragent's "Still Alive"
Katharina Freund
University of Wollongong, Wollongong, Australia
[0.1] Abstract—AclosereadingofCounteragent'sfanvid,"StillAlive."
[0.2] Keywords—Fandom;Meta;Supernatural;Vidding.
Freund,Katharina.2010."'I'mgladwegotburned,thinkofallthethingswe
learned':FandomconflictandcontextinCounteragent's'StillAlive.'"Transformative
WorksandCultures,no.4.http://dx.doi.org/10.3983/twc.2010.0187.
1. "This was a triumph/I'm making a note here, huge success"
[1.1] Sinceitsfirstairing,theCWseriesSupernatural(2005–)hasattractedfansin
droves.Thesefansactivelyproducescoresoffiction,art,andmusicvideos(vids)
relatingtotheadventuresofbrothersSamandDeanWinchesterastheyfight
monstersanddemonsacrosstheUnitedStates.Iratherblissfullyfollowedtheseries
throughitsopeningseasonsandenjoyedreadingfanfictionandwatchingactionvids
about"theboys."However,despiteallthefannishpassionforthistext,allisnotwell
inSupernaturalfandom.
[1.2] IwasnotawareoftheseconflictsuntilIsawthenowrenownedvid"Women's
Work"byLuminosityandSisabet(August15,2007)forthefirsttime.Itsoclearly
deconstructstherepresentationsofwomenthroughoutthesourcematerialand
highlightstheseries'(mis)treatmentofitsfemalecharactersthatsuddenlyIwas
watchingSupernaturalinawholenewlight,andonethatwasnotnecessarily
favorable.Duringseason3,inparticular,Istruggledwithmynewfoundrelationship
withthesourcematerialafterwatchingwhathasbecomethemostcontroversial
episode,3.09"MalleusMaleficarum."IsoughtoutepisodereviewsonLiveJournalfor
thefirsttimetoseeifotherfanssharedmyreactionsanddiscoveredamaelstromof
negativecommentary:notonlywerefansincensedwiththeseriesanditswriters,but
theywerealsoarguingwitheachother.
[1.3] Forthepurposesofthisessay,Iwillseektounpackandreflectonthelayersof
context,conflict,andmeaningwithinaparticularcritiqueofSupernaturalandits
fandom:Counteragent'smetavid"StillAlive"(October19,2008).Thisviddirectly
confrontstheclashesamongthefanswithwhatthevidderhascalledabitof"well
meantselfcriticism"(personalcommunication,September2,2009).Usingatongue
incheekstyle,"StillAlive"addressestheonlinefandomonLiveJournalandthefannish
reactionstoseason3ofSupernatural,reactionsIstumbledacrossratherunwittingly
inearly2008.
Still Alive
Vid1."StillAlive"(2008)byCounteragent.
[1.4] AccordingtoCounteragent:"SeasonThreewasaccompaniedbyalotofposts
infandomaboutmisogynyinSupernatural.Someofthemwerewellthoughtout(on
bothsidesofthedebate)andsomewerefullof…womenbeingmeantootherwomen"
(personalcommunication,September2,2009).
[1.5] Inparticular,thevidusesfootagefromtheaforementionedcontroversial
episode3.09"MalleusMaleficarum,"whichwasthoughtbyfanstorepresentthe
pinnacleofSupernatural'smisogynisticrepresentationofwomen.Inordertofully
engagewiththevid,somecontextisusefulhere.Thetitleoftheepisodecomesfrom
theinfamousmedievalhandbookfromtheInquisition,whichdescribeshowtodiscover
andconvictwitchesandmakesaspecialcaseastowhywomen,ratherthanmen,
weremorelikelytobesusceptibletotheforcesofthedevilduetotheircarnalnatures
(note1).Intheepisode,SamandDeandiscoveracovenofwitcheswhohavebeen
usingtheirpowerstoimprovetheirlives,untiltheybegintoturnononeanother.Fans
foundthisepisodetohaveanoverpoweringlynegativeviewofallthefemale
charactersandwereextremelyputoffbytherepeateduseofthewordbitch;many
(myselfincluded)weredeeplyunnervedbytherevelationthatRubywasawitch
herself,reducingthispowerfulfemalecharactertojustanother"lyingwhore."A
reviewoftheepisodebydeadbeatnymph,oneofthefirstIstumbledacrosswhile
searchingforfans'responses,isworthquotingatsomelength:
[1.6] OurDean.Weknowhelovespussy,butthatshouldn'tprecludeloving
women.IguessmyinterpretationofDeanwasoneinwhichbothweretrue
—Ineverfeltthathelookeddownupon,reviled,orscapegoatedupon
women.Butnow?Nowhewantstoburnthewitches.Andplungeatwisted
bladeintoapossessedwoman'sback,overandoveragainwithshocking
vehemence.Plungehisswordintothedepthsofherinsides.Badpornturned
literal.AndRuby,whothreatenswithherspiritualpowerandknowledge,isa
skank.Andabitch,bitch,bitch,bitch,bitch—howmanytimesdidhesayit?
…DearShow,YoucannotmakeofSamandDeanInquisitorsandstillhave
uslovethem.Youraudienceisprimarilyfemale.Youdon'tvalueusas
viewers,weknow,youwantmaleviewers,whoseeyesareapparentlymore
valuablethanours,weknow.(February1,2008)
[1.7] Manyotherfansfoundtheepisodesimilarlydisturbing,buttherewerealso
manypoststhatsoughttoexplainthesupposedmisogynyinthecontextoftheshow.
FactionsdevelopedwithintheLiveJournalcommunityarounddifferentpoints:some
arguedthatfansshouldn'treadtoomuchintoit.Otherscommentedthatthe
negativitytowardthesewitcheswasduetotheirdemonicnature,nottheirgender,
andthereforethechargesofmisogynywereunfounded(note2).Criticsandapologists
clashed,andthedebatespiraledoutofcontroluntiltherewasagreatdealofbad
bloodcirculatingaroundthecommunity."But,"wroteCounteragent,"Icouldn'thelp
pointingoutthatsomeofthefightsinfandomaboutmisogynyarescarierthanwhatis
onthescreen"(October19,2008).
2. "We do what we must because we can/For the good of all of
us/Except the ones who are dead"
[2.1] Theviditselfopenswithshotsofthedifferentfemalecharactersintheseries,
representingthefans.Embodyingcompetingopinions,MegandRubyarguewhether
season3"sucked"or"rocked,"withtheirpositionrepresentedintheformofa
LiveJournalusername.
Figures1and2.MegandRubyoffertheirinterpretationsofseason3.[Viewlarger
imageoffigure1.][Viewlargerimageoffigure2.]
[2.2] Theseason3debateisatfirstarguedpolitelybetweenthesecharacter/fans,
eachstatingtheirownopinions,untilthediscussioncollapsesinto"wank."Thefan
writtenwikiFanlore.orgdefineswankinfandominthreeways:asa"loudorpublic
onlineargument,"a"catchalltermforobjectionableorcontemptiblefannish
behaviour,"and/oras"elaboratecanonrationalisationortheorizing"
(http://fanlore.org/wiki/Wank).Utilizingthevisualshorthandofthedevil'strapfrom
theseriesmythology,thevidshowsthesefemalefanstrappedbytheirownendless,
wankydebates.
Figure3.Afemalefanisunabletoescapefroma"WankTrap."[Viewlargerimage.]
3. "I'm not even angry/I'm being so sincere right now"
[3.1] Thefansarerepresentedasthemaliciouswitchesfrom"MalleusMaleficarum"
whoweresocriticized:asintheepisode,thesewomenbeginbyworkingtogetherto
creategreatfanworks.Thefanscooperateandenjoythefruitsoftheirlabor,but
ultimatelytheyturnagainsteachotherwithdeadlyresults:thefansarejustasguilty
ofmistreatingotherwomenasthecharacterstheymalign.
Figures4and5.ThefansworktogetherinLiveJournalcommunities(like
SPN_multimedia)atfirst,beforesomemembersbecomevictimsofthevirulent
debates.[Viewlargerimageoffigure4.][Viewlargerimageoffigure5.]
[3.2] Againandagainthefansargueandreconcile.Theintrafannishangerofthe
witchesinthepreviousshotsofthevidsisresolved,atleasttemporarily.Butanew
debatesparksofftheangeronceagain.Therageissoconsumingthatthefansare
hererepresentedbydemoncharactersfromtheSupernaturalcanon:powerfuland
violent,theireyesturnblackastheysummontheirpowerandattackeachotheryet
again.
Figure6.ThefemalefansofSupernaturalbrutallydebatetheseries.[Viewlarger
image.]
4. "But I'm glad I got burned, think of all the things we
learned/For the people who are still alive"
[4.1] However,allisnotlost:"Debatesoncanonmisstepsaren'talwayswanky.
Sometimestheyaretheimpetusforbrilliantartcommentary,"explainsCounteragent
(personalcommunication,September2,2009).Thedebatesaboutmisogynyhave
actuallyinspiredsomedetailedexaminationsofthecanonmaterial,with"Women's
Work"asjustoneexample(note3)."StillAlive"showcasesnotonlythefanswho
makeuptheSupernaturalfandomasawhole,butitalsocontainsaleveloftextual
criticism.Aswith"Women'sWork,"byusingepisodesthatwereseenasparticularly
misogynisticbythefans,"StillAlive"offersupSupernatural'streatmentofitsfemale
charactersforanalysis.Forexample,recurringimagesofwomeninwhitedressesand
ofsupremelyfemininedemoniclittlegirlsappearalongsidecriticismofsuchtropes.
Shotsfrom"Women'sWork"alsoappearinthevidaspartofthelargerfannish
conversation.Theclipsfrom"Women'sWork"(whichalsousesclipsfrom
Supernatural)aremadevisuallyseparatefromCounteragent'suseofthefootageby
firstshowinganarticlefromNewYorkMagazine
(http://nymag.com/movies/features/videos/40622)thatdiscussesthevid,andthen
theclipsarecentralizedintheframeandmadesmallerinordertobevisuallydistinct.
Whilethetitleof"Women'sWork"isbrieflyvisible,theviewermustbeextremely
familiarwithSupernatural,vidding,andonlinefandominordertoseparateallthese
shotsandtheircontexts.
[4.2] Next,thevidshiftsitsfocusasthefacesofthecharacter/fansspinandblur
intoanaudienceoffansataSupernaturalconvention,turningtoexaminethemore
positiveelementsoffandom:namely,itscreativity.
Figure7.ThefansandcharactersofSupernaturalblurtogether.[Viewlargerimage.]
[4.3] Thecharacter/fanswelcometheWinchesterbrothersintotheirlives,anduse
therawmaterialofSupernaturaltodelveintotheelementsofthestorythetelevision
texthasnot:minorcharactersaregivenbackstories,relationshipsareexplored,and
crossoversdeveloped.Thevidincreasesitspace,andshotsofthediversecomics,
novels,LiveJournalcommunities,art,games,andvidsswirlacrossthescreen,paying
tributetoallthetalentthevidderhasdiscoveredthroughfandom,despitethewank.
Thevidendsoptimistically,withtherefrain"Iwillbestillalive":nomatterwhat
happens,thefanswillpersist.Thefinalshotisofthecharacter/fanRubygivingthe
Winchestersacheekygrin.
Figure8.RubyletstheWinchestersknowshewillbe"stillalive."[Viewlargerimage.]
[4.4] Inaddition,acontextualizationoftheselectedsong,"StillAlive,"ishelpfulin
ourreadingofthevid.ThepiecewascomposedbygeekmusicianJonathanCoulton
forthepopularvideogamePortal(releasedin2007).Thesongappearsinthefinal
creditsafterthegamehasbeencompleted,andissunginthepersonaofthefan
favoritecharacterofGLaDOs.Familiaritywiththesourcecontextofthissongadds
anotherlayerofmeaningtothisvidfortheviewer:GLaDOs,voicedbyEllenMcLain
(whoalsoperformsthesong)isanincreasinglypassiveaggressiveartificial
intelligencethatinitiallyassiststheplayer,andultimatelymustbedestroyedinthe
finallevelofthegame.DespitetheapparentdeathofGLaDOs,thegameendswith
thissong,thelyricsofwhichsuggestthatGLaDOsisindeed"stillalive"(note4).The
evolutionofthecharacterofGLaDOs,fromfriendlytoambiguoustoantagonistic,
parallelstheevolutionofthefannisharguments.Andjustasitseemsasthough"she"
(notethefemininegenderhere)hasbeendefeated,GLaDOsremindsusthatshe
hasn'tgoneanywhere.Thus,theresilienceoffanstosurvivedespitetheirdestructive
battlesisemphasizedthroughtheuseofthissong,butsoisthepotentialforitallto
happenagain.
5. "I will be still alive"
[5.1] Throughoutthevid,Counteragentcreatesmultiplelayersofcommentarythat
requireanindepthknowledgeofSupernatural,itsfandom,andtheassociated
LiveJournalcommunities.Ihaveattemptedtoprovidesufficientcontextualinformation
forthisvidtobereadbyawideraudience,butthisvidwillalwaysbemeantforavery
specificaudienceataveryspecifictimeinthisfandom'shistory.Itisalsointeresting
toconsiderthatwhileitisthesefemalecharacter/fanswhoformthebulkofthefirst
sectionofthevid,thisisalsotheportionthatisextremelycriticaloffandom.The
celebratorysecondhalfofthevid,meanwhile,focusesalmostentirelyonthebrothers.
CertaincharacterslikeJoandCassiearetakenupinfandomasseeninthevid,butas
Counteragentpointedouttome,"ThereisarecurringthemeinSPNfandomof[the
fans]notlikingfemalecharacters,stars,oractors'girlfriends"(personal
communication,September2,2009).Thefinal,upliftingmontageinthevidfeatures
fanworkssolelydedicatedtoSamandDean.Whilethefanslamentthetreatmentof
womenintheshow,itisthesemalecharacterswhoareseentobemostworthyof
theirattention(andindeed,whoarethemostwelldevelopedinthesourcematerial).
Intheend,Supernaturalisashowabout"theboys,"andthisfocusisreflectedinthe
fanworks.
[5.2] Whilefandomusuallycelebratesmultipleperspectivesandinterpretationsin
fanfiction,vidding,andotherfanworks,Iwassurprisedathowviolentlydissenting
opinionswereputdowninthisbattleoverseason3.Inthisvid,Icanseemyselfand
myfellowfans,participantsinfandomandviewersofSupernatural,implicatedin
propagatingthesetensions.EachtimeIwatchanepisodeoftheseriesIaminfinitely
moreawareoftheproblematicnatureofthetextandmyengagementwithit.WhileI
wasupliftedbythemontageofastoundingfanworks,thisvidalsoleftmeprofoundly
unsettledasIrecognizedmyownparticipationinsimilar"wanky"arguments.AsI
understandit,"StillAlive"reachesouttoaskitsaudiencetorespectthediversityof
subjectpositionsthatareusuallysocherishedinfandom.Hopefully,wecanmaintain
ourgoodhumorandbe"stillalive,"despiteitall.
6. Acknowledgments
[6.1] GratefulthanksgoouttoCounteragentforherpermissiontousehervidand
onlinecomments,andforhercandorandenthusiasm.ThanksalsotoPK,GB,AW,CM,
BW,andJVfortheircommentsontheearlydraftsofthispiece.Thisresearchhas
beenapprovedbytheHumanResearchEthicsCommitteeattheUniversityof
Wollongong.
7. Notes
1.Theentiretextoftheoriginal15thcenturydocument(inits1928translationby
MontagueSummers)isavailableonlineathttp://www.sacredtexts.com/pag/mm.
2.SeetheLiveJournalcommunitymetafandomformoredetails,specificallythelinks
forSupernaturalandgenderonDelicious:
http://delicious.com/metafandom/spn+gender.
3.OtherexcellentexaminationsofSupernaturalincludekiki_miserychic's"IWantYou
(She'sSoHeavy)"(August19,2008)andObsessive24's"ClimbingUptheWalls"
(August22,2008).
4.Seehttp://www.youtube.com/watch?v=byBrIbGuPT4foravideoofthefinalscene
ofPortal,including"StillAlive."AnotherpossiblereadingofthecharacterinPortalis
thatGLaDOsisactuallytrainingthefemaleprotagonistofthegametosurviveinthe
newpostapocalypticworldusingextrememethods.
Transformative Works and Cultures,Vol 4 (2010)
Symposium
A box of mirrors, a unicorn, and a pony
Jules Wilkinson
Melbourne, Australia
[0.1] Abstract—Fansandcreatorshavetraditionallytreatedfanworkswitha"don'task,don't
tell"policy.However,Supernaturalincorporatesfansandtheircreativeworksintotheshow
itself,changingthestatusquoofthefan/creatorrelationship.
[0.2] Keywords—Convergence;Fandom;Fanfiction;Supernatural;Television
Wilkinson,Jules.2010."Aboxofmirrors,aunicorn,andapony."TransformativeWorksand
Cultures,no.4.http://dx.doi.org/10.3983/twc.2010.0159.
[0.3] Fan:IfyoucouldaskCastielonequestion,whatwoulditbe?
MishaCollins:WhatquestionwouldIaskthecharacterIplay?That'slikebeingina
boxofmirrors.Withaunicorn.Andapony.
1. Introduction
[1.1] Itallusedtobesosimple.TherewerefansandtherewereThePowersThatBe(TPTB),
theshows'creators.TPTBcreatedstoriesthatwe,thefans,adored,consumed,criticized,and
choppedintobitsandmadeintoshinynewthingsforouramusement.Therewasaversionof
thefourthwall—moreaonewaymirror,really—betweenthesourcetextandfandom,withboth
sidesgenerallyhappytokeepitthatway.ButwithSupernaturalthatfannishfourthwallhas
beendemolished,andwearetrappedinsideaboxofmirrorswiththeshow'swritersandthe
unicornandponyofourcreativeendeavors.
[1.2] TheOrganizationforTransformativeWorksdefines"transformativeworks"as"creative
worksaboutcharactersorsettingscreatedbyfansoftheoriginalwork,ratherthanbythe
originalcreators"(OTWn.d.).Thisdelineationbetweenfansandoriginalcreators,neverrigidto
startwith,isblurring.Whathappenswhenthecreatorsoforiginalworktakethefansandtheir
creativeworksandincorporatethemintosourcematerialthatthefansinturnwillfurther
transform?
2. I can see you
[2.1] EvenbeforetheInternet,thetransformativeworksoffandomwerenosecrettoTPTB—
notsincethefirstStarTrekfanturnedupataconventionwearingsomerubberearsand
clutchingamimeoedfanzine.HoweverthegrowthoftheInternet,andparticularlyofWeb2.0
(note1),hasmadefanworksmuchmoreaccessible.
[2.2] FandomandWeb2.0areamatchmadeincyberspace—theWebhelpsuscommunicate,
collaborate,andcreatefasterthanweeverhavebefore,andinprettiercolors.HenryJenkins
calledWeb2.0"fandomwithoutthestigma"(2007),becauseitembodiesmanyoftheactivities
inherentinfandom:gettingtogether,havingfun,andmakingstuff.TheplaygroundofWeb2.0
hasbroughtfandomandTPTBclosertogetherasourcreativeworkshavebecomemuchmore
visibleandaccessibleonsitessuchasLiveJournalandYouTubeandthroughthesocial
bookmarkingsiteDelicious.Sincethemid1990s,anyshowrunnerlookingatmediaforumsor
blogstogaugeaudiencereactionhasalsocomeacrosslinkstofanworks.TVwritersand
directorsnowactivelyengagewithfansthroughmessageboardsandforums,andmorerecently
throughTwitter(note2).
3. The one-way mirror
[3.1] Fanshavealwaysfeltsomeanxietyaroundtheideaoffannishworksbeingnoticedby
theoriginalcreators.Ontheonehand,somefansseetheworksastributestothesource
material,andmanycreatorsfeelthesameway.Thegiftofafancreationtoanactororshow
runnerisanindicationofhowmuchthesourcematerialisvaluedandappreciated,andalso
oftenembodiesawishforapproval.Yetsomefanshavewishedtokeeptheseworkshidden,for
bothlegalandculturalreasons.
[3.2] Fans'fearoflitigationhasdiminishedinrecentyears,andbothsideshavebeen
operatingundera"don'task,don'ttell"policy,althoughthishasrecentlybeguntobreakdown
(note3).Someofthischangehasbeendrivennotbyanyculturalshift,butbytheprofitmotive
—therealizationbyTPTB(particularlyinTV)thattheproductionoffanworksisasignofan
engagedviewer,onewhowillconsumeyourproduct(andthatofyouradvertisers).
[3.3] Manyfansstillholdtheopinionthatwedowhatwedoforourenjoymentanditisnot
somethingtobesharedoutsideoffandom,andparticularlynotwithTPTB.Manypeoplewhoare
activeinfandomdonotsharetheiractivitieswithfriendsorfamilybecauseofthenegative
stereotypesthatpersistaboutfandom(Chaney2008).
[3.4] Anaturallawthatholdstrueacrossallfandomsstates,"Twomalecharactersin
possessionofsomepersonalitymustbeslashed."SinceSupernaturalhasonlytworegular
characters,whohappentobebrothers,thismeansthattheslashfanfictionfortheshowis85
percentWincest(note4).(TheothermainslashpairingisofDeanwithCastiel,whowas
introducedinseason4.)Fewwhowriteporninfandomwouldsharethatfactwiththoseoutside
thecommunity;thedoubletransgressionofwritingaboutnotonlysexbutgayincestin
particularisreasonenoughforfanstowanttokeeptheircreativeendeavorsinthecloset.
[3.5] ThefirstprofessionalconventionheldforSupernaturalwascalledAsylum;itwasrunby
RogueEventsinCoventry,England,inMay2007.Duringaquestionandanswersession,Jensen
Ackleswasaskedwhetherheknewaboutfanfiction:
[3.6] Someofthosefanfictionshavesomevery,verycrazyideas.Andsometimes
very…disturbingideas.Oneofmyfavoritesis,uh,Wincest…Ionlyhopethatmy
grandmotherneverreadsthose.JaredandIhadagoodlaughaboutthatone.Itwas
onlybroughttoourattentionbecauseKimMannerspostedit.
(http://www.youtube.com/watch?v=FdYh2wJh7vE)
[3.7] ThetopicoffanfictionhasbeenraisedbyfansatnearlyeverySupernaturalconvention
thathasbeenheld.WhenaskedaboutwhathethoughtofWincestattheEyeConconventionin
FloridainApril2008,JaredPadaleckimanagedtovalidatetransformativeworkswhileavoiding
thetrickyincestissue:
[3.8] WithfanfictionandRPGs,it'slikeanaspectofwhatIwastalkingabout
earlier,thateveryone'stakingapartinSupernaturalandthey'renotjustwatchingit…
andthey'rereallypassionateabouttheshow,andespeciallythefansofSupernatural.
It'sagreatlearningtool,andexploringtool,toexplorethisworld.SoI'msupportive.
(http://www.youtube.com/watch?v=ZxkAG3N5lM0)
[3.9] JimBeaverwasthefirstactortoteasefanswithhisknowledgeoffanculturewhenhe
woreaTshirtproclaiming"IreadJohn/Bobby"totheEyeConConventioninApril2008.
4. Mirrors on the ceiling
[4.1] InApril2009aspotlightwasshoneonSupernaturalfanfiction.Inanticipationofthelast
fourepisodesoftheseason,EntertainmentWeeklydidafeatureonSupernaturalinitsprint
editionandafewdayslaterreproducedoneofthearticlesonitsWebsite.Itbeganbyoutlining
the"intenseuniverseoffandom"surroundingtheshowandincludedthisreferencetoWincest:
[4.2] There'salsoauniqueandverycreepysubsetofromanticfanfictiondedicated
tosiblingsSam(JaredPadalecki)andDean(JensenAckles)called"Wincest"—theless
saidaboutitthebetter.(Wheat2009)
[4.3] Thereasontheprintarticlehadmentionedfanfictionbecameobviouswhen4.18"The
MonsterattheEndofThisBook"airedthatevening.Inthisverymetaepisode,SamandDean
discoveraseriesofbooksabouttheirlivescalled"Supernatural,"writtenbyChuckShurley
underthepseudonymCarverEdlund.Theepisodeusesthismetafictionaldevicetocommenton
theprocessofwritingingeneral,andontheTVshowanditswritersinparticular.Chuck—who
callshimself,inhisroleaswriter,a"cruelandcapriciousgod"—standsinforshowcreatorEric
Kripke(http://www.youtube.com/watch?v=wU8yuUuXSLo).
[4.4] TheepisodealsointroducesSamandDeantofandomandfandomintothecanonofthe
show,whenthebrothersfindanonlinefancommunity:
[4.5] Dean:Checkitout.There'sactuallyfans.There'snotmanyofthem,butstill.
Didyoureadthis?
Sam:Yeah.
Dean:Althoughforfans,theysuredocomplainalot.Listentothis—Simpatico(note
5)says,"Thedemonstorylineistrite,clichéd,andoverallcraptastic."Yeah,well,
screwyou,Simpatico.Welivedit.There'sSamgirlsandDeangirlsand…What'sa
slashfan?
Sam:Asin"SamslashDean,"together.
Dean:Liketogether,together?Theydoknowwe'rebrothers,right?
Sam:Doesn'tseemtomatter.
Dean:Well,that'sjustsick!
[4.6] Areyoustartingtogetthatwholeboxofmirrorsvibe?
[4.7] Theepisodewasoneofthehighestratedinseason4(Superwiki,"Ratings,"
http://www.supernaturalwiki.com/index.php?title=Ratings&oldid=25848),andthementionsof
fandomintheshowandthemediaattractedmuchdiscussionamongfans.Someweredelighted
tobepartofthecanonoftheshow,andappreciatedbeingincludedinthemetacommentary
alongsidetheshow'sownwriters.Otherfanswereuncomfortableaboutthe(literal)airingof
whattheysawas"fandombusiness."Somefansfeltloved,othersfeltmocked.Thisvarietyof
reactionisnotsurprising.Subcultureslikefandomformbecauseagroupofpeopleareengaged
incustomsandbehaviorswhichareconsideredunacceptableinwidersociety.Withinthe
subculturetheseactivitiesbecomenormalized,butwhenthemainstreamdiscoversthemits
invariablecondemnationremindspeopleoftheiroutsiderstatus.Somepeoplefeelshamewhen
theirbehaviorispointedoutasdeviant,butforothersbeinganoutsidercanbeathrill.
[4.8] Thesedifferentreactionswereincorporatedintothetextwhenthecharacteroffangirl
BeckyRosenwasintroducedin5.01"SympathyfortheDevil,"writtenbyEricKripke.Becky's
screennameissamlicker81,andsheistheWebmistressofasitecalledmorethanbrothers.net.
BeckyiscontactedbyTPTB—ChuckShurley,prophetandauthor—andaskedtocontactSam
andDean.
[4.9] Becky:Yes,I'mafan,butIreallydon'tappreciatebeingmocked.Iknowthat
Supernaturalisjustabook,okay?Iknowthedifferencebetweenfantasyandreality.
Chuck:Becky,it'sallreal.
Becky:Iknewit!
[4.10] Andthisiswheretheunicorngetsputintheboxwiththemirrors,asthescenebegins
withBeckyreadingfromapieceoffanfictionsheiswriting:
[4.11] Samshiveredasheleanedagainstthesplinteredwoodenwallofthebarn.
HisshoulderachedfromhisfightwiththedemonspawnMarDelokandhisclothes
weresoakedfromthecoldrainwhichfelloutside.Helettheknifefallintothedust
andturnedtohisbrother.
[4.12] Deanwasshakenup.Hischestwasheavingwithexertionandhisshredded
shirtwasbarelyclingingtohismuscularframe.Samcouldseehewashurt.
[4.13] "Hey.AreyouOK?"SamsteppedcloserandputhisarmsaroundDean.
"We'regoingtogetoutofthis,theycan'tkeepusherelong."
[4.14] Thebrothershuddledtogetherinthedarkasthesoundoftheraindrumming
ontheroofeasedtheirfearsofpursuit.Despitethecoldoutsideandthedemonswho,
evennow,mustbeapproaching,thewarmthoftheirembracecomfortedthem.
[4.15] AndthenSamcaressedDean'sclavicle.
[4.16] "Thisiswrong,"saidDean.
[4.17] "ThenIdon'twanttoberight,"repliedSam,inahuskyvoice.
[4.18] It'safineexampleoftheWincestgenre,combininganirrelevantdemonwithaclassic
hurt/comfortnarrativeandtheeroticizationofaspecificbodypart,suggestingthatKripkeis
familiarwiththegenreanditstropes.ThusthecreatoroftheshowthatinspiredWincestwrites
Wincest.Ofcourse,his"fanfiction"isunfinished.HoweveronSeptember13,2009,onlythree
daysaftertheepisode'sairing,aLiveJournalusercalledSamlicker81postedacompleted
versionofBecky'sstory—nowcalled"BurningDesires"—toaWincestfanficcommunityon
LiveJournal.Thustheponyisshovedintheboxofmirrorsalongsidetheunicorn.
[4.19] "SympathyfortheDevil"isnotthefirsttimeKripkehaswrittenfanfic.InNovember
2008,thelastissueofthesecondseriesofSupernaturalcomics—"RisingSon"—waspublished.
Itincludedasixpagestandalonestorycalled"TheBeastwithTwoBacks."Thestorystarred
theGhostfacersteamfromepisode3.13,andthebeastinquestionwasachimeraofJared
PadaleckiandJensenAckles,abeautifultwoheadedcreaturethatkilledfangirlsbecauseit
couldnotbeartoletanyoneprettierthanitlive.Kripke,itseems,shipshisstars—oratleastis
wellawarethatwedo.
[4.20] Asubsequentepisode,5.09"TheRealGhostbusters,"issetataSupernatural
convention,andtheepisodeagainpokesfunattheshow'swriters,actors,andfans,withmany
detailsthatsuggestTPTBhavecloselyobservedfandom'sactivities.Kripke,whohasdescribed
himselfasafanboy(Kripke2008),alsousestheepisodetogiveastrongpositivemessage
aboutbeingafan.Theepisodesubvertstheclichédtropeofthesociallyawkward,emotionally
immaturefanbymakingtheSupernaturalfansDemianandBarnesgayloverswhosavetheday
andprovideDeanwithanemotionalinsight.Kripke'smostdefinitivestatement,however,is
madethroughtherelationshipbetweenBeckyandChuck:thecreatorfallsinlovewiththe
fangirl.Becky,initiallymoreenamoredwithhiscreations(Sam,inparticular),eventually
transfersheraffectionstohim.
5. Misha and his minions
[5.1] ActorMishaCollins,whoplaystheangelCastiel,hasalsobeenactivelyinvolvedinthis
reconfiguringoffannishrelationships,kickingoverwhateverwasleftofthefourthwallwith
gusto.AttheAllHellBreaksLooseconventionheldinSydneyinApril2009,asJensenand
Jared'slastsessioncametoaclose,therewasonefinalquestionfromtheaudience—"Howdoes
itfeelplayingbrotherswhenyou'reloversinreallife?"Therewasanaudibleshockedgaspfrom
theaudience.Thequestion,itturnedout,camefromMisha.
[5.2] Amonthpreviously,atthe2009SalutetoSupernaturalconinL.A,MishaCollinshad
saidhewasfascinatedwithfandomasasubculture,andwouldliketoreadsomeslashifhe
coulddoso"withoutgettingmolested."AttheAsylumconventioninMay2009,Mishasaidthat
he'dreadsomeslashandadmittedthatdoingsohadbeenuncomfortable—itwasabitlike
"findingyourparents'pornography."Thefollowingdayhewasatpainstoemphasizethathe
wasn'tcriticizingfanfiction."I'vedonesomeprettypervythingsmyself,"headded.At
subsequentconventionshecontinuedtotalkaboutreadingfanfiction,evensuggestingthathe
commentsonstories(forinstance,attheSalutetoSupernaturalinChicagoin2009:
http://www.youtube.com/watch?v=M2c1T_8qJA).
[5.3] Mishaiswellawareofthediscomfortthatthisbreakwithtraditionalfanboundariescan
elicit.InaninterviewinOctober2009hesaid,
[5.4] Sothere'sthesefanconventions…andI'vementionedit[slashfanfiction]in
theQ&Athingsandyoucansensethewholeaudiencetensingup.Theydon'twant
youtalkingaboutthisweird,slashfiction,weirdpervystufftheygetupto.SoIdo
liketobringitupforthatreason.(http://www.youtube.com/watch?v=TGlhkjcZRU)
[5.5] MishahasalsoengagedinanoriginalwaywithfandomthroughhisTwitter.Morethan
anyotheraspectofWeb2.0,Twitterhasbeenresponsibleforredefiningtherelationships
betweenfansandcelebrities,astheapplicationallowsanewimmediacyandintimacyin
interactions.MishahasdevelopedaTwitter"persona"whoisarathersurrealmegalomaniacand
whosefollowersareknownasminions.InthisspaceMishaiscreatingcrackfictionwithhimself
asaMarySue,orselfinsertionintothestory.Fansarecreatingart,stories,andvideosabout
Mishaandhisminions(Superwiki,"Misha'sMinions,"
http://www.supernaturalwiki.com/index.php?title=Misha%27s_Minions&oldid=25484).Hehas
pairedhimselfinhistweetswithpeopleasdifferentasKimJongIlandMichelleObama,and
describedrunningintoQueenElizabethinthegayfetishsectionofanadultbookstore.
6. What happens when you cross a pony and a unicorn?
[6.1] TheintegrationoffandomandthestorieswemakeintothetextofSupernaturalfits
perfectlywithintheshow'snarrativemission.AtitsheartSupernaturalisconcernedwith
exploringthestoriespeopleconstructandtellaboutthemselvesandtheirrelationships,in
particularthestoriesthatform,shape,andsometimesdestroyfamilies.Ithasexploredmodern
moralitytales(intheformofurbanlegends)andancientones(fromfolklore),anditisretelling
theepicstoriesofsociety—theoneswecallreligion.Ithasexaminedthestorytellingofpop
culturethroughepisodessatirizingmovies(2.18"HollywoodBabylon"),TV(5.08"Changing
Channels"),andcelebrityculture(5.05"FallenIdols").
[6.2] NowthatwearetrappedinthisboxofmirrorswithTPTBandourrespectivecreations,
wemustaskhowthisnewsituationwilltransformus.Ourcreativeendeavorshavealready
changedthesourcetext.TPTBarecreatingtransformativeworksaboutthemselves.Asthe
sourcetextincorporatesandcommentsonbothitselfanditsfandom,itremainstobeseenhow
knowingwearebeingwatched,seeingwhatwedoreflectedbacktous,willchangehowwe
playatbeingfans.
7. Notes
1.OnWeb2.0,see"WebSquared:Web2.0FiveYearsOn,"anessay,whitepaper,and
WebcastbyTimO'ReillyandJohnBattelle,at
http://www.web2summit.com/web2009/public/schedule/detail/10194.
2.AllysonBeatrice(2007)documentsherexperienceofBuffyfandom,particularlyher
interactionswiththewritersandshowrunners.Manyactors,writers,andshowrunnersareon
Twitter.Forexample,thewriters'roomofthecomedyPsychcanbefoundat
http://twitter.com/Psych_USA.
3.Somecreatorsoforiginaltextshavecontinuedtovigilantlyopposetransformativeworks.
AnneRiceisoneexample,andWarnerBros.recentlyforcedthecancellationofaHarryPotter
dinnerparty(http://www.abc.net.au/news/stories/2009/10/28/2726040.htm).
4.Thisanalysisisbasedonaround33,000storieswrittenintheSupernaturalfandomthathave
beenlistedontheSupernaturalnewsletteronLiveJournal
(http://community.livejournal.com/spnnewsletter)andtaggedondelicious
(http://delicious.com/supernatural_fic)asofJanuary31,2009.Forafurtherexplorationof
Wincest,seeTosenberger(2008).
5.SimpaticoistheonlinenameofaposterattheTelevisionWithoutPitySupernaturalforums:
http://www.televisionwithoutpity.com/show/supernatural/the_monster_at_the_end_of_this_1.php?
page=5.
8. Works cited
Beatrice,Allyson.2007.Willthevampirepeoplepleaseleavethelobby?Naperville,IL:
Sourcebooks.
Chaney,Keidra.2008.Fansvs.freaks:Mediacoverageoffandom.TheLearnedFangirl,August
24.http://thelearnedfangirl.com/2008/08/24/fansvsfreaksmediacoverageoffandom
(accessedJanuary22,2010).
Jenkins,Henry.2007.Whenfanboysandfangirlsmeet…Confessionsofanacafan,May17.
http://henryjenkins.org/2007/05/when_fan_boys_and_fan_girls_me.html(accessedJanuary22,
2010).
Kripke,Eric.2008.SupernaturalcreatorEricKripkeanswersfanquestions:Part2.Transcriptof
questionsandanswerperiodatSalutetoSupernatural,LosAngeles,March29–30.Eclipse
Magazine,April24.http://eclipsemagazine.com/hollywoodinsider/5633/(accessedJanuary22,
2010).
OTW[OrganizationforTransformativeWorks].N.d.Glossary.
http://transformativeworks.org/glossary(accessedJanuary22,2010).
Tosenberger,Catherine.2008."TheepiclovestoryofSamandDean":Supernatural,queer
readings,andtheromanceofincestuousfanfiction.TransformativeWorksandCultures,no.1.
http://dx.doi.org/10.3983/twc.2008.0030(accessedJanuary22,2010).
Transformative Works and Cultures,Vol 4 (2010)
Interview
Interview with Keith R. A. DeCandido
TWC Editor
[0.1] Abstract—TWCinterviewsKeithR.A.DeCandido,authorofSupernaturaltie
innovelsNevermore,BoneKey,andHeartoftheDragon.
[0.2] Keywords—Fanfiction;Supernatural;Tiein
TWCEditor.2010."InterviewwithKeithR.A.DeCandido."TransformativeWorks
andCultures,no.4.http://dx.doi.org/10.3983/twc.2010.0185.
1. Introduction
[1.1] TWCconductedanemailinterviewwithnovelistKeithR.A.DeCandido,whose
SupernaturaltienovelsNevermoreandBoneKeyarewellknowninthefan
community.DeCandido,aselfidentifiedfan,spoketousaboutthedifferences
betweenwritingfanfictionandprofiction,respondingtotheSupernaturalcanon,and
negotiatingthemediashiftsbetweentelevisionandliterature.Moreinformationonhis
workcanbefoundathisLiveJournalblog(http://kradical.livejournal.com/).
[1.2] ThefollowingTWCeditorialteammemberscontributedtothisinterview:
KristinaBusse,KarenHellekson,andguesteditorCatherineTosenberger.
2. Writing tie-ins
[2.1] Q:Howdidyougetintowritingtieinnovels,andwhatdoyoufindtobethe
mostrewardingaspectofit?
[2.2] KD:Well,tobebrutallyhonest,themostrewardingaspectisthepaycheck.
Thatmaysoundcrass,butit'salsotrue.Writingismyprofession,andit'swhatIdo
foraliving.SothosecheckstheysendmewhenIwritethebooksarenotan
unimportantpartoftheprocess.
[2.3] Asforgettingintowritingit,Iactuallycameoriginallyfromtheeditor'ssideof
thedesk.In1993,IstartedworkingasanassociateeditorforthelateByronPreiss
andhisassortedbookpackagingconcerns,andthatincludedafairnumberoftiein
projects,mostnotablyeditinganextensivelineofnovelsandanthologiesbasedon
MarvelComicssuperheroes.
[2.4] Istartedpublishingshortstorieshereandthere,anditeventuallyledtowriting
novels.Eachcreditbuildsonpreviouscredits,andit'slikeasnowballrollingdowna
hill.Eventuallyyouhopeforanavalanche.
3. Pro fic vs. fan fic
[3.1] Q:Whatdoyouperceiveasthemostimportantdifferences,creatively
speaking,betweenwritingtieinsandwriting(forlackofabetterterm)original,
nonderivativeworks?Inshort,whywouldprofessionalwriterschoosetowritethe
formerratherthanthelatter?
[3.2] KD:Choiceisn'talwaysinvolved.OneofthereasonswhyI'vecontinuedtodo
lotsoftieinworkandhavecomparativelylittleworkthatIkeepthecopyrightonis
becausetheykeepsendingmechecksfortheformerandrejectionlettersforthe
latter.Thatdoesn'tmeanIstoptryingtodooriginalwork,butitalsomeansthatI
keepdoingthetieinsbecause,again,thisishowImakemyliving.
[3.3] Leavingthataside,however,writingtieinsisfun.OneofthereasonswhyI
startedwritingtieinsisbecauseIgetagreatdealofpleasurefromit.Ilikegettingto
writenewadventuresofcharacterswhosestoriesI'veenjoyedinothermedia.
[3.4] Asforthedifferences—they'renotasstarkordrasticassomemaythink.True,
you'reoftenrelievedofhavingtocomeupwithsettingandcharacter(thoughnot
always)intieins,butyou'realsobeholdentopleaseaparticularaudience,both
internally(theeditorandlicenser)andexternally(thereaders),whoexpectthe
charactersyou'rewritingtobehaveandspeakacertainway.IfmyDeandoesn't
soundlikeJensenAckles,itdoesn'twork.Youhavetoconvincinglyimmerseyourstory
inaworldthatisnotofyourowncreation,andthat'snotaseasyasitsounds.
[3.5] Q:Whatspecificallydoyoufindfunaboutwritingtieins?Andthenthere'sthe
mediamixupaspectofit:howdoyoutransfer,say,comicbookstoprose?
[3.6] KD:LikeIsaid,it'sfuntowritenewadventuresofcharactersIlike.Anditcan
berewardingtotranslatethingsintoothermediabecauseeachmediumhasdifferent
storytellingneeds.Thebestexampleisthatinproseyoucangetinsidecharacters'
headstoadegreethatisjustnotpossibleonTVorinmovies.Thecamerais
omniscient,butprosecanrootaroundinsideaspecificcharacter'sthoughts.
[3.7] Thatappliestogoingfromcomicstoproseaswell,sinceinternalpointofview
ishardtodoincomicsaswell.
[3.8] Q:It'sbeensaidthattieinsarefanfictionwrittenformoney.Butobviously
tieinwritershavetodealwithmanymorestricturesthanfanficwriters.Whatare
someoftheartisticparameterswhenwritingatieinnovel?Whatpublishers'rulesare
typicalfortieinnovels?Haveyoueverhadanideayouwantedtowriteaboutrejected
bythepublisherasunacceptable?Whatsortsofideaswouldbeconsideredwholly
unacceptable—andthereverse:whatsortsofideasarepreferred?Dothese
restrictionsaffectyourcreativityorstorytellingability,andifso,how,andforgoodor
forill?
[3.9] KD:Therearenosingleanswerstoanyofthosequestions,because—aswith
mostquestionsaboutpublishingandwriting—theansweris,itdepends.Somelicenses
areverylooseandletyoudowhatyouwantaslongasyouputthetoysbackwhen
you'redone.Someareverystrictandonlyallowcertaintypesofstories.Somechange
astheygoalong—theearlyBuffytheVampireSlayernovelswereveryrestrictiveof
whatwasallowed,butasthelinebecamemoresuccessfulandastheshow
progressed,thestrictureswerelessenedconsiderably.StarTrekandStarWarsfiction
arebothveryfree,tothepointwheremaincharactershavebeenkilledoffinthe
novelsofbothlines.
[3.10] I'vehadideasIwantedtowriteaboutrejectedallthetime,andIwillcontinue
to,butthathasnothingtodowithitbeingatiein.That'spartofthenatureofwriting
professionally—storiesgetrejected.Thereasonsmightbedifferentwhenwritingatie
in,butit'srarelyforanysinisterreason:eithertheshow'salreadydoingasimilar
story,oranothertieinnovelistisdoingsomethingsimilar,ortheydon'tfeelthatit's
appropriateforthecharacters
[3.11] Andyes,tieinwritershavemanymorestricturesthanfanficwritersbecause
atieinwritergenerallyhastowriteeitheranovelorashortstory.Afanficwritercan
doafragmentoradrabbleoracharacterprofileoranovelthat's500,000wordslong.
[3.12] Q:HowdidyouembedyourselfintheworldofSupernatural?Doyoureview
episodesoftheTVshow,areyougivenscriptstoread,oristheresomeothermethod
usedtokeepyouintheloopinSupernatural'sairedcanon?IsthereaSupernatural
bibleyouhavetousethatisprovidedbythepublisher?
[3.13] KD:Thefirsttwo:Iwatchtheepisodes,andwhennecessary,scriptsaresent
myway.Asanexample,duringthewritingofmythirdnovel,HeartoftheDragon,I
neededtobeawareofwhatwouldbehappeningintheearlypartofseason5,butit
hadn'tairedyetwhenIwaswritingthebook,soIwassentthescripts.
[3.14] Inallmyyearsofwritingtieinfiction,I'vereceivedaseriesbibleprecisely
threetimes,andinallthreecases,thebiblewasutterly,totally,andinallways
uselessinthewritingofthefiction.Thereisnosubstituteforthesourcematerialitself
—inthecaseofSupernatural,theepisodes.That'sthebasisforwhatI'mwriting,nota
biblewrittenasaguidelineforearlyscriptwritersfortheshow(whichisallabibleis,
andit'ssubjecttochangeanyhow).
[3.15] Q:Canyoutellusmoreaboutthecharacterizationrestrictionsandtheworld
buildingrestrictionsandgiveussomeexamples?Whatareyourparameters,andhow
mucharetheyconstricted?Whatdoesitmeantoyouforwritingtobe"incharacter"?
Infandom,weseeallthetimethatdifferentgroupshavedifferent"trueDean"voices,
forexample—orthatreaders(andviewers)arewillingtoacceptacontinuumofvoices
as"trueDean."Whatdoesitmeanto"soundlikeJensenAckles,"asopposedto,say,
"SeraGamblewritingforJensenAckles,"or"JensenAcklesinterpretingEricKripke's
words,"or"JensenAcklesbeingdirectedbyRobertSinger"?
[3.16] KD:Again,itdependsonthelicense—andalsomostofthetimeyoudon't
knowwhatthoserestrictionsareuntilyouviolateoneofthem.Thesethingsarerarely
spelledout,butlicensersknowthemwhentheyseethem.
[3.17] Asforthecharactervoices—Idon'tseeasignificantdifferenceamongthose
examples,becauseit'sallacontinuum,asyousaid.I'mbasingmywritingofDean
andSamonthefourplusseasons'worthofepisodesandhowthey'vebehavedand
talkedandactedinthoseepisodes.It'sanaggregateofscriptsbythevariouswriters,
thedirectingbythevariousdirectors,andtheperformancesofJensenAcklesand
JaredPadalecki(andotherswho'veplayedbothbrothersasyoungkids).
[3.18] Oneotheradvantagethatfanfichasisthatitcanchoosetoignore
interpretationsofthecharactertheydon'tlike.TogiveanexamplefromfanficI've
written,myexwifeandIwroteabunchoffanficsthatcrossedoverHighlanderwith
theHercules/Xenauniverse,andwechosetoignoreprettymucheverythingthat
happenedonthelattertwoshowsafteracertainpointwheretheshowswentin
directionswedidn'tlike(thedeathofIolausinHercules,andtheDahakandIndiaarcs
inXena).ButifI'mwritingofficialtieinfiction,Idon'thavethatluxury.IfDeanacts
inamannerIdon'tlikeononeepisode,thatepisodehastobepartofwhatItakeinto
accountinaSupernaturalnovel.
4.Supernatural audiences
[4.1] Q:WhataspectsofSupernaturaldoyoufindmostenjoyabletowrite?
[4.2] KD:Thebrotherlybanter.Thecasualabuse,theaffection,theteasing,the
easewithwhichtheyworktogether—SamandDeanhaveallthebestandworst
elementsofasiblingrelationship,andthat'stonsoffuntowrite.
[4.3] Q:Youhaveagoodrelationshipwithandahealthyrespectforthe
Supernaturalfandom.Whatdoyouattributethisto?Areyourbooksaimedmoreat
casualfans,ordoyouconsiderfansembeddedinSupernaturalfandomwhenyou
write?Whatsortsofthingsresonatewiththefans—thattheyreallylike(ordislike)?
[4.4] KD:IalwaystrytohaveagoodrelationshipwiththefandomsIwritein,
especiallyifit'ssomethinglikeSupernaturalwhereI'mafanoftheshowfirst,andalso
atieinwriter.I'malsopluggedintoStarTrekfandom,Farscapefandom,Serenity
fandom,etcetera.
[4.5] Mybooksareaimedatpeoplewholiketheshow.Someofthosearethehard
corefanswhopostonInternetbulletinboards,butnumericallyspeaking,that'savery
smallnumberofmyreadershipandaneventiniernumberoftheshow'sviewership.
[4.6] Also,Idiscoveredearlyonthatit'simpossibletoplease"thefanbase,"
becausethey'renotamonolithicgroup.Soit'shardtosaywhatresonates,because
differentthingsresonatewithdifferentpeople.I'vehadreaderstellmethatI
"obviously"likeDeanmorethanSam,andoneswhoarejustassurethatIpreferSam
andthinkDean'sanidiot.Forthatmatter,I'vereadplentyofonlinereviewsthat
professhowobviousitisthatI'veneveractuallywatchedtheshow,whichis
categoricallyuntrue(Ievenhavewitnesses!).
5. Novel interpretations
[5.1] Q:OneoftheelementsofyourbooksImostenjoy,especiallyinBoneKey
(2008),istheracialandsexualdiversityamongthesupportingcharacters—much
moresothantheshow,infact.Isthisadeliberatechoice?Whydoyouincludethese
elements?
[5.2] KD:That'ssomethingI'mhyperconsciousofinallmywork.Ihatethe
tendencytodefaulttothewhiteWASPmale,whichiscommonplaceinpopularfiction
ofallkinds,bothinprintandonscreen.Irememberasachildgoingthroughthe
OfficialHandbookoftheMarvelUniverseandbeingdepressedtodiscoverthatallthe
Italiancharactersweremobstersorvillains(plusoneincompetenthero,whowasthe
sonofavillain).
[5.3] PlusIliveinNewYorkCity,themostethnicallyandculturallydiversecityin
theworld.ItendtopullcharactertypesfromthepeopleIseearoundme.
[5.4] Q:YourfirstSupernaturalbook,Nevermore(2007),engagedwiththestoriesof
EdgarAllanPoe.I'minterestedinthewayyounegotiatedthedoubledlayerof
derivativetextshere:youengagedwithbothPoeandwiththeSupernaturalcanon.
Canyoutalkalittlebitaboutyourartisticprocesshereintermsofthemediashifts
betweenliterature,TV,andtiein?Howdidyounegotiatethiscomplexrelationship?
[5.5] KD:Carefully.IwantedtotellastorythatwasparticulartotheBronxbecause
IwantedtowriteabouttheWinchesterboysinNewYorkCity,andIfiguredthatitwas
aplacetheywouldn'tgoontheair.Evenintheunlikelyeventthattheytriedtomake
VancouverlooklikeNewYorkCity—afterall,theyhavebeentoChicago,Milwaukee,
LosAngeles,Baltimore,andSt.Louis,amongotherbigcities—theyweren'tlikelytogo
tomyhomeborough.
[5.6] SincePoelivedintheBronxforatime—hiswifediedthere—Ithoughtdoinga
storywithaPoeconnectionmightbeapropos,sinceheallbutcreatedthehorror
genre.Ialsowantedtodoastorywithasupernaturalcomponentthatturnedoutto
bewhollyfake.Whiletheshowispredicatedonthenotionthatallthestuffwethinkis
fakeisreal,there'dstillbefakersandscamartistsandpeoplewhoarejustplain
wrongevenintheSupernaturalworld.Sothatwasfuntoplaywithaswell.
[5.7] Q:YouhaveanewSupernaturalnovelcomingoutsoon.Whatcanyoutellus
aboutit?
[5.8] KD:HeartoftheDragonwasinspiredbyepisode4.03,"IntheBeginning,"
whenwefoundoutthatSamandDean'smotherandgrandparentswerealsohunters.
Ithoughtitwouldbefuntodoastorythathaseachgenerationofthe
Campbell/Winchesterdynastydealingwithaparticularsupernaturalproblem.Sothe
novelisbrokenintothreeparts,takingplacein1969,1989,and2009—thefirst
involvingSamuel,Deanna,andMaryCampbell,thesecondinvolvingJohnWinchester,
andthethirdSamandDean.
Transformative Works and Cultures,Vol 4 (2010)
Interview
Interview with the Super-wiki admin team
Deborah Kaplan
Tufts University, Medford, Massachusetts, United States
[0.1] Abstract—InterviewwithHope,Leandra,Jules(akaMissyjack),andVanaeof
theSuperwikiadminteamonthewiki'screation,itscontent,andthechallenges
uniquetocrowdsourcedinformationandmultiauthorship,conductedbyDeborah
Kaplan.
[0.2] Keywords—Collectiveauthorship;Fancommunity;Television;Wiki
Kaplan,Deborah.2010."InterviewwiththeSuperwikiadminteam."Transformative
WorksandCultures,no.4.http://dx.doi.org/10.3983/twc.2010.0200.
1. Introduction
[1.1] In2006,onefan,Hope(http://www.supernaturalwiki.com/index.php?
title=Hope),formedaWebsitecalledthe"SuperCanon,"inwhichsheaimedto
singlehandedlyprovidearesourceforfansofthetelevisionshowSupernatural,
includingdocumentationoftieinmaterialandcanonminutiae.Shortlythereafter,she
andanotherfan,Lea,converteditintoawikiformat.ThustheSuperwiki
(http://www.supernaturalwiki.com/)wasborn.Nowrunbyateamoffour
administrators,theSuperwikiisarichresourcedocumentingbothSupernaturaland
itsfandom.
[1.2] Somestatisticswillindicatethegrowingsizeandpopularityofthesite.The
Superwikicurrentlyhas1,211entriesand2,218editorsregistered.Intheyearfrom
October2008toOctober2009,thewikihadover1.13millionhits,fromover500,000
uniquevisitors.Theycamefrom196countries,withthetopsixbeingtheUnited
States,theUnitedKingdom,Canada,Germany,Australia,andBrazil.TheSuperwikiis
growinginpopularity,andOctober2009saw127,855hitsfrom67,182visitors—an
increaseofmorethan50%forthesamemonthin2008.
[1.3] TheintervieweesareHope,Leandra,Jules(akaMissyjack),andVanae.Also
vitaltothewiki,thoughnotinterviewed,isEsther.
[1.4] Thisinterviewwasconductedinfallof2009viaemail,andthetextwasthen
editedforbrevityandclarity.DeborahKaplan(http://suberic.net/~deborah.kaplan/),
theinterviewer,isaformerFanloresoftwareadministratorandthecurrentsoftware
andcontentadministratoroftheDianaWynneJoneswiki(http://suberic.net/cgi
bin/dwj/wiki.cgi).Thisinterviewexploresthechallengesuniquetocrowdsourced
informationgatheringandthemultiauthorshipmodeofthewiki.
2. Multiple contributors, crowd sourcing, and shared work
[2.1] DK:Wikishavetocontendwithamultitudeofviewpointsthatoftenconflict
withoneanother.HowdidyouchoosewhatwasappropriatefortheSupernaturalwiki?
[2.2] Lea:ThewikioriginatedfromHope'ssite"SuperCanon,"whichin2006aimed
toprovideasmuchinformationonSupernaturalaspossible.Atthattime,Hopedidall
theworkbyherself.IbecameinvolvedthroughsomemetaIwroteonmyjournaland
whichshewantedtoincludeonthesite.Wecametotalkaboutarchivingnotonly
facts,butalsometa.Theproblemwasthatwefeltthatoneortwopeoplecouldn'tdo
allthework,andthensuddenlyathoughtpoppedupliketheproverbiallightbulb:
"Whatifanyonecouldaddinformationtothesite?"—andthewikiwasborn.Tome,
that'stheSuperwiki'scentralidea:Thefansthemselvescanaddandalter
information.Thatway,wehaveabroadrangeofinformation,whichalsoincludesthe
documentationoffandomprojects(inthat,wedifferfrommostotherTVserieswikis).
Ofcourse,ifmorepeopleworktogetherononetopic,thereareboundtobe
controversyanddifferentpointsofview.That'swhyweaimtoprovideasmany
sourcesaspossibleforthematerialweadd.Wedoalotoffactchecking,too.Some
partsoftheentriesonthewikiareprotected—forexample,whentherearedirect
quotesinvolved.Wheneverpossible,wecitesourcesandurgetheuserstodosoas
well.Incaseofcontroversy,wetrytoresolvetheproblembyinvolvingtheusersas
well.Westriveforaneutralpointofview,butincaseofcontroversy,wetrytobeas
objectiveaspossibleandalsofeaturemultiplepointsofview.
[2.3] Hope:TheSuperwikihasbeenadelighttoworkonwhenitcomestothe
multipleauthorshipmodel,tobehonest.Overthepast4yearsofitslife,Icanrecall
onlyasmallhandfulofinstanceswhenwehadtointerveneasaresultofasignificant
contradictiontothewiki'smodel—andinthesecases,itwasmoreusersgettingthe
absolutewrongendofthestickwithregardstowhatthewikiisforandhowitworks.
Itwasjustamatterofapproachingthempersonallyandtryingtoassistthemin
workingalongsideeveryoneelse,iftheywishedto.
[2.4] Itsgrowthintermsofpolicyhasbeenveryorganicandreactive—weonlyreally
writeandpublicizepolicyifanissuecomesupthatrequiressomeformofpolicingor
administrativeruling.ButasIsaid,there'sbeenverylittleneedforthis.Ithinkinpart
thisistodowiththecontentofthewiki—whenitcomestocanon,it'sreallyjusta
matterofeveryoneputtingtheirheadstogetherandsharingallthedetailsthey
remember,andwiththefandomaspectit'snotmuchdifferent—aswithcanon,ifyou
havemoreminutiaeorinfoaboutafannisharticle,it'sjustintegratedwithwhat'son
theexistingpage.There'sreallynotmuchopportunityfortheretobeconflicting
viewpointsinallofthat.
[2.5] Isupposeonadifferentmodeltheremightbemorelikelihoodofconflict,but
theotherthingthatIthinkmakestheSuperwikisolowonconflictistheexampleset
bytheadmins(forlackofamoredelicatewayofputtingit).Theadminteam
definitelyhasitsowninternalizedMOofinclusionandcompletism—ourgoalisnotto
assertourownpersonalpointsofview,promoteapieceoffandomorcanonover
another,orbearbitersoftasteoropinion.Ourmaingoalistodocumentas
exhaustivelyaspossible.Thisisreflectedinthelanguageweusewhenwritingarticles
andassistingotherusers,andthewikimodel,withitsendlessinternallinking,helpsto
connectalltheelementstogetherinaveryinclusiveway,ratherthanfosteringsome
monolithicconceptoffandom/canon/ideas.
[2.6] Itmakesiteasytokeepeveryonehappy,asdoesparticipatinginaproject
whoseprimarygoalistogaineverygrainofgleefromeverytiny,hiddencornerof
fandomandcanon.Igettheimpressionthatpeopledon'tparticipateinorderto
providecontradictiontooraggressivelyassertindividualitytowhattheyreadonthe
wiki,buttobeapartofthisbiggercollectiveconsciousnessoffandomthathassprung
upintheformofthewiki.
[2.7] DK:Howmuchoftheworkmaintainingthewikiduringtheregularseason
comesfromthesiteadministrators,andhowmuchcomesfromyouruserbase?
[2.8] Jules:Themodteamworkstomaintainthecoreofthewikiandto
systemicallyundertaketaskslikekeepingcertainpagesuptodateandcheckingfor
accuracy,whiletheeditorswilleditandenhanceentries.Forexample,amodwillput
upthebasicsoftheepisodeentryeachweekintheseason—productioninformation
andsoon—butthegeneraleditorswillprovidethebulkofinformationonthepage.
Someeditorshaveundertakentomaintaincertainentries—liketheratingspage,or
theappearancesofthedeer'sheadinepisodes(hey,that'simportant!).Periodicallya
callwillbeputoutforparticularprojectsthatneedattention,suchascompleting
transcripts.Ourgeneralusersareessentialinaddingtothedepthanddiversityof
informationonthewiki,andtheyareparticularlyassiduousinproofreadingandfixing
mytypos.
3. A collaborative Internet
[3.1] DK:ThereareanumberofwikisdedicatedtoSupernatural.Doyouhave
relationshipswiththecreatorsofanyoftheothers?Howdoyouencouragepeopleto
contributetoyours,andhowdoyouencouragehighqualityorhighvolume
contributions?DoyouencouragecrosslinkingwiththeotherSupernaturalwikisor
withWikipedia?
[3.2] Hope:Whenwefirstsetupthewiki,season1ofSupernaturalwasstillairing,
sothevolumeofSupernaturalfansiteswasconsiderablylessthanitisnow.Still,we
didn'treallydomuchresearchintoalternatesitesbeforeestablishingtheSuperwiki.I
thinkpartofthatwasbecauseI,atleast,feltitwasfillingagapIperceivedintheSPN
communityIwasapartof(ficwritersonLiveJournal[LJ]).Alreadyfeninthat
communityweregatheringminutiaeandseekingoutmore.Itseemedtobeaperfect
opportunitytomakeacentralplaceforthem/ustocontinuetodosowithease.
[3.3] Ibelievethatsetupourongoingmodeofengagement—Ithinkitssuccessin
establishmentreliedatleastalittleonLeaandmebeingfamiliartothecommunity.
Wewerevoicesandsourcesthatpeopletrusted—enoughtofollowourlinks,seewhat
weweredoing,eveninvesttheirownknowledgeinourproject.Thepersonal,oneon
oneaspectofthatcontinuedasthewikigrew.Wegainedattentionnotsomuchby
promotingourselvesrandomlybutbycontinuingtofillgaps;ifsomeonewasaskinga
questionaboutcanon,we'dpointthemtotheansweronthewiki.Ifsomeonemadean
awesome,impactingfanwork,we'dinvitethemtocreateanarticleforitonthewiki.
[3.4] WehavediscussedwaysofdrawinginfenfromthebroaderSPNcommunities
throughmorestrategicpromotion,butfrankly,mostoftheteam'senergyisspenton
thewiki,addinginformationandhelpingusersthere.There'snotalotleftfor
concentratedoutreach.Withregardstocrosslinking—weencouragelinkingtoany
relevantresources,andwegetmanyhitsfromWikipedia,thoughwemustfollowtheir
strictlinkingpolicy(Ibelieveitwasn'teventheadminteamwhohadalinktous
approvedonWikipedia!).
[3.5] Theissueoftranslatingthewikihasbeenbroughttousafewtimes,andwhile
we'vebeenleaningtowardputtingaGNUorCreativeCommonslicenseonthewikito
allownonEnglishspeakingfanstocreatetheirownprojectsusingtheinformation
we'vegathered,again,theconstantdemandforadministratingthewikihasprevented
usfrommovinginnewdirections.
[3.6] Jules:Relationshipsareveryimportantinfandom,andtheSuperwikihas
workedhardtoearnareputationasagoodfandomcitizen.Wealwaysacknowledge
thesourceofmaterialorlinks,whetherfromindividualfansorotherWebsites.We
aretheretodocumentothersitesandtolinktothemwhentheyhavecontentof
interest,withoutfavoringoneoveranother.It'sareciprocalrelationship,andIthink
asaresultoftheuniquenatureoftheSuperwiki,thereisnoothersitedoingwhatwe
do,whichmeansthatwearen'tseenascompetitionfortheaudienceofothersites,
butrathercomplementary.
4. Rules
[4.1] DK:Whatareyourguidelinesforpermissiblecontent?
[4.2] Jules:Haha.Thisisthefandomwherecanonincludesslaughterednuns,baby
eating,andpsychopathicclowns,andwhererealpersonslashbattleswithgayincest
andangelpornforthehighmoralground.Sopossiblywehavebroaderdefinitionsof
whatisacceptablethanmost!Wehaveclearandquitestrictpoliciesregarding
copyrightedmaterialplagiarism.It'sgenerallyabouteducatingeditors—forexample,
welinktooriginalmaterialratherthancopyingandpastingit;andweprovideclear
citationsandattributions.
[4.3] Hope:Wedolimitmaterialforcopyrightreasons,stickingwithafairusepolicy
whenitcomestoquotingtextdirectlyfromtieinmaterialorstoringimagesonthe
site.It'ssometimesafrustratingbalancetostrike—ontheonehand,wewanttobe
completistsandincludeallthepromoimagesreleasedforeachepisode;ontheother,
thatrisksviolatingfairuse.Sowetrytolinktopeoplewhodon'thavesuchconcerns
totrytogetthatcompletismfulfilled.(Thatconcernislessofanideologicalissueand
morethatwedon'twanttorisklosingthemassivebodyofworkthewikihasbecome.)
[4.4] Legalissuesaside,ourcontentguidelineshavealwaysbeenlessaboutwhat's
"permissible"(alongwithwhatJulessaidaboveaboutthequestionablenatureof
canon,we'reallforawartsandalldocumentationoffandomaswell,andsoweare
anticensorshiponthatfront),andmoreaboutscope.Earlieron,theadminteamhad
bigplanningsessionsonjusthowfarwewantedthewikitogo(andofcourse,howto
organizeitall).We'vehadtofindabalancebetweenwhatisusefulandwhatis
availableelsewhere.OurLibrarysectionismainlywherethisisanissue—whileusers
mightfinditusefultofindallthereistoknowaboutvampireloreintheoneplaceon
ourwiki,weseeitascounterproductivetorewrite(orcopyandpaste)infothatcanbe
foundmoreeasilyonWikipedia(especiallywhentheirusersaregoingtoprovidemore
exhaustiveinfoonthatscorethanours).Soprimarilywewanttoarchivewhatcanon
saysaboutvampires,andmakeitclearthatthat'swhatourMOis,butstillprovide
userswithlinkstowheretheycangetfurther—notseenincanon,even—infoabout
thetopicelsewhere.
[4.5] Soasfarasunsubstantiatedresearchgoes—thevastmajorityofstuffonthe
wikishouldbefromcanonitself,andthereforecitedprettydirectlyandabletobe
backedupbyseveralthousandotherpeoplewho'veseen,heard,orreadexactlythe
samething.It'sallpartofthenerdycompletismthatcharacterizesthewikithat
everythingisciteddowntoaT,really.
[4.6] Asasortoftangent(andsortofrelatedtothe"editwars"question),Idorecall
oneortwoinstancesearlyoninthewiki'slifewhereaneditorfelttheurgetodelete
contentfromsomeofthefandompages(namely,acoupleofslashpages).Although
theuserdidn'trespondtoourcommunication,Igottheimpressionthatsheassumed
ourmodelwasmoresimilartoWikipediathanitwas;withtheinclusionoffandom
material,itautomaticallyresemblesFanlore'sPPOV[pluralpointofview]ratherthan
Wikipedia'sNPOV[neutralpointofview](note1).
[4.7] DK:What'syourspoilerpolicy?Doyouhaveaninternationaluserbase,andif
so,hasthisaffectedyourspoilerpolicy'sdevelopment?
[4.8] Jules:TheSuperwikiistotallyspoilerfreeuntilanepisodeairs.Thatincludes
allshowrelatedmaterial—castingspoilers,promotionalpictures,andepisodetitles.
Wedo,however,providelinkstospoilermaterialonothersites.Forexample,we
providedcastinginformationforepisode5.01"SympathyfortheDevil."Wealsowarn
forspoilersinmaterialwelinkto,suchasinterviewsorarticlesabouttheshow.The
majorityofthemodteamisnotbasedintheUnitedStates,butthesedays,through
thewondersoftheInternet,viewingoftheshowaroundtheworldispossiblewithin
hoursofitsairingintheStates.Wetrytohaveatleastthemajorcomponentsofan
episodeentrycompletedbythedayaftertheepisodeairs
[4.9] Hope:Thespoilerbanonlyextendsaslongasthefirstairingoftheepisode
becausethat'softenthemostactiveperiodofcontentcontribution—rightafteran
episodeairs,whenviewersarestillexcited,anddetailsarefreshintheirminds!Itis
worthmakingclear,though,thatourspoilerpolicyissplashedalloverourwikinot
onlytostoppeoplepostingspoileryinfobeforetheepisodeairs,butalsotoallow
spoilerphobestoavoidthewikiuntilthey'veseentheepisode.It'slessaboutus
declaringwhatwethinkthelengthofaspoilerperiodis,andmoreaboutmakingsure
spoilerphobesaren'tcaughtoutbyus.FeninAustraliaknowthatassoonasit'saired
inUnitedStates,thewikiwillcontainspoilers;therefore,theycanavoiditiftheywish.
5. Fandom
[5.1] DK:Howdoyouapproachfandomwars,bothincharacterorcanon
interpretation,andthepersonalvendettasthatariseinafandom?
[5.2] Jules:Supernaturalmustbeaverypeacefulandharmoniousfandom,because
wehavenoissueslikethiseitherinthecanonorfandompages.Themostheated
argumentsthateveroccurareoverissuessuchasthespellingofcharacternames.
WhocouldforgettheHenrickson/Hendricksen/Henriksencontretempsof2007?
[5.3] Seriously,thehighlightofthewikihasbeenhowitsembodiedthosetenetsof
fandom:creativity,collaboration,andcommunity.Itnotonlydocumentsfandom's
creativity,itisacreativespace.Yourcontributionsmightbeproofreading,translating
Latinexorcisms,oraddingTheSimpsonsallusionstoanepisodeentry.Oneeditorsaid
tome,"Ilovethatit'ssomewhereIcanfeelmycontributionsreallymakea
difference."Collaborationoccursfromtheadminteam,whosemembersliveonthree
continents,andeverytimesomeoneeditsthewiki.Andithasdevelopedanimportant
roleinprovidingalink,asenseofcommunity,betweenthepartsoffandomthatare
flungfaracrossWeb2.0.
[5.4] Hope:Withregardstofandomwars,weseeitasmoreourresponsibilityto
documentthedifferingopinions(andtheirbattlestrategies!)ratherthantoserveasa
siteforconflicttooccur.Ithinkthesoftware,andtheindependenceofthesitefrom
existingfandomserviceproviders,helpsusmaintainthisposition—it'sveryclearjust
whatthewikiis(andisn't)for.
[5.5] Oneofthefacetsofthisindependenceisthatthesharingofinformationhere
isn'tinfluencedbythesameexpectationsoffannishetiquetteparticulartoother
multiauthormodels,suchasanLJcommunity.Ithinkthisisoneofthereasonswe
don'tsufferfromthesamesortsofconflictsamongcommunitymembersthatcropup
frequentlyinspaceslikeLJ.Nordoweexperiencethesortofconflictotherfannish
wikisgothrough.
[5.6] IthinkpartoftheharmoniousnatureoftheSuperwikiisduetothefanwork
producingcommunitywesprangoutof.Withmostotherfannishwikis(ifnotall;I
haven'tdoneextensiveresearch,butIhopethatIwouldhaveheardotherwiseifthat
werethecase),thescopeisveryspecifictothecanonoftheoriginaltext.Thefurthest
thewikicontributorsventureawayfromcanonmaterialmightbetoprovidecanon
analysis,theories,orpredictions.Inthecasesofsomefannishwikis(suchas
Lostpedia[http://lostpedia.wikia.com/],aswrittenaboutinthelastissueofTWC!),
conflicthasarisenwhencontentthatstraysintofanonwasshutdown.
[5.7] Incontrast,weseewhatgoesonintheSupernaturalfandom,andthefanon
(andfanworks)Supernaturalfanshavedeveloped,asjustasimportanttoarchiveand
documentasthecanon.Wemakesuretodistinguishwhatmaterialonthewikicame
fromofficialsources,butthisisn'ttodiscountwhatcomesfromfans.Rather,it'sto
placeprouddistinctiononwhatthefandomproduces!
[5.8] It'sbeensaidthattheSuperwikistraddlestheSPNfandomandcanonbecause
thecanoncomponentexiststoservethefandom—andinaway,thisistrue.Iknow
thatpartofthereasonIsetupthesiteinthefirstplacewastoprovideauseful
resourcetopeopleplayingintheSupernaturaluniverse,checkingoutthecanonand
choosingtotakeitorleaveitastheywish.Butthat'snottheextentofit;Ithinkthat
thiscollationanddocumentationis,inaway,justasmuchafanworkasapieceoffan
fictionorfanvidorfanart(orplushyMetallicar,orfilk!).Instraddlingthecontent
scopebetweencanonandfanon,Ithinkwe'realsomuddyingwhat'softenseenas
quitedistinctwatersbetweenthetypesoffancommunitiesthatproduceLostpedia,
andthetypesoffancommunitiesthatwriteWincest.Ithinkwe'redemonstratingin
practicethatbothsortsoffannishengagementarenotonlyworthwhilebutequal—and
certainlynotmutuallyexclusive!We'vedemonstratedprettyclearlythatfanscanbe
obsessedwiththeminutiaeofcanonaswellastheconstructionoffanon/fandom.In
doingthissosuccessfully,andbecomingmorewidelyknown,Iliketohopethatwe've
alsosucceededinoneofthethingsthatwasreallyimportanttoLeaandmewhenwe
weredecidingonthiscanon/fandomscopeearlyon—demonstratingthroughexample
thatthetextsandpracticesoffandomarejustasvalidandimportantasthecanon,in
thebigpictureexperienceofSupernatural.
[5.9] DK:Younotethatfandomanditsartworksarejustasimportanttoarchiveand
documentascanon.Thewikiitself,though,hasremarkablylittleaboutspecificfan
worksorfanon,andmostofwhatisthereispackedintothe(amazinglywell
organized)FandomChronicles.Haveanyuserswantedtoaddmorecomprehensive
detailsaboutspecificfanworksorfancreators?
[5.10] Jules:TheSuperwikidocumentsfandomandfanoninanumberofways.
First,itdocumentswherethislargeanddispersefandomlives,withentriesonand
linkstomanyofthefansites,messageboards,andblogssuchasSupernatural.tv
(http://www.supernatural.tv/),WinchesterBros.(http://www.winchesterbros.com/),
andtheCWLounge(http://www.cwtv.com/thecw/cwlounge).Wealsolinktothe
SupernaturalYellowPages(http://delicious.com/spnyellowpages),afanprojecton
Deliciousthatlinkstoover500Supernaturalfansites,includingonesinlanguages
otherthanEnglish.
[5.11] ThereareanumberofdetailedentriesandrecapsonTelevisionWithoutPity
(http://www.televisionwithoutpity.com/),andofcourseLiveJournal,wheremuchof
thecreativeworksreside.FandomeventsofnoteonLJaredocumentedintheFandom
Chronicles(http://supernaturalwiki.com/index.php?title=Fandom_Chronicles),and
thereisadirectoryofSupernaturalcommunitiesonLJ
(http://supernaturalwiki.com/index.php?title=Livejournal_Communities),aswellasa
page(http://supernaturalwiki.com/index.php?title=Fandom_Wank)thatdescribesthe
eventsthathavepromptedentriesonFandomWank
(http://www.journalfen.net/community/fandom_wank/).
[5.12] TheFanProjectscategoryattheSuperwikicoversmajorfaneffortsfrom
zinesandanthologies,topromotionalcampaignsfortheshowandcharityfund
raisers.Italsocoversfanprojectsthatsupporttheinfrastructureoffandom,suchas
theSupernaturalnewsletter(LJcommunityspnnewsletter)andreccommunitiesonLJ.
[5.13] TheFanWorkscategorycoversthemajorcreativeeffortsoffandom—fic,vids,
art,meta,andmusicandaudioproductions.TheFanFicsectiondocumentsitshistory
inSupernatural,includingtheoriginsandearlyinfluencesinthemajorgenresof
WincestandRPF[realpersonfiction],andwhencertainpairingsappearedinrelation
tocanon.Thereareexplanationsandexamplesofsubgenressuchascrack,alternate
universe,kink,andcrossovers,andlinkstothemajorfictionchallenges.Wedocument
theamazingFicLinkArchive,whichcategorizesandlinkstoallficlistedinthe
Supernaturalnewsletter—over30,000entries!Thisgreatprojectalsohasananalysis
oftheproportionalrepresentationofdifferentgenres.Thewikialsoprovidesan
overviewofthehistoryofartandvidsinthisfandom,andlinkstothevariousarchives
andfansitesrelatedtothese.Themetaentrieslinkstobothcollectionsandindividual
essays.
[5.14] Individualfanworksaredocumentedwheretheyformasignificantbodyof
work—forexample,thePlasticWinchesterTheatre,theEpisodeReviewsofDoom,and
theEncyclopediaofWeirdness.
[5.15] Otherfaneffortsareembeddedinthecanondocumentation.Forexample,the
entryontheoriginalmusicscorefortheshowincludesafananalysisofitsthemesand
motifs.DudemeterandLaundryListarealsotestamentstocolossalfaneffort
expendedtorecordandanalyzethedetailsoftheshow.
[5.16] TheVernacularcategorycapturestermsandphrasesuniquetoSupernatural
fandom,suchasthecoiningofthetermMetallicarontheTelevisionWithoutPity
boards,throughitsspreadinfandom,toitsusebyboththeshowitselfand
commercialmerchandising;orthehistoryofthetermWincestfromthefirsttimeit
wasusedinfic,totheappearanceofWincestficontheshowitself.
[5.17] Finally,thepagesthatlistfanconventionshaveactedbothasdocumentation
andmeetingplace.Fanscomeheretosharetheirreports,pictures,andvidsaboutfan
conventions.Thetopfivepagesalonehaveoverhalfamillionhits.TheSuperwikiwas
alsoresponsibleforstartingtheuseofconrelatedhashtagsonTwitter.Manyother
mediasitesrefertotheSuperwikiconventionentriesasthemajorsourceof
informationonprofessionalconventions.Inaddition,thewikidocumentsthehistoryof
fanfocusedconventionssuchasWinchestercon.
[5.18] Lea:Personally,thisquestionseemstomeamisinterpretationoftheterms
fanworksandfanon.Fanon,asaterm,isespeciallyinteresting:itderivesfromthe
wordcanon,whichdescribeseverythingthathasbeenestablishedbytheofficialtext
(ofashow,ofabook,ofamovie,andsoon).Fanon,ontheotherhand,issomething
notofficiallyconfirmed,butratherimpliedbytheofficialtextandthenpickedupby
fans.Somethingdoesn'tbecomefanonjustbecauseoneortwofansperceive
somethingfromtheoriginaltext.Itonlybecomesfanonwhenitisgenerally
acknowledgedbythecollectiveofthefansmakingupfandom.Fanonisatthesame
time"true"and"untrue,"asitisperceivedassuchbyalargenumberofindividuals,
butfluidandconstantlyinmovementbecauseitcanchangeintimewithother
observations.Thus,fanoniscollectiveknowledge,andfandomislikeacollectivemind
—abeehive,sotospeak.There'sjustnoqueenbee,eventhoughcertainBNFs[big
namefans]liketobelievetheyare.
[5.19] I'dliketostaywiththatnotionoffandomasacollective.Tome,fanworksis
likewiseatermusedfortexts,video,andotheritemsproducedbyfansthatarebased
onwhatanindividualoragroupoffansperceivetobeinfluencedbytheoriginaltext
oftheshow,orbyanoccurrenceortrendinfandom.HenryJenkinscallstheprocess
oftheircreationtextualpoaching(inthatsense,fanonistextualpoaching,too,bythe
way).Sowhatwedoonthewikiisdocumentcertainaspectsofthispoachingby
tryingtofitthesethingsintocertaincategoriessotheycanbelookedatasageneral
tendencyorasanoccurrence.It'saveryscientificapproach,actually.Wedon'twant
todocumentfansbyputtingupessaysorpagesforeachindividual.Instead,welook
forcertaintypesoffans,certainfanproducts,andfandomasacollective.
[5.20] Hope:Thisisaninterestingquestion.Ithinkthewayit'sbeenphrased
illuminatesthebitoffandomyou'recomingfrom,Deb,andourreactiontoithasmade
merealizethepositionwefeelweoccupy—thoughIthinkthatamongtheadmin
team,wehavedifferentexperiencesofthis!Herearemytheoriesonit.
[5.21] Thoughwe(theadminteam)asindividualsoriginateinmediafandom—the
communitiesthattheOrganizationforTransformativeWorks
(http://transformativeworks.org/)sproutedfrom,andsubsequentlythemodesof
engagementanddegreesofimportancethatarewritupontheFanlorewiki—the
Superwikidoesn'treallyoperatewithinthesameplace,orwiththesamedegreeof
insularity.Personally,Ithinkthisisforacoupleofreasons—asmentionedbefore,our
distancefromthelocaleofLJ,andtheconnectionswe'vemadethroughotherservices
(Twitter,fanmessageboards—asdiscussedbyJules).Thisresultsinustakingthe
widerviewoffanactivity:wedocumentthingsthathaveahigherprofile,whose
significanceextendsabovetheselfcontainedmediafandomonLJ,andwealso
documentthingsofsimilarnotorietythatpoppedoutofotherSPNfancommunities.
[5.22] ThisperspectivereflectsthescaleofSPNfancommunitiesslightlymore
accuratelythanafocusontheminutiaeofaspecificfancommunitywould.Ithinkit
alsoinvitesmorecontributionfromawiderscopeofSPNfansinrecordingtheir
activities,becausethat'spartofittoo.Thetoneofthewikidoesleanmoretoward
documentationthananalysis;Ithinktalkingaboutindividualfanworkswouldbemore
analysis.Thedocumentationisevidentthroughoutthewikiinthefandomcategories.
[5.23] Inaddition—andthisissomethingIsayuponreflection;itwascertainlynot
explicitlyplannedon—thefactthatwedon'tgosodeepintomediafandomastohave
pagesabouttheactivitiesofindividualfansortheirindividualstoriesprotectsthe
insularityofthosemediafandomspaces,whichalreadyhaveablurredpublic/private
boundary.We'reveryawareofthehighprofileofthewikiandofthebroadnessofits
audience,andweknowthatTPTB[ThePowersThatBe]areawareofit(andsome
visitit).Ithinkthatskimmingthesurfaceofmediafandom—bydocumentingits
topographyratherthanshowingitinitsknickers(todramaticallymixmetaphors)—
allowsustobothshowcasethebitsofitwe'rehappyforthewideraudiencetosee,
admire,andengagewith,andtomaintainthedegreeofprivacythatexistsinour
otherfannishspaces.Andofcourse,asIrecall,thisprivacywasLea'sandmyMO
whenwefirstconceptualizedfannishmaterialonthewiki.Itprovidesvisitorswith
bothreassurancethatthefannishactivitieswe'reintroducingarefunandwonderful,
aswellaswiththetoolsforleapingintoitiftheywantmore.Weprovidelinksthatwill
takeuserstoothersiteswheretheirengagementwithotherfenorwithfanworksare
alreadyestablishedwithinthetermsofthecommunity.
[5.24] Buttodirectlyansweryourquestionaboutusersinsertinginformationabout
fansandfanworks.Hasanyoneevertriedtoaddthatkindofmaterial?NotthatI'm
awareof.Ithinkthemodelofthiswikianditsexistingcontentdonotnecessarily
suggestthiskindofentry,andthatissomethingreasonablyconsistentacrossfandom
wikisingeneral.TheFanlorewiki,ontheotherhand,isdoingsomethingnewinthese
terms—somethingthatdoesn'tnecessarilyautomaticallyoccurtocontributors,even
wherethere'salreadyfannishcontent.
6. Technical details
[6.1] DK:Howdidyouchooseyoursoftware?Howdotechnicalconsiderationsaffect
theadministrativeexperience,editorexperience,andreaderexperience?
[6.2] Hope:TheMediaWikisoftwarewaschosenoutofconvenienceandavailability.
MyWebhostofferssomeautomatedsysadmin[systemadministrator]supportfor
MediaWiki,andbecauseneitherLeanorIaresysadminsbytrade,itwastheeasiest
option!ItalsohelpedthatMediaWikiiswhatWikipediarunson,whichmeansthat
visitorsarelikelytohavesomevisualfamiliaritywithhowthesiteworks—thesame
goingforeditorstoo.Ofcourse,italsorunstheriskofbeingconflatedwithWikipedia,
butIdon'tthinkwe'vehadthatsortofissueforawhile.
[6.3] Sofar,we'vehadareasonablygoodrunofitwithourtechnicalconsiderations.
WhileI'mnotasysadmin,IdoworkintheITindustry,whichmeansIdofeel
generallycapableofadministratingthewiki.Oneoftheotherbenefitsofusing
MediaWikiisthatbecauseithassuchhighprofileuse(inWikipedia),asapieceof
FOSS[freeandopensourcesoftware],it'squitewellsupported—intermsofthingslike
securityupgradestothesoftware,ordeveloperscreatingusefulpluginsand
extensionstoenhanceit.Thishascertainlyenhancedthereaderexperience—it's
helpedusprovidethingslikeaGoogleMapsextensionandmorepagerankingdetails.
[6.4] Thiskindofenhancementhasbeengradual,though—mainlybecausethe
softwarewasnewtousasadministratorswhenwestarted.Asthetechnical
administratorofthesite,IhavetosayI'velearnedmassiveamountsaboutthe
softwarejustthroughusingit(andhavesinceworkedmorewithMediaWiki
professionally,growingthatknowledgeexponentially!).
[6.5] DK:Ifyoucouldchangeonethingyoudidatthebeginningofthewiki's
construction,whatwoulditbe?
[6.6] Hope:RightnowI'mreallyhappywiththewaythewiki'sdataareorganized.A
coupleofyearsago,wehadabigoverhaulofthesitestructurethatinvolvedalotof
recategorization.ThiswasmainlybecauseLeaandIwereexperimentingintheearly
stages.Butsincethen,afterworkingmoreontheSuperwikiandotherwikis,we
realizedtherewasabetterwaytodoit.Allthatrecategorizationwasalotofwork;it
wouldhavebeennicetodecidetodoitthatwaythefirsttimearound.Butonthe
otherhand,allthediscussionswehadaboutscopeandsoforthduringthatperiod
wereinvaluable,andwecouldn'thavehadthoseconversationsiftherewasn'tan
existingmodel(andstackofcontent)tolookat.
[6.7] DK:Whatkindofrecategorizationdidyoudo?
[6.8] Hope:Mainlywejustlookedatallthearticleswehadandfiguredouthowto
betterarrangethem,especiallyinlightofthegrowingfocusonthe
production/celebritysideofSupernatural,andinlightofthegrowthoftieinmaterial.
Wesatdownandmadedecisionsabouthowfarweshouldgoindocumentingofficial
materialversusrelevantmaterial.Welookedathowbothcontentandthetextitself
hadgrown,andwecreatedasitemapthatwasbothflexibleenoughtoexpandasthe
wholeshebanggrew,andrestrictiveenoughtonotjustbeabigsoupofinformation.
7. Note
1.Fanlore(http://fanlore.org/)isamultiauthoredreferencebasedonwikisoftware
thattracksthehistoryandcurrentstateoffancommunitiesandactivities.Itsplural
pointofviewpolicystatesthateachauthor'scontributionisvalidandvaluable.Fanlore
isaprojectoftheOrganizationforTransformativeWorks,whichalsosponsors
TransformativeWorksandCultures.
Transformative Works and Cultures,Vol 4 (2010)
Interview
Interview with Wincon organizer Ethrosdemon
TWC Editor
[0.1] Abstract—TWCinterviewsEthrosdemononWincon,itsfunctions,andits
origins.
[0.2] Keywords—Fancommunity;Fanconvention;Supernatural
TWCEditor.2010."InterviewwithWinconorganizerEthrosdemon."Transformative
WorksandCultures,no.4.http://dx.doi.org/10.3983/twc.2010.0208.
1. Introduction
[1.1] TWCconductedanemailinterviewwithEthrosdemon,founderandorganizer
ofWinchesterConvention(nowcalledWincon).ThefirstWinchesterConwasheld
October13–15,2006,inNashville,Tennessee.ThesecondannualWinchesterCon
tookplaceonOctober12–13,2007,inLosAngeles,California.Thethirdannual
WinchesterContookplaceonOctober17–19,2008,inBaltimore,Maryland.The
fourthannualWincontookplaceonOctober9–11,2009,inDenver,Colorado.The
conventionissmall,rangingfromjustunder100tonomorethan250attendeesat
varioustimes.
[1.2] Ethrosdemonisalongtimefanwhostartedin1995inBuffytheVampireSlayer
fandomandhasbeenanactivewriterandmemberofvariousfancommunitiesever
since.Inourinterview,shedescribedtheconventionasfollows:
[1.3] Winconisabythefans,forthefansoperation.Ourgoalistoprovide
anannualgatheringforSPNfans(focusedaroundtheLiveJournal
communitybutcertainlyanyonecancome—wearen'ttoopicky)tocome
andmeet,hangout,discusstheshowandtheficwrittenaboutit,partyand
haveagoodtime.Inotherwords,agiantslumberpartywherewecanalldo
thefannishthingswedoonlineinpersonandinourpajamas.Noonefrom
theshowisaffiliatedwiththisconvention,norwilltherebeanyappearances
byanyshowactors,writers,orotherpersonnel.
[1.4] ThefollowingTWCeditorialteammemberscontributedtothisinterview:
KristinaBusse,KarenHellekson,andguesteditorCatherineTosenberger.
2. Inception and infrastructure
[2.1] Q:Whatwereyourinitialreasonsforsettingupashowbasedfanconvention?
Youmusthavestartedplanningastheshowwasjustbeginningtogainpopularity—
thefirstconwasin2006,whentheshowhadjustfinisheditsfirstseason.Didthat
affectthedynamicatall?Havethingschangedoverthepast4years,andifso,how?
[2.2] A:Theinitialreasonsforputtingontheconarelosttothedustofsoundbites
andbourbon,butifmemoryservesme(àlaIronChef),wewantedtohaveabigparty
andtalkabouthowhotDeanwas.Ithinkwestartedplanningtheconbeforethe
hiatusofseason1,actually.So,yes,veryearlyon.
[2.3] ThefirstconwasprettymuchjustmeandEstrella30.Wewingedthaton
enthusiasmandpaintfumes.Thesecondyear,Estrella30wasexperiencinglife
changes,soCoiledsoulsteppedintohelprunthecon.CoiledsoulstillcorunsWincon.
Asfarastheconitselfchanging,no.Untilnextyear,whenwegomultifandom,the
firstfourwereallprettymuchthesameformatinthatwehadamixofcomicalpanels
andmoreseriousones,andwehaveabigpartyonSaturdaynightandkaraokeon
Friday.Theshowchanged;thecondidnot.
[2.4] Q:Pleasebrieflyexplainhowyouuseonlineresourcesandsites,suchas
LiveJournal,tosettheprogrammingandregistration,andindicatehowthisrelatesto
anonlineSPNcommunity.
[2.5] A:We'vealwaysruntheconventionthroughaLiveJournalcommunity.The
communitynamewasWinchesterconuntillastyear.Nowit'sWincon.Wetake
paymentofconfeesthroughPayPal(likeeveryone).Wealwayssendpeopletothe
hotelWebsitetogetthespecialconrateforrooms.It'snothingspecialorunique.In
2010,we'llbeinChicago(http://doubletreeoakbrook.com/).Fandomhasahighlevel
ofInternetacumen,sonothingwe'redoinghereisinventingthespacewheel.
Figure1.WinconconventionbadgeforSparkymonster,Denver,Colorado,2009.
PhotobyEthrosdemon.[Viewlargerimage.]
[2.6] AsfarasIknow,theInternetistheonlytoolweuse(besidesthephone)for
organizing.Andwiththeintroductionofsmartphones,thisisallsixofoneandafistful
ofknutsoftheother.WinconhasaLiveJournalcommunity;hotelregistrationisdone
throughabuttonfromtheLiveJournalcomthatleadstothehotelWebsite,wherewe
haveaspecialconpage;weacceptregistrationfeesthroughPayPal(butwealsotake
checkssincethat'sconvenientforsomepeople);wehostconphotosonPhotobucket
andFlickr;wehaveaTwitteraccountforattendeesthatweusefortheleaduptothe
con,duringthecontoalertorremindattendeesofactivities,andthroughouttheyear
forvariousreminders.InthedemocraticmanneroftheInternet,thereareWincon
tagsonDelicious,Digg,andotheraggregatingsocialmediatools.
[2.7] FansaresomeofthemostInternetsavvypeopleontheplanet,andfandomis
createdbyfans.AnaturalfunctionofthisInternetsavvinessisthatfancultureis
heavilytappedintothenewestWeb2.0platforms.Asamatteroffact,Ikindoffeel
thatfansbreezedthrough2.0beforeCNNstartedtweetingbackatviewersandhave
beenhelpingtocreateWeb3.0forawhilenow.
[2.8] Q:Howistheconorganized?Howdoesitcomparetobigconsthatmany
peoplearefamiliarwith,suchasWorldconorWiscon,besidesthefactthatthereare
noactororwriterguests?Whatsortsofprogrammingandpanelsarefeatured?Is
theresomeuniquewaycontentischosen?
[2.9] A:HereIwillhavetopleadsomeignorance.TheonlybigconI'veeverbeento
isthebiggestofthebig,ComicCon.Comparedtothat?We'rechainedinacave
watchingtheshadowsofSamandDeanloadtheirrifles.
[2.10] Idon'tactuallyeventhinkthecomparisonisfairornecessary.We'renotapro
con.We'renotattemptingtobeone.That'snotthepurposeofWincon(orotherfan
cons—I'veattendedseveralofthose).Weareforthefans,bythefans.It'sallabout
us,notabouttheactorsortheshow'screators.PeoplecometoWincontohangoutin
acomfortableenvironmentwithotherpeoplewhoareinterestedinsimilarmedia
sources.WesitaroundoncouchestalkingaboutslashorDreamwidthprosandcons.
WinconistheInternetinreallife,withcake.
[2.11] Theconprogrammingisdeterminedbythevicissitudesofmyheartburnfrom
barbecueandwhat'sgoingonwiththeshow.Orthishasbeenthecaseinthepast.
Thisyear,we'retakingpitchesfromattendeesinterestedindoingpanels.Soifyou've
gotagreatideaforaFraggleRockpanel,I'monGmaillikeeveryoneelse.
Figure2.Conswag,Denver,Colorado,2009.Apocalypsesurvivalbox,providedby
DeanWinchester.PhotobyEthrosdemon.[Viewlargerimage.]
3. Content and context
[3.1] Q:Whatdoyouperceiveassomeofthemostpopulartopicsatconspast?Why
doyouthinkthesetopicswereofparticularinterest?Whatsortsofpanelsdoyou
offer,andwhatistheirformat?
[3.2] A:ThetypesofpanelswedoatWinconvary.Wedowhateveritisthatpeople
want.Thefirstyear,therewasalotofcontroversyoverJohnWinchester,Father.And
thehottopicwasRPS[realpersonslash]becausethefirstyearofSPNfandomwas
reallyabreakthroughyearwithregardtoRPSacceptanceformanyfans—whetherthat
hadanythingtodowiththefandomspecificallyorwhethertheshowandchangeof
sentimenthappenedtocoincideisimpossibletodetermineconclusively,butIhave
opinionsonthetopic,forsure.Thisyear,itwasspeculationonfuturestorylines.
[3.3] Wetendtodoamixupofmoreserioustopics("IsJohnWinchesterabad
father?")andsillypanels(TinHats).Theformatsforthepanelsvarydependingonthe
needsofthepanelist.Therearenohardandfastrulesorstandardoperating
proceduresforthis.Allpanelsareabsolutelyinteractive,withtheaudienceoften
catcallingthepanelistsorinterjectingfromthefloor.Theatmospherecangetrowdy,
butthetruthofthematteristhattheveilispermeable,becausethereareno
expert/pupilrolesatWincon.Weareallequals,allonthesamefooting,allintheroom
forthesamereason:toshareourinterestinsimilarfannishpursuits.
[3.4] Anexampleofinteractivityfromthe2009conwasthatoneofthepanelistson
the"HowtoSurvivetheApocalypse"paneltaughttheaudienceMorsecodeby
slappingherthighsandclappingandaskingtheaudiencetodolikewise—the
overwhelmingmajorityofthecrowddid(Ithinktheonlypeoplewhodidn'twere
takingphotosofeveryoneelseinstead).Becausewearechangingfromasingle
fandomconnextyeartoamultifandomone,weareaskingattendeestopitchpanels
theywouldliketoputon,àlaEscapadeandvariousotherfancons.Ourgoalsare
alwaysinclusivity,thehighestlevelofattendeeparticipation,andgoodtimes.
Figure3.MorsecodeforfangirlsbyGirlguidejones,Denver,Colorado,2009.Photoby
Ethrosdemon.[Viewlargerimage.]
[3.5] ButtherealdrawsatWinconarethepartiesandthewackystuffwedo,likethe
TinHatPageantandFicIdol.Whatarethose,yousay(orIwillpretendyoudid).
StartinginLA,weinitiatedayearlytradition,ifyouwill,ofgivingconattendeestinfoil
andallowingthemtocreatetheirveryownactualfacttinhats.Wethenhavea
contestonthebesthat,andthewinner...wins.Youwouldbeamazedatthecreativity
oftheattendees.
Figure4.WinningTinHatPageantentry,Denver,Colorado,2009,forentrant
Huggenkiss.PhotobyEthrosdemon.[Viewlargerimage.]
[3.6] Clearly,thisenterpriseisanodtowardthefangirltraditionoftinhattery
(http://fanlore.org/wiki/Tinhats).ThiseventishostedbyMissyjack(whichispartof
thejoke,becausemanypeoplebelievehertobeoneoftheshiniestofallJ2tinhats).
WealsohaveaneventcalledFicIdolwhereweparodyAmericanIdol,butcontestants
competebysubmittingatrocious,intentionalbadfic.We'rehavingtoinstituteaword
limitnextyearbecausepeoplegetveryenthusiasticaboutthis.Again,weare
lambastingourselvesandhavingalaughatourownexpense.Winconisnotsrsbznz.
[3.7] Q:Howdoestheconventiondealwithsomeofmoreproblematicpointsof
contentionwithinthefandom?Doyouaddresswankdirectly?Hasitevercaused
problems?
[3.8] A:Weaddresswankfullon.InoursecondyearinLosAngeles,wehadasock
puppetcraftinghouranddebutedourannualTinHatPageant.Forthosenotinthe
know,asockpuppetisanavatarorblogcreatedforaspecificpurpose—usually
trolling.Inseason1ofSupernatural,wealsohadaSockPuppetDaywherefans
competedwitheachotherbycreatingridiculousfakeLiveJournalaccountstocomment
inthejournalsoffannishfriends(therewasapirate,aPuritan,manyslashhaters,all
kindsofwackiness;IwasmyselfaFallOutBoyfan—oh,thepoeticjusticethere).
Everyyear,wehaveacontentiouspanelconsistingofatopicfraughtwithcapslock
andfandomoutrage.
[3.9] We'vehitallofthebigwanktasticplayersasfarasSPNfandomgoes.Inaway,
Ithinkit'sgoodforpeopletoactuallydiscusscontentiousissuesfacetofacesothat
theycanseethatwe'realljustpeople,evenwhenwedisagree.Thisisa"yourmileage
mayvary"issue,butpanelsarenotmandatory.
[3.10] Supernaturalfandom,likeall,isselfpolicinginaway.BythatImeanthatI
andothervisiblepeopleinvolvedintheconhaveareputation.Idon'tthinkanyofus
havebeeninvolvedinthemajorwanksinvolvedinthefandom.We'reneutralandnot
inclinedtotakesidesinthebigwars.Becauseofthat,wedon'thaveaproblemwith
thewankonthegroundatthecon.I'msuretherehavebeenhugefightsamong
attendees(thisisfandom,afterall),butI'veneverheardaboutthem.Supernatural
hasareputationasasuperwankyfandom,butI'mnotsurethisisasdeservedas
people(outsideofthefandom)believe.Wehaveacoregroupofattendees,andI
thinkwe'veallstayedcivilsinceseason1inlargepartbecausewegettogetherevery
yeartoparty,sowhybeahater?Wemightfallonoppositesidesofthespectrumon
theJoissue,butwealsosharedacabafterkaraoke,soIknowyou'regoodpeople.
4. Wincon and more
[4.1] Q:Yourconisclearlyandpurposefullysetupasafanconvention.Howdoes
thisdynamicplayoutattheconventionitself?Whatdoyouthinkaretheadvantages
offanrunconsversusonesthatservecorporateinterests,suchasCreationCon?
[4.2] A:Aconlikeoursisacompletelydifferentbeastfromanactorcon.Bothserve
theirownpurposes,andIdon'tthinkthereisanycompetitionbetweenthem,
honestly.Thereissomecrossoverbetweenthepeoplewhoattendthecons,buteven
thosepeoplewhodobothwilltellyoufranklythatthepurposesareatwidevariance.
Actorconsofferaccessandacertainkindofinsidertraffickingthatfanconsdonot.
You'renotgoingtocometoWinconandcharmMishaCollinsintomarryingyou.You'll
probablybeexhaustedwhenyouleavethankstosleepdep,however.
[4.3] We'realsoalaboroflove(touseacompletelyhackneyedphrase).We'renot
paid.Weputontheconyearafteryearasafanservice,likewritingficorvidding.
Everyonewhopitchesindoessobecausetheyoweme(haha)ortheyloveeachother
andthefandom.Evenattheheightofthewankduringthewriter'sstrike,whenthe
fandomwaseatingitself,wehadalmostasmanyvolunteersasattendees.Winconis
anextensionoffandom,oneofitsmanyfaces,notunlikeabigficchallengeora
meme.We'renotoutsideoffandompeeringin;we'rejustajournalingplatforminreal
lifehangingoutandsharingaplateoffries.
[4.4] ThereisagulfbetweenEyeConorCreationConandfanrunconslikeWincon.
We'reasdifferentasaSaintBernardandashihtzu.PartofthisistheDIYethicthat
fandomhasalongtraditionof(seeEscapade,MuskratJamboree,Writercon,andall
theotherfanrunenterprisesgoingstrong),whichlongpredatestheInternet.
Connectivityjustmakestheplanningandabilitytoreachyouraudienceeasierand
morecentralized.
[4.5] IthinkhavingthesamenomenclatureforeventssuchasWinconandCreation
Conismisleading.We'veprobablycometotheendoftheutilityofcallingbothsortsof
eventsbythesamename,butwemuddlethrough.
5. Wincon and the Supernatural community
[5.1] Q:YouhavebeeninSPNfandomfromtheverybeginning.Whataretheeffects
theconhashadontheonlinecommunity—thebestandworst?Andwhateffectsdo
theonlinecommunityhaveonthecon?
[5.2] A:Whateffectswe'vehadonthefandomisbeyondmypurview,Ihavetosay.
It'shardtobeintheeyeofthestormanddiscusseffects10milesfromyou.Ithinkto
acertaindegreeWinconhasdrawntogetherfactionsoffandomthatwouldhave
otherwisebeenobliviousorhostiletoeachother.IknowI'mactuallypersonallymuch
moreknowledgeableaboutAustraliabecauseofthecon—thisisarandomtradingcard
fact,butatthesametimeit'sanexampleofthebutterflyeffectoffannishpursuits.
[5.3] Asfarastheonlinecommunityaffectingtheconitself—well,therewouldn'tbe
onewithoutLiveJournal.WebeganonLiveJournal,andwe'vestayedthere.Iimagine
thiswillcontinueindefinitely.Personally,Iinteractwithmanypeopleonlinesolelyfor
Wincon,andIimaginethatthisisthecaseformanyattendeesandvolunteers.The
Internethasaverydifferenttexturewhenyouknowthehumanbeingbehindthe
LiveJournalhandle.Idon'tthinkthere'sawaytodiscusstheInternet'seffectsonthe
conbecauseWinconitselfissimplyanextensionoftheInternet.
[5.4] Q:Howhasorganizingtheconaffectedyourpersonalandfannishrelationships
withothers?Intermsofyourroleasanorganizerofthecon,whatdoyouthinkyour
responsibilitiesaretothefancommunityingeneral?Doestheprofessionalismrequired
to,forexample,executefinancialtransactionsorkeepfanversusreallifenames
confidentialaffectyourpersonalinteractions?
[5.5] A:Let'sbehonesthere.IbehavemyselfmuchbettersinceIstartedputtingon
Wincon(whichanyonewhoknowsmemarvelsover).IthinkthreetimesbeforeIwade
intoanyconversationthatcandevolveintohairpullingandwank_reportposting.
WhetherthisisalltheconorwhetherI'mjustoldnowistooknotteduptoparse.Iam
thepublicfaceforsomethinglargerthanmyself,andIdon'tfeelthatit'sworthit
anymoretoalienatepeoplewhocouldbefriendsandconattendeesandwhocouldbe
friendsofmyfriends.Thisisn'tformyselfbutbecauseIlovethepeoplewhocometo
theconsomuch.Isuckitupandwearmybiggirlpantsanddon'tpostinragecaps
lockoncomsYOUSUCKANDYOUROPINIONSSUCKANDIHATEYOUDIEDIEDIE,
evenwhenIwantto.
[5.6] However,Idon'tthinkInecessarilyhavearesponsibilitytoanyone,letalone
fandomingeneral.Weputonacon,whichwedooutofloveforthepeoplewho
attendyearafteryear.Thefirstyear,itwasoutoffannishenthusiasm,butthesecond
year,itwasbecausewewantedtogiveallthepeoplewhocamethefirstyear(andthe
newpeoplewhohadjustgottenintothefandom)achancetomeetwithcurrent
friendsandtomeetnewones.Myresponsibilitytofandombeginsandendswith
makingsurethatattendeesgetchargedtherighthotelfeesandtheirbreakfast
tickets.IthinkprobablyresponsibilityiswhereI'mbeinghelduphere.Weputon
Winconnotoutofobligationbutoutoflove.InthesamewayI'mnotobligedtowrite
promptficsfrommemesortoparticipateintheYuletideficexchange,I'mnotobliged
toputonthecon.Everyonewhoputsonafancondoesitoutofthesamespiritas
communitybuildersorchallengemakers—we'reallinthistogether,andsomeonehas
todothefandomhusbandry,sowhynotme?
[5.7] Asfarasmyrealnamegoes,everyoneknowsitanyway.Ifeelthatthe
pseudonymityoffandomhasbecomemoreandmoreporousovertheyears,tothe
pointwheresomanyofus(incertainfannishcircles)knoweachotheranywaythatwe
don'tbotherusingLiveJournalhandlesasnames.Supernaturalhasbeenlikethatasa
fandomfromDayOnebecausesomanyofuskneweachotherinreallife(thefandom
builders,Imean).
[5.8] Andthat'stheactualstoryofWincon.Somanyofuskneweachotherinreal
lifeduringseason1thatwewantedtogettogetherandhaveaparty.Fiveyearslater,
we'restillthrowingtheparty.
Transformative Works and Cultures,Vol 4 (2010)
Book review
In the hunt: Unauthorized essays on "Supernatural," edited by
Supernatural.tv
Alysa Hornick
New York, New York, United States
[0.1] Keywords—Fan;Television
Hornick,Alysa.2010.Inthehunt:Unauthorizedessayson"Supernatural,"editedby
Supernatural.tv[bookreview].TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0161.
doi:10.3983/twc.2010.0161
Supernatural.tv,ed.Inthehunt:Unauthorizedessayson"Supernatural."Dallas,TX:
BenBellaBooks,2009,paper,$14.95(275p)ISBN9781933771632.
[1] IntheHunt:UnauthorizedEssayson"Supernatural"isacollectionofessays
aboutthetelevisionshowSupernatural,andtosomeextentitsfandomandfanworks.
Althoughataglancethiscollectionmayseemtargetedtowardfansandtoocasualfor
anacademicreadership,takenasawhole,itoffersabroadandinsightfullookatits
subjectfrommanyanglesandprovessurprisinglythoughtprovoking.
[2] IntheHuntisamongthemorerecententriesinBenBellaBooks'SmartPop
series,whichsince2003haspublishedcollectionsofessaysinvestigatingpopular
culturetextsandcharacters.Theseriestakesprideinbeingaccessibleto
nonacademics,inbeing"serious…butnottooserious"(SmartPopWebsite:
http://www.smartpopbooks.com/),thoughitacceptssubmissionsfromallkindsof
writers—byinvitationonly.Thankstothisformula,somenameshavebecomefamiliar
acrosstheseries.IntheHunt,however,breaksfromtheformulabyincludingthree
essayswrittenbywinnersofafancontestcoorganizedwiththefanWebsite
Supernatural.tv,andbynamingthisWebsiteaseditorofthevolume.Asaresult,In
theHunt,inadditiontobeingthefirstofficiallypublishedcollectiononSupernaturalof
itskind,alsofunctionsasakindofsnapshotillustratingsomeoftheenduringtensions
betweenacademia,fandom,andpublishing.
[3] Theessaysarenotorganizedintostatedsections,butatopicalcontinuumis
discernible:family,horrorandfear,religionandmorality,heroismandsacrifice,
misogyny,genderandsexuality,identityandtransgression,fandomandfanworks,
specificobjectsandsecondarycharactersintheshow,andfolkloreandothersources.
Theuseofsuchacontinuumreinforcestheideathatthecollectionshouldbetakenas
awholeratherthaninparts.However,otherelementsultimatelyharmtheimpression
ofintegrity.Asidefromtheunavoidabletensionsbetweenacademiaandfans,the
bookalsorevealsaconsistentandtroublinggendereddividebetweenstereotypically
maleandfemaleinterestsintheshowanditsfandom—somuchsothatitmaycolor
somereaders'receptivitytotheideaspresented.
[4] Theforeword,"NotJustaPrettyFace(orTwo),"byKeithR.A.DeCandido,who
haswrittenforotherSmartPoptitlesaswellaspenningsomeSupernaturaltiein
novels,setsthetonebyitsverytitle,andalsobyopeningwithafannishinsidejoke
abouthis"bizarre"positionasa"heterosexualman"inthe"seaoffemalefaces"(ix)
thatconstitutesmostofSupernaturalfandom.Thisjoke,whilewellintentioned,may
seemoffputting,asmayitsessentialmessage:thatit'sokayforastraightmanto
enjoythisshowaslongashisinterestsinitaremasculineenough.Althoughitcanbe
arguedthatgenderisirrelevanttoauthorialrespectability,thefactthatDeCandido
wasaskedtoprovidethisforewordcanbereadasapaternalisticandpotentially
offensiveswipeattheheavilyfemalescholarshipthatitprecedes.Theintroductionby
Dawn(akakittsbud,WebmasterofSupernatural.tv)thankfullyimprovesthings,
outliningfurtheranddeeperreasonsthatmanyfanslovetheshow.Inaddition,the
namingofasingleauthorhere,writingonbehalfoftheWebsitenamedastheeditor,
helpshighlightthebook'smultivalentpositionasitstrivestobeseenasaserious
scholarlyeffortbyindividualvoicesandyetstillmaintainthepatinaofacommunal,
fangeneratedproject.
[5] Withinthiscontext,theessaysmostlikelytobeofinteresttoacademicsare
thosebyMaryBorsellino,JacobClifton,CarolPoole,andEmilyTurner.Theyare
groupedtogetherinthecollectiononthebasisoftheirinterconnecteddiscussionsof
gender,sexuality,identity,psychology,andfandom.Itisusefultoreadthemtogether
toformamorecompletepictureofthewaytheinherentcomplexityofthesetopicsis
handledbyboththeshowandthoseseekingtocritiqueit.
[6] In"BuffytheVampireSlayer,JotheMonsterKiller:Supernatural'sExcluded
Heroines,"Borsellinotacklestheissueofsexism.Supernaturaloftenattemptsto
positionitselfasrelentlesslymasculine,andonebyproductofthisisthecontinual
stereotypinganddegradingoffemalecharacters.FocusingmainlyonthecharacterJo
Harvelle,BorsellinoillustratessomeofthewaysinwhichSupernaturalcanbepainfully
retrogradeinitsgenderpolitics,particularlyasanexampleofpostBuffygenre
television.Thismakesonegiveseriousandnecessarypausetoeithercasual
enjoymentofordeepinvestmentintheshow,anditshouldinformtheworkofany
subsequentdiscourse.Interestingly,anearlierversionofthisessayappearedinafan
produced,selfpublished,notforprofitcompilation(JulesWilkinsonandAndieMasino,
SomeofUsReallyDoWatchforthePlot:ACollectionof"Supernatural"Essays,2007),
andalthoughBorsellinoisnottheonlywriterwhocontributedtobothofthese
collections(infact,appearanceinSomeofUsmayhaveinfluencedanessay's
inclusioninIntheHunt),thedoublerecyclingtakingplacehere—fromSomeofUsand
fromonlinefandommetabeforeit—mayhavethedeleteriouseffectofundermining
thelegitimizationoffannishwritingthatispartofIntheHunt'smission.Itmayserve
todenyareadingofSomeofUs,andperhapsanysimilarfannishprojectsby
extension,asimportantinanylargercontext.AlthoughBorsellino'sessayisoneofthe
strongestineithercollection,anditspresenceinIntheHuntensuresthatitcanreach
themuchlargeraudienceitdeserves,itisdisappointingthatsuchanoutspokenwriter
wouldchoosetorecycleanessayratherthanproducenewwork—perhapsonthesame
subjectbuttreatingtheshow'sthirdseason.
[7] Clifton's"SpreadingDisaster:GenderintheSupernaturalUniverse,"oneofthe
longestentriesinthecollection,isasmeanderingasitspredecessorispointed.Clifton
gamelyexaminesthequestionofwhySupernaturalhassuchalargefemalefanbase,
reflectingthelongstandingscholarlyinterestinfemalefanidentificationwithmale
protagonists.Hearguesthattheshow'sheroesarephallicallycharged"masculine
characterstraversingafemalelandscape"(123)andpositsthattheshowisthus
drivenbytheresultingconflicts.Theheroes'quest,then,mustbeoneofcontaining,
rejecting,andonlyoccasionallycompromisingwiththeFemale.Cliftonalsoargues
thatthetensionsexhibitedbyfanswhenevernewfemalecharactersareintroduced
areanaturaloutgrowthoftheaudience'sestablishedidentificationwiththeheroes.
Thisisavalidreading,butalsoaprovocativeandtroublingone,inthatCliftonrelies
ontraditionaldefinitionsof"femaleness"thatequateitwith"Otherness,"evil,
shadows,andpermeability,doinglittletoproblematizethemortoproblematizethe
notionoftraditionalmasculinity.Cliftonraisesmanygoodquestionsaboutthenature
offannishenjoymentbutdoesnotfullysucceedinansweringanyofthem;henever
quiteconnectsthepresenceofa"femalelandscape"(thoughonethatstillprivileges
themalegaze)toaworkingexplanationofwhysomanywomenenjoytheshow.
However,byimplyingthatfemaleandqueerenjoymentofSupernaturalmightonly
occurbyreadingagainstthetextand"aroundtheedges,"andstatingthat"fan
creativeoutput[is]justasimportant…asthecanonicalworkitself"(124),Clifton
leavesthedooropenforfurtherconsideration.
[8] NextcomesPoole's"WhoThrewMommaontheCeiling?AnalyzingSupernatural's
PrimalSceneofTrauma."Apracticingpsychotherapist,Pooleuses"depthpsychology"
(144)topresentanelegantandcaptivatinganalysisofMaryWinchester'sdeathscene
anditssubsequentinfluenceonthecharactersandthenarrative.Poolestatesplainly
that"thereisnowaytoconstruethisasafeministshow"(149),butshealsopositions
Supernaturalasapostmodernstatementonloss,place,identity,andgender,provides
agentleandsensitivetakeonwhatsheseesastheWinchestersbrothers'questto
healthemselvesfromthelossoftheMother,anddrawsconnectionsbetweenthis
questandthatofAmericanmythology,whichseeksto"put[fragmentedstories]either
torestortogether"(151).TheplacementofPoole'sessaybetweentwoverydifferent
entriesongenderandtransgressionrendersitevenmorepoignant,butitisa
standoutessayinthecollection,andagoodstartingpointforfurtherinvestigationinto
thepsychology,postmodernfragmentation,andmythbuildingofthecharactersand
theirworld.
[9] In"ScaryJustGotSexy:TransgressioninSupernaturalanditsFanfiction,"Turner
looksattheformandcontentofSupernaturalfanfictionanddiscusseshowsuch
workscanfunctionasmetatextsreflectingbackontheshow,whichitselffeatures
themesoftransgression.Turnerspendsmoretimediscussingfanworksthan
discussingtheshowitself—notasurpriseconsideringherbackgroundinacafandom—
butthisdiscussionshedsmuchlightonthecontentoftheshowregardless,whichis
exactlywhatmuchfanfictionattemptstodoanyway,makingthisessayacogent
exampleofitsownargument.Turneralsotouchesontheideathatfandom'sloveof
transgressionandmetatextualityfunctionasamirrorfortheshow'sclearloveof
intertextuality,mostvisibleinSupernatural'sfrequentcallbackstoclassichorror
cinemaandfilmmaking.Thisidealeavesopennewareasforthestudyof
intertextualityontheshow,andbetweentheshowanditsfandom.Althoughthe
analysisstickscloselytothespecificsofSupernaturalfanworks,thisisastandout
pieceforanyoneinterestedinfanstudiesingeneral.
[10] Asidefromtheessaysfeaturedabove,thereisplentymoreherewithwhich
scholarscanconcernthemselves.Atthestartofthecollection,TanyaHuff's"We're
NotExactlytheBradys"beginsasectionaboutfamilydynamicsinSupernaturalby
discussingwhatcanbeinferredaboutJohnWinchesterandhissons'childhoodsand
emotionaldevelopmentvisàvishisparenting.Segueingintoasectiononhorrorand
fear,RandallM.Jensen's"What'sSupernaturalAboutSupernatural?"thenexamines
theshow'sideasofwhatrenderssomethingsupernatural,andwhethersuchthings
haveactuallybeenrenderednaturalwithintheshow'screatedworld.Jensenalso
addressesthenotionoffamilialloveasacommonsourceofhorror,andtheshow's
placewithinthelargerhorrorgenrecanon.In"Horror,Humanity,andtheDemonin
theMirror,"GregoryStevenson—aprofessoroftheologyperhapsbestknownin
acafannishcirclesforhisworkonmoralityinBuffytheVampireSlayer—herewrites
againaboutmoralityandsacrifice,andalsoaboutfairytalesandmonstersas
metaphors.
[11] TanyaMichaels'sessayconcernsheroismandsacrifice.Her"DeanWinchester:
BadAssorSoccerMom?"analyzesDean'spresentationasakindofbadboywitha
heartofgold,whooutwardlyexhibitsthetrappingsofrebellionbutisatheartaloyal
nurturerwhotakesonfamilyresponsibilityasafulltimejob,andwhoexhibitsthe
mostemotionalvulnerabilityofthethreeWinchestermen.Michaelsnotesthat"bad
ass"and"soccermom"donothavetobemutuallyexclusiveroles(althoughtherestill
existunexamined,underlyingassumptionsaboutgenderhere).Inasectiononspecific
objectsandsecondarycharacters,JulesWilkinson's"BackinBlack"isoneoftwo
essaysfocusingontheWinchesters'carasmirrorandsymbol,especiallyforDean,and
alsoasaseparatecharacterinitself.Thecar'sendlesscrisscrossingofAmericais
conflatedwiththeideaofthepostmodernRoadtoNowhere.
[12] Fromanotherperspectiveentirely,JamieChambers's"BlueCollarGhost
Hunters"offersapracticalguidetosupernatural"hunting"asifitwererealand
celebratestheWinchesters'"havenot"wayoflife.Chambers,agamedesignerwho
hasworkedontheofficialSupernaturalroleplayinggame,isfullofinterestingand
usefulobservations,buthisessayalsoexudesakindofreversesnobbery,toutingthe
havenotwayoflifeasethicallysuperiortoonewithmoreprivilege—thekindoflife
likelysharedbymostoftheshow'sviewers.It'sastrikingpositiontotakewhenone
considershowlittlethetopicofclassdifferenceisdirectlyaddressedwithintheshow
itself,butthisessay'smachobluecollarposturingcomesoffnotasinterrogative
commentarybutasanexpressionofearnestadmiration.Thiswillundoubtedlyhelpto
promptfurtherinquiryintoclassissuesontheshow,butitalsobecomesanother
exampleofhowmaleandfemalefans'concernsarepositionedasjarringly
disconnected.
[13] ThecollectioncloseswithLondonE.Brickley's"GhoulsinCyberspace:
SupernaturalSourcesintheModern,DemonBloggingWorld."Brickley,oneofthefan
contestwinners,discussestheinfluenceofmoderntechnologyintheshow'snarrative
andonaudienceperceptionofitandpointstothepervasivenessoftheInternet,which
sheidentifiesasakindoffolkloricpracticewritlargebecauseofitsroleas
contemporarysociety'stoolforrewritingandcontributingtofolkloreandmythology.
Supernatural'scharactersfrequentlyputmoderninformationtechnologyonparwith
ancienttomes,andtheaudienceneverquestionsthisparity.Thesecharactersusethe
toolsthatwegivethem,situatingthemselvesinour"realworld"aswecreateit.
Brickleyweavesafascinatingmetatexthere,onethatmanagestobeabouttheshow,
theaudience,andmodernlifeitself.
[14] Ultimately,IntheHuntisnotwithoutitsflaws,butitbroachesanimpressive
varietyofideasandgivesacademicreadersmuchfoodforthought.Onecanhopethat
futurescholarswillbuildonthiscollectiontopresentevenmorethoroughandnuanced
workonthiscomplexshowanditsfandom.
Transformative Works and Cultures,Vol 4 (2010)
Book review
Supernatural role playing game, by Jamie Chambers
Douglas Schules
University of Iowa, Iowa City, Iowa, United States
[0.1] Keywords—Fanculture;Paranormal;Participatoryculture;RPG;Television.
Schules,Douglas.2010.Supernaturalroleplayinggame,byJamieChambers[book
review].TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0191.
doi:10.3983/twc.2010.0191
JamieChambers.Supernaturalroleplayinggame.WilliamsBay,WI:MargaretWeis
Productions,2009,hardcover,$39.99(224p)ISBN9781931567497.
[1] SupernaturalRolePlayingGameisoneinaseriesofroleplayinggame(RPG)
rulebookspublishedbyMargaretWeisProductionsthatfocusesonapopulartelevision
showorbookseries.SupernaturalRolePlayingGamebuildsofftheCWNetwork's
televisionshowSupernatural(2005–),whichfollowstheexploitsoftwobrothers,Sam
andDeanWinchester,astheyhuntmonstersand,inthecurrentseason,literallytryto
preventhellonearth.Inearlyepisodes,thebrotherswereaidedintheirendeavors
withthehelpoftheirfather'sjournal,whichcontainedallsortsofmysticaltidbitsand
occultknowledge,aswellasclippingsofoddnewspaperstories,Postitnotes,and
photosstuffedbetweenthepages.
[2] TheformatofSupernaturalRolePlayingGameapproximatesthelayoutofthe
famousWinchesterjournal.Pagestypicallycontaintwocolumnsofinformationdirectly
explainingthegamerules,butthisinformationwrapsaroundphotosfromtheshow,
tornnotebookfragmentsdetailingpotentialstoryideas,andnewspaperarticles
describingweirdevents.Thesematerialsare"clipped"totherulebookpageswitha
photographicpaperclip.Theyenhancetheinformationinthemaincolumns:nothing
essentialisconveyed,buttheseextrasofferinterestingdistractionsandreading
material.Inaddition,thebookassumesmultiplevoices,shiftingbetweenasarcastic
tonereminiscentofDeanWinchester,oneofthemaincharacters,andamoreneutral,
informativetoneemblematicoftechnicalwriting.
[3] Thebookisdividedintoeightchaptersthatcoverthegameworld,therules,
ideasforstoriesandcampaigns,andabestiarydetailingsupernaturalandmundane
creepycrawlies.Abriefnutsandboltsversionofthegamesetting,rules,and
charactercreationaregiveninthefirstthreechapterssothatplayerswhowantto
beginplayingimmediately,orthosefamiliarwiththerulesystemonwhichthegameis
based,candoso.Forreaderswhoneedmoreexplanation,chapters4through6
explainhowtherulesworkandhowtheyapplytocharactercreation.Chapter7offers
adviceoncreatingstoriesandthegameatmosphere,includingtechniquesof
storytelling,andthefinaltwochaptersoutlinethevariouscreaturesplayersmay
encounter,fromtheparanormaltothejustplainnormal.
[4] TheorganizationoftheSupernaturalRolePlayingGameisquitedifferentthan
oldergenerationsofRPGs,suchastheiconicDungeons&Dragons(TSRandWizards
oftheCoast,1974–)andtheshortlivedTeenageMutantNinjaTurtlesRPG(Palladium
Books,1985).Whereasoldergenerationsofrulebooksforegroundtherules,
explainingthenuancesofdierollsandthetechnicalaspectsofcharactercreation,the
Supernaturalrevisionlessenstheimportanceofrulesandattemptstomakethegame
moreorganic.Thispointismadeearlyonandisrepeatedthroughoutthetext:
[5] Firstoff,thegameissupposedtobefun.You'retellingastory—one
that'sfullofdrama,suspense,humor,andaction.Therulesshouldmake
thiseasier,butsometimes,theygetintheway.Sometimes,theyjustdon't
coversomecrazyassideathattheplayerscomeupwith.Inthatcase,the
GameMastershouldkeepinmindthatthestoryiskey,nottherules.Wing
itusingthebasicgamemechanics,andwhenindoubt,givetheplayersthe
edge.(19)
[6] Theemphasisondevelopingagamingexperienceguidedbytherules,not
determinedbythem,isaninterestingandperhapsnecessarysteptocounterbalance
thecomputerizationofRPGs.AlthoughmanyRPGrulesystemshavemadethedigital
leap(suchasBioware'simplementationoftheDungeons&Dragonsrules),these
digitalversionsaregovernedonlybyrules,sublimatedintocomputercode;the
organicapproachadvocatedbytheSupernaturalRPGdoesnoteasilymakethedigital
transition.SpeculationaboutthedigitalapplicationofRPGsaside,Supernatural's
positiononrulesactuallystemsfromthemoregenericCortexSystemofrulesofwhich
itiscomposed.TheCortexSystem,acreationofMargaretWeisProductions,is
essentiallyasetofbroad,genericrulesdesignedtobeappliedtoanynumberofgame
worlds.SupernaturalRolePlayingGameisonegameusingtheserules;others(also
authoredbyJamieChambers)includeSerenityRolePlayingGame(2005)and
BattlestarGalacticaRolePlayingGame(2007).
[7] TheCortexSystemassignsadienumberrangingfromd2tod12toacharacter's
attributes,andcombiningthisnumberwithasimilarnumberforskillsgeneratesa
thirdnumberrepresentingacharacter'sproficiencywithacertainaction.Thehigher
thenumber,thebettertheattribute,orthemoreproficienttheplayerisatthegiven
task.Forexample,inthecourseofgameplay,acharacterdiscoversanoldtome
writteninarchaicrunes.Theplayer'sabilitytoidentifytheoriginoftherunesmaybe
basedonacombinationofintelligence(anattribute)andknowledgeoflore(askill);
combiningthesenumbersresultsinthescorerepresentingproficiency,which,when
rolledagainstagamemaster–determinednumbertorepresentdifficulty,wouldbe
usedasabaselinetodeterminewhethertheplayercouldreadthetext.
[8] TheunderlyingCortexSystemthatinformsSupernaturalRolePlayingGame
couldbeseenasatransformativework,giventhattherulesaremeanttoevolve
throughgamesessions.Differentgroupsofplayerswillcreateandmodifydifferent
setsofrulestomeettheirneeds;inotherwords,variationsinthesamebasicsetof
rulespotentiallyproducesamultitudeoffanidentities.
[9] Theconnectionsthatthatrulebookexplicitlymakeswiththetelevisionseries
offermorefertilegroundinexploringthebook'stransformativepotential,althoughthe
gamedoesn'tpresentanythinggroundbreakinginthisregard.Thedesignofthebook
itself,asmentionedearlier,seemslikeascrapbook.Thischoiceevokesthetelevision
show,wheretheWinchestersfrequentlysolvemysteriesandlocatemonster
weaknessesbyreadingtheirfather'sjournal,composedofnewspaperfragments,
notes,pictures,andahostofotherrandomtexts.Inmimickingthedesignofoneof
theshow'smostrecognizableitems,therulebookinvitesuserstokeeptheshowin
mindastheyplay.
[10] Butkeepingtheshowinminddoesnotnecessarilymeanthatplayersorgame
masterswillengagewithitastheyplay.Forthis,therulebookexplicitlyincorporates
characters,villains,andevenplotsfromthetelevisionseriesintothegameworld.In
thecharactersections,forexample,DeanandSamWinchesterarefleshedoutinall
theirpenandpaperglory,completewithhistoriesandstatistics,foruseinthegame.
Likewise,severaloldvillainsfromtheshowmaketheirwayintothebestiaryas
specificexamplesofthesupernaturalcreaturesthatarediscussed.
[11] Includingtheseexistingandfamiliarcharactersinthegameisn'tthat
innovative;afterall,TSR,thefirstownerofDungeons&Dragons,hasbeen
incorporatingcharactersfrombooksintotheirgamesettingssincethe1980s.Butthis
factdoesn'tdiminishthepotentialconnectionsfanscanmakebetweenthegameand
thetelevisionshow.Incorporatingwellknowncharactersandvillainsintothegame
allowsplayersandgamemasterstofashiontheirownstories,toexpandonandalter
theexistingtelevisionstoryline.
[12] SupernaturalRolePlayingGamedoesn'tcontributeanythingtoonoveltothe
genreofRPGs.Althoughtherulebookemphasizesstoryandexperienceoverrules,
thisisnotaninnovationofthistextbutratheroneofthepremisesofthemoregeneric
CortexSystemthatformsitsbase.Eventheincorporationofthetelevisionshow's
characters,monsters,andplotsintothetextaspotentialcampaignsuggestions
parallelsindustrypractice,butthisdoesnotdiminishthepotentialofplayersand
gamemasterstoappropriatetheshowandmakeittheirown.
Transformative Works and Cultures,Vol 4 (2010)
Book review
Scare tactics: Supernatural fiction by American women, by Andrew Jeffrey
Weinstock
Germán Gil-Curiel
University of Nottingham, Ningbo, China
[0.1] Keywords—Historicalanalysis;Literarycriticism;Womenwriters
GilCuriel,Germán.2010.Scaretactics:SupernaturalfictionbyAmericanwomen,
byAndrewJeffreyWeinstock[bookreview].TransformativeWorksandCultures,no.
4.http://dx.doi.org/10.3983/twc.2010.0190.
doi:10.3983/twc.2010.0190
AndrewJeffreyWeinstock.Scaretactics:SupernaturalfictionbyAmericanwomen.
NewYork:FordhamUniversityPress,2008,hardcover,$50(228p)ISBN978
0823229857.
[1] Weinstockstatesasthemainobjectiveofthisbookto"establishtheexistence
andarguefortheimportanceofanAmericanliterarytraditionthathasreceivedvery
littlescrutiny"—namely,thesupernaturaltalebywomenintheUnitedStateswritten
between1850and1930.Pointingtotheexistenceofthissubgenreandbringingthe
workoftheseneglectedwriterstotheforefrontconstitutethemaincontributionofthis
booktothefield.
[2] TheexistenceofthisdistinctivesubgenreofliteratureisestablishedbyWeinstock
onthefollowingbasis:about70percentofghoststoriesinthisperiodintheUnited
Stateswerewrittenbywomen,andthesestoriesoftenhadspecificfeatures,suchas
thepresenceoflesshorrificorsinisterghosts,andtherenderingofarelationship
betweenthenaturalandthesupernaturalworldsthatisdepictedasacontinuum
ratherthanasabinaryopposition,withthelatterbeingmoreoftenthecaseinstories
writtenbymen.Thebookthussetsouttoofferexplanationswhythismighthavebeen
so,andtoredresstheneglectthesewritershaveexperiencedbydiscussingtheirwork
insixchaptersorganizedbytheme.Eachchapterpairsawellknownwomanwriter—
evenifnotnecessarilywellknownforhersupernaturaltales—withalesserknown
authorwhohaswrittenonthesametopic,thenanalyzesbothtalescomparatively.
[3] Chapter1,"TheGhostintheParlor,"withtalesbyHarrietPrescottSpofford,
HarrietBeecherStowe,AnnaM.Hoyt,andEdithWharton,foregroundstalesonthe
controlandabuseofwomen;chapter2,"QueerHauntingSpaces,"withtalesby
MadelineYaleWynneandEliaWilkinsonPeattie,onhauntedspaces;chapter3,
suggestivelyentitled"GhostsofProgress,"withtalesbyAliceCary,MaryNoailles
Murfree,MaryAustin,andEdithWharton,ontheexpansionofcapitalism;chapter4,
"FamilialGhosts,"withtalesbyLouiseStockton,OliviaHowardDunbar,EdithWharton,
JosephineDaskamBacon,EliaWilkinsonPeattie,GeorgiaWoodPangborn,andMaryE.
Wilkins,onfamily,marriage,andmotherhood,chapter5,"GhostsofDesire,"with
talesbyRoseTerryCooke,AliceBrown,ElizabethStuartPhelpsWard,andHelenHull,
ontransgressivesexuality;andchapter6,"GhostlyReturns,"withstoriesbyCharlotte
PerkinsGilman,GertrudeAtherton,andJosephineDaskamBacon,ontherewritingof
themaleGothictradition.Weinstock'smainargumentisthatgenderisabsolutely
centraltotheriseofthissubgenre.
[4] Amongthisbook'sstrengthsisathoroughintroductionthatsuccinctly
summarizestheexistingliteratureonthetopic,includingliteraturethatseeksto
elucidatewhethersupernaturaltalesareinherentlysubversive(Breton1937;Jameson
1981)orconservative(Summers1974)(note1).Moretothepoint,italsocrucially
addressesanumberofexplanationsthatwouldaccountfortheriseofghostlytales
writtenbywomenduringthisperiodintheUnitedStates,rangingfromthosethat
focusonform—thatis,thatghoststoriesexpressanxietiesthatarehardtoarticulate
orhavebeenrepressed(Cavaliero1995,23),andthattheyallow"explorationof
forbiddenpsychosexualthemes"(Kerretal.1983,5)andofthornysocialissues
(Lundie1996,3)—tohistoricalreasons,suchareligiouscrisisinthefaceofthe
Enlightenmentandnostalgiaforthepastinthefaceofmodernity.
[5] Withoutdenyingorcontestingtheaccuracyofthesereasons,Weinstockprefers
tofocusonexplanationscenteredongender.Thebookthusmakesoneofitskey
arguments:thatthefeaturesspecifictoghostlytalesbyAmericanwomenwritersof
theperiodcanbeaccountedforbythedisadvantagedsocialconditionsinwhichthey
livedandwhichthey,throughtheirliterature,wishedtoovercome.Ratherthanjoining
thosewhohaveputitintermsthatthewomenfeltlikeghoststhemselves,withno
realmaterialexistence(Patrick1995),Weinstocksideswiththosewhoremarkonthe
powerofghoststointerveneinthecourseofevents,toactasagentsforjusticeor
protection,andtoscareothers.HethusconcurswithRosemaryJackson's(1981)
famouscontentionthatthesesupernaturaltalesdefinealiteratureofdesire;theycan
beconceivedofaswishfulfillmentfantasies—talesaboutwhatismissingandlacking,
aboutabsenceandloss.Thiswouldbethereason,Weinstockcontends,thatghostsin
taleswrittenbywomentendtobelesshorrific,because"farscarierthantheghosts…
aretheformsofviolencetowhichwomenaresubject:confinement,lonelinessand
varyingdegreesofphysical,sexualandpsychologicalabuse"(21).Thesearguments
areparticularlyconvincinginchapter1'sanalysesofEdithWharton's"Kerfol"(1916)
andHarrietBeecherStowe's"TheGhostintheCap'nBrownHouse"(1872).Thisalso
explainswhyinsupernaturaltalesbywomenspaceisoftenasourceofhorror,
unstableandqueer,becauseeven"home"couldturnouttobeadangerousplacefora
woman.Thisviewisanalyzedinchapter3,whichexaminesEliaWilkinsonPeattie's
"TheHouseThatWasNot"(1898)andMadelineYaleWynne's"TheLittleRoom"
(1895).Weinstockcontextualizestheghostlytaleshepresentswhilemakingthecase
thattheyshouldberegardedasagenrethat"developedoutof,respondedtoandin
manyinstancescritiqued"(2)therolesofwomenintheUnitedStatesattheendof
the19thcenturyandthebeginningofthe20th.
[6] Weinstockprovidesabalancedviewoftheauthorsheengagesbecausehe
acknowledgesthattheirinterventionswerenotalwaysnecessarilyprogressive:they
tendedtobemoreawareofoppressiveconditionsfacedbywhitemiddleclasswomen.
Manyofthetaleswereblindtoissuesofethnicityandclass,ifnotpositively
reactionary.Weinstockarguesthattakentogether,"theseghostlytalesdemonstrate
thewaysinwhichnineteenthandearlytwentiethcenturyAmericanfemaleauthors
deployedfamiliarconventionsofthesupernatural…tocritiquenotjustthe
disempoweredstatusofwomeninAmericanculturebutalsotheexpandingcapitalist
systemthatisshowntounderliegenderoppression"(22).Inthis,thebooksucceeds
admirably.
[7] Nevertheless,Weinstock'sapproachisultimatelyreductive.Withitsnarrowfocus
ongenderandnation,itcontractsratherthanexpandsthecontextforandthe
supplenessofthecriticismandengagementwiththesupernaturaltaleshehaschosen
todiscuss.Althoughthebookdoesmentionthatthetalesareinscribed"withinthe
largertraditionofAmericanandBritishsupernaturalismmoregenerally"(23),itdoes
notacknowledgetheextenttowhichwhathasbeentermed"British"traditionsarein
factconstitutedbywhatmightbecalledversionsofFrenchandGermansupernatural.
Importantwomenwriters,includingClaraReeve,SophiaLee,andCharlotteSmith,
weretranslatorsthemselves,andresearchhasdrawnattentiontotheeffectthatthis
hadintheirownwriting(Horner2002).Indeed,toTerryHale,theEnglishGothicwas
shaped"inthecrucibleoftranslation"(Hale2002,23).Thus,althoughWeinstock's
bookwill,Ihope,bringwelcomebroaderattentiontotheworkofanumberofwriters
hithertolittleknown,byitsfocusonthe"Americanness"ofthewriters,itnegatesthe
crossfertilizationthathasbeencentraltothegenreandmissesawealthof
intertextualreadings.
[8] Moreimportantly,definingthisliteraturethroughitscriticismofpatriarchyandits
fantasyfulfillingaspectsisaprofoundlydismissivestance.Ratherthanarguingthat
becausetheseauthorsweredisempoweredwomen,theirliteraturemustbethusbe
understoodasaprotestandasourceofconsolation,ithasalwaysseemedtomethat
thattheirliteraryachievementslayintranscendingboundaries—notleastthe
boundariesofgenderandofnation.Thesupernaturaltalesbythehostofwriters
introducedbyWeinstockmatter,andtheyshouldbestudiednotbecausetheirwriters
wereAmericanwomen,butbecausetheywerehumanbeingsabletogo,through
words,literallybeyond,andtotaketheirreadersalong.
Note
1.Thosearguingthatsupernaturalliteratureissubversivefocusontheway
supernaturaltalesdarethinkofanother,alternativeworld,touchontransgressive
socialissues,andrefusetosettledifference.Thosearguingthatitinherently
conservativepointtothewaythedifferentisrenderedmonstrous,withtheother
worldinvokedsothatourworldcanultimatelyberestored.
Works cited
Breton,André.1937.LimitesnonfrontièresduSurréalisme.NouvelleRevueFrançaise
48.
Cavaliero,Glen.1995.ThesupernaturalandEnglishfiction.Oxford:OxfordUniv.
Press.
Hale,Terry.2002.Translationindistress:Culturalmisappropriationandthe
constructionoftheGothic.InEuropeanGothic:Aspiritedexchange,1760–1960,ed.
AvrilHorner,17–38.Manchester:ManchesterUniv.Press.
Horner,Avril.2002.Introd.toEuropeanGothic:Aspiritedexchange,1760–1960,ed.
AvrilHorner,1–16.Manchester:ManchesterUniv.Press.
Jackson,Rosemary.1981.Fantasy:Theliteratureofsubversion.London:Routledge.
[doi:10.4324/9780203328446]
Jameson,Frederic.1981.Thepoliticalunconscious.NewYork:CornellUniv.Press.
Kerr,Howard,JohnW.Crowley,andCharlesL.Crow.1983.IntroductiontoThe
haunteddusk:Americansupernaturalfiction,1820–1920,ed.HowardKerr,JohnW.
Crowley,andCharlesL.Crow,1–10.Athens:Univ.ofGeorgiaPress.
Lundie,CatherineA.1996.IntroductiontoRestlessspirits:GhoststoriesbyAmerican
women,1872–1926,ed.CatherineA.Lundie,1–26.Amherst:Univ.ofMassachusetts
Press.
Patrick,BarbaraConstance.1995.Ladyterrorists:NineteenthcenturyAmerican
womenwritersandtheghoststory.InAmericanwomenshortstorywriters:A
collectionofcriticalessays,ed.JulieBrown,73–84.NewYork:Garland.
Summers,Montague.1974.Thesupernaturalomnibus.London:CausewaysBooks.
Transformative Works and Cultures,Vol 4 (2010)
Book review
Contemporary Gothic, by Catherine Spooner
Martin Fradley
University of Manchester, Manchester, United Kingdom
[0.1] Keywords—Commodification;Culturalpolitics;Fashion;Literature;Youth
culture.
Fradley,Martin.2010.ContemporaryGothic,byCatherineSpooner[bookreview].
TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0193.
doi:10.3983/twc.2010.0193
CatherineSpooner.ContemporaryGothic.London:ReaktionBooks,2007,paperback,
$19.95(175p)ISBN9781861893017.
[1] AnenduringtruismabouttheculturalphenomenonknownastheGothicisthatit
simplywillnotdie.FromtheHalloweentheatricalityofHoraceWalpole'sTheCastleof
Otranto(1764)andtheluridpsychosexualmalevolenceofBramStoker'sDracula
(1897)tothebackcombedgloomof1980sBritishbandsTheCureandFieldsofthe
Nephilimand—morerecentlystill—AngelinaJolie'sseeminglyincongruous
appropriationofaGothmakeover,theamorphousandmorbidlypersistentfascinations
ofGothicculturehaveunquestionablelongevity.ForCatherineSpooner,thecontinued
popularityofthisdarklyromanticmodegoesbeyondthesuperficialallureof
"apocalypticgloomorcheapthrills"(8).Instead,sheargues,thecultural
pervasivenessoftheGothicunderscoresitsenduringresonancewithcontemporary
fears,desires,andanxieties."Likeamalevolentvirus,"theauthorsuggests,"Gothic
narrativeshaveescapedtheconfinesofliteratureandspreadacrossdisciplinary
boundariestoinfectallkindsofmedia,fromfashionandadvertisingtotheway
contemporaryeventsareconstructedinmassculture"(8).
[2] InavolumethatcontinuallyreturnstothecommodifiedstatusofGothicthemes
andiconography,itisfittingthatContemporaryGothicbeginswithashoppingtrip.
Stumblingacrossacalendar—entitled,simply,"Gothic"—filledwithimagesofspecters
andgraveyardsunderwrittenbyafunerealimagination,theauthorfindswithinthis
seeminglylowrentkitschanexemplarofhercentralthesis.Containingreproductions
ofadiverseandunconnectedrangeoffineartimages(by,amongothers,Goya,
Munch,HenrySingleton,andEvelynDeMorgan),thecalendarrepresentsthe
continuumbetweenpastandpresentwhilesimultaneouslyhighlightingtheperplexing
disconnectionoftheseimagesfromtheiroriginalsocialandhistoricalcontext.A
dislocatedandmassmarketedemblemofcontemporarytime(s),thisapparentlybanal
productservesasametonymforthemainstreamcommercializationofartifactsthat
strivetoexistatamarginalorculturallysubterraneanlevel.AlthoughtheGothichas
alwaysheldpopularappeal,inthecurrenteconomicclimate,itisaparticularly
lucrativebusiness.Aboveall,Spoonernotes,"Gothicsells"(23).Unlikemanywould
besubculturalphenomena,however,theGothicpersistsdespiteitscooptationbylate
capitalistconsumerculture,itsseductivelyvampiricalluresystematicallyrefusingtobe
slaindespiteexposuretotheoverlitworldofglobalizedcommerce.
[3] ContemporaryGothicbeginsinearnestwithaninterrogationofmockGothic.
SpoonerarguesthattheGothicmodehaslongbeenpreoccupiedbythetenuous
distinctionbetweenauthenticityanddepthontheonehand,andafascinationwith
surfaceandperformanceontheother.ContemporaryGothicillustratesthisby
recoursetoDanielMyrickandEduardoSánchez'scelebratedBlairWitchProject
(1999),MarkZ.Danielowski'slabyrinthinenovelHouseofLeaves(2000),andthe
genuinelyuncannyworkofAmericanphotographerGregoryCrewdson.Thechapter
endswithaprolongeddiscussionofMichaelAlmereyda'svampirefilm,Nadja(1994).
Notingthatthemovieisahighlyselfconsciousandreflexivemetacommentaryonthe
conventionsofthevampirenarrative,Spooner'sanalysishereechoestheworkof
StaceyAbbottinhercontemporaneousCelluloidVampires:LifeAfterDeathinthe
ModernWorld(2007).Withvampirismsoomnipresentincontemporaryculture—both
asfictionaliconandincreasinglyasyouthfullifestylechoice—thereis,aswithGothic
cultureasawhole,adangerofthevampirenarrative"fallingpreytoitsowncentral
metaphorandbeingsuckeddryofinvigoratinglife,doomedtoreplicateitselfasempty
cliché"(52).YetintheshortperiodsincethepublicationofContemporaryGothic,the
enormouspopularityofStephanieMeyer'sTwilightsaga(books,2006–8;films,
2008–)andtheHBOtelevisionseriesTrueBlood(2008–,basedonCharlaineHarris's
ongoingSouthernVampireMysteriesseriesfeaturingSookieStackhouse,2001–),
coupledwithseriouscriticalacclaimfortheSwedishvampirefilmLettheRightOneIn
(2008,basedona2004novelbyJohnAjvideLindqvist),allsuggestthatthese
monstrouslymalleablepassionsrefusetobesoeasilylaintorest.
[4] Spooner'sambivalentsurveyoftheundeadterrainofcontemporaryvampire
narrativestypifiesthebroadtoneofContemporaryGothic,tornasitisbetween
celebratingtheenduringpotencyoftheGothicmodeanddecryingitscommercial
reificationandculturalexhaustion.Thisdialecticcontinuesinachapterfocusedon
corporealityandthegrotesquebody."ContemporaryGothicismoreobsessedwith
bodiesthaninanyofitspreviousphases,"sheargues(63).Spoonerusefully
contextualizesthisacceleratedmaterialfascinationwiththebodyasareturnofthe
repressed,"anattempttoreinstatethephysicalityofthebodyinanincreasingly
decorporealizedinformationsociety"(65).BeginningwithGunthervonHagens's
overhypedBodyWorldsexhibition,theauthorcontinuestosurveythefusionof
freakishnessandcarnivalesquehumourwhereinshefindsevidenceof"the
democratizationofmonstrosity"(66).Here,ContemporaryGothiccastsitscriticaleye
acrossTodBrowning'sfilmFreaks(1932),KatherineDunn'snovelGeekLove(1989),
andAngelaCarter'snovelNightsattheCircus(1984).Incontrasttothebroadbody
fascismoflatecapitalistWesternculture,Spoonerfindsinthesecelebratedfictionsan
engagementwithdisabilitypoliticsandasharpcritiqueofthepresumptuousnessof
"ableism."MovingonthroughAIDSmetaphorsintheworkofauthorsWillSelfand
PatrickMcGrath,SpoonerconcludeswithanextendeddiscussionofRupert
Wainwright'swouldbemillennialnightmarefilmStigmata(1999)andtheworkof
photographerJoelPeterWitkin.InSpooner'sview,thesetextssignifysomethingofan
uneasyrevivalofspiritualityincontemporaryGothicculture.Yetwhiletheauthor
makesacompellingcasefor"therestorationofthespirittothesufferingflesh"and"a
newkindofGothicrevival,aspiritualityforourseculartimes"(85),herexamplesare
neverthelesslimitedinrange.WhilefansofSupernatural(2005–)mayenthusiastically
pointtotheneoChristianmythologyunderpinningthatseriesasawayofsupporting
Spooner'sthesis,onemightjustasreadilypointtothefascinationwithphysical
sufferingintherecentcycleoftorturepornfilms.Withtheirbrutaldepictionsofa
contemporaryworldentirelyemptiedofspiritualormoralsubstance,theHostelfilms
(2005–7)orthephenomenallysuccessfulSawcycle(2004–)maywellhaveledthe
authortoverydifferentconclusions.
[5] ContemporaryGothic'sstrongestcardisitslevelheadednessvisàvisthe
mainstreamcommercialprevalenceoftheGothic.AsSpoonershrewdlynotes,the
GothichasalwaysbeencloselyalliedtothemachinationsofpostEnlightenment
consumerculture.Inadditiontothehugeadvancesandmultiplereprintsofclassic
GothicnovelsbyAnnRadcliffeandMatthewLewis,theauthoralsocitestherevealing
caseofGeorgeduMaurier'sTrilby(1894).Thebookwasestimatedbysometobethe
bestsellingnovelofthe19thcentury,anditssuccesswaslinkedtoanimpressive
arrayofassociatedeventsandancillarymerchandise,"includingTrilbyshoes,sweets,
soaps,sausages,concerts,partiesand,ofcourse,thecelebratedTrilbyhat"(24).
SpoonerisalsohealthilyskepticalwherefetishisticappropriationoftheGothicby
academicscholarsisconcerned:
[6] Gothichasapparentlybecomepopularamongacademicsbecauseitis
investedwiththethrilloftheforbidden,whichinthiscontextisnotentirely
differentfromthethrillofthelowbrow.Suddenly,GothicisPC:championed
byfeministsandqueertheoristsforitslevelofattentiontowomenandnon
heteronormativesexualities;thereadingmaterialofthemasses;thespaces
inwhichcolonialguiltcouldbeexploredandexorcised.(24–25)
[7] Indeed,thereinvigorationofinterestinthegenresincethelate1970shas
witnessedthewholesaleromanticizationoftheGothic"asamarginalgenre,invested
withsubversivepotential"(25).Spooner'swarytoneherepointstothecritical(ab)use
ofpopularcultureasaconvenientlydarkenedmirrorthroughwhichtoreflectthe
furtivepoliticallongingsofmiddleclassscholars.
[8] Tothisend,therearefewculturalpracticesthathaveattractedmore
sensationalizedmediascrutinyandacademicfascinationthanspectacularpostwar
youthsubcultures.Inachapterentitled(withanappropriatelyknowingwink)"Teen
Demons,"ContemporaryGothicexploresthelinksbetweenyouthcultureandGothic
style.DueinnosmallparttotheneoMarxistunderpinningsofsubculturaltheory,
Gothhasperenniallybeendismissedastheselfindulgentaffectationofmiddleclass
youth.ThishasparticularlybeentrueintheUnitedKingdom,wheretheGoth
subculturehasneverbeendeemedseriousortransgressiveenoughtofosterthe
mediairethatithassometimesattractedintheUnitedStates.However,readersmore
interestedinthetribalfashionsandmusicbasedaffiliationslooselygatheredunderthe
labelGothareperhapsmoreusefullydirectedtowardLaurenM.E.Goodladand
MichaelBibby'ssporadicallyintriguingcollection,Goth:UndeadSubculture(2007)or
PaulHodkinson'sGoth:Identity,StyleandSubculture(2002).
[9] Nevertheless,Spooner'sbroadsweepinthissectionprovidesalivelyoverviewof
theGothicappropriationsofcontemporaryyouthculture,fromthereinvigorated
Gothicimaginaryofteenhorrorfilms(alucrativesubgenrethathassustainedthe
Americanhorrorfilmbothcommerciallyandthematicallythroughoutthe1990sand
2000s),viatheknowinglypostmodernGothicstylingsofBuffytheVampireSlayer
(1997–2003),andontothelatentmoralpanicsurroundingtheallegedlinksbetween
Gothicyouthculture,themusicofselfdescribedAntichristsuperstarMarilynManson,
andthe1999Columbinemassacre.Alsoofinteresthereisthepoppaganismof
Wiccancultureandbeliefsandtheconcomitanttrendforteenagedgirlstoselfidentify
aswitches,atrendrefractedinthepopularyouthorientedsoapoperaticsofSabrina,
theTeenageWitch(1996–2003)andCharmed(1998–2006).Spooneroffersauseful
critiquehere,arguingpersuasivelythatsupposedlyalternativebeliefsystemsliketeen
witchcraftarealwaysalreadycommodifiedlifestylessubjecttotheconservative
culturallogicofselfhelpnarrativesandconsumerdrivenindividualism.
[10] MyprincipalreservationaboutContemporaryGothicisitsbroadapproachtothe
diffuseandmalleablenatureofthecontemporaryGothicmode.WhileSpooneroffersa
livelyanalysisofGothicizedpostfeministdiscoursesanddirectaddressofadarkly
genderedsensibilityinentertainingandintelligentfilmssuchasTheCraft(1996)and
GingerSnaps(2000),itwouldtakeaparticularlylooseconceptionoftheGothicto
incorporateDonnieDarko(2001)underthisrubric.Elsewhere,thevolume's
(relatively)briefengagementwithBuffytheVampireSlayerseemsalittleredundant
whentheauthorreadilyacknowledgesthattheshowhasalreadyreceived"an
unprecedentedlevelofcriticalandacademicattention"(114).ContemporaryGothic's
penultimatechapter,"GothicShopping,"underscoresthestrengthsandweaknesses
enforcedbytherelativebrevityofthevolume.Examiningboththeincreasingly
prevalentuseofGothicimageryinadvertisingand"themarketingofGothicproducts
thatstraddletheuneasyborderlinebetweenthesubculturalandthemainstream"
(135),Spoonerattemptstomakesenseofthewholesalecommodificationofthe
Gothicintheglobalmarketplace.Likethebookasawhole,ContemporaryGothichere
shiftssomewhatuneasilybetweenvalorizingtheGothicforitsenduringcultural
potencyandelsewherequietlydespairingatitshyperreificationinthecollective
consumerconsciousness.Forexample,adiscussionofGothicimageryandthe
invocationofSatanisminasuccessfulmarketingcampaignforSmirnoffvodka
arguablytellsusalotmoreabouttheingenuityandcommerciallogicsof
contemporaryadvertisingthanitdoesabouttheuncannyresonanceoftheGothic
today.
[11] This,ofcourse,ispreciselySpooner'spoint,thoughtheauthordoesperhaps
overlookthedipsomaniacalironyinherownreflexivequestioning:"Whyshoulda
genrewithdistinctlyunpleasantconnotations(claustrophobia,fear,decayandmoral
turpitude)berevivedasameansofsellingalcohol?"(136).Elsewhere,Spooner's
enthusiasticdiscussionoftheLivingDeadDollstoylineseemscontenttosimply
validatethemanufacturers'carefulnichemarketingoftheirproductswithawholly
commodifiedauraofcultexclusivity.Thesetoys,arguesSpooner,"signalboth
undergroundcommitmentandthejoysof...anewGothic:Gothicaspurecommodity,
pureluxury,pureexcess"(153).ThenewGothic,itseems,floatsmerrilyfreeamidthe
transnationalebbandflowoftheglobalmarketplace.
[12] YetContemporaryGothicconcludesonanappropriatelyambivalentnote.
AlludingtothebroadsenseinwhichtheGothicmodeisperceivedtohaveexhausted
itself,Spoonerintimatesthat"whereonceGothicprovidedaspaceinwhichthedark
dreamsoftheEnlightenmentcouldberealized,nowitsimplyexposesthevoidatthe
heartofanadvancedconsumerculture"(155).TheseeminglyinescapableGothicnow
functionsastheperfectlyproteanpostmoderncommodity:
[13] [TheGothic]canbeprogressiveorconservative,nostalgicormodern,
comicortragic,politicalorapolitical,feminineormasculine,eruditeor
trashy,transcendentallyspiritualordoggedlymaterial,sinisterorsilly.Itis
difficulttosaywhatcontemporaryGothic"is,"orevenwhatitislike,sinceit
doesallofthesethingssowell...Itisaperfectproduct,readilyavailableand
simplyadaptedtotheneedsandpurposesofawidevarietyofconsumers.
(156)
[14] Spoonermakeshercasewell,andalthoughitlapsesintosolipsisticcultural
studiesorthodoxyatthisjuncture,Ihavenorealargumentwithherkeypoint.
Equally,whileonestrugglestoargueagainsttheargumentthat"individualconsumer
choicescanindicaterenegotiationsofidentitypoliticsatamicrolevel"(156),itis
equallytemptingtoponderwhethertheselfsameargumentcouldjustaseasilybe
madeaboutanymassproducedcommodity.OnemightevenarguethatContemporary
Gothicisitselfawhollytypicalexampleofthemodeintheearly21stcentury:
strategicallyambivalent,accessibletoawideaudience,andbeautifullyillustrated
throughout,thebookisinmanywaysaperfectGothiccommodity.Yetinalucidand
powerfulclosingcommentaryonthepost9/11moment—focusinghereonthefilm
BatmanBegins(2005)andMcGrath'slinkedshortstorycollectionGhostTown:Tales
ofManhattanThenandNow(2005)—Spoonerunderlinesthecontinuedrelevanceof
theGothic.Eveninahypercommodifiedglobalinformationsociety,itseems,the
Gothicimaginaryhasnotentirelyunshackleditselffromthegenuinefrissonofthe
uncanny;norhasitforsakenitsabilitytodistinguishbetweenGothicliteapparitions
suchasEmilytheStrangeandthealltoorealnightmaresofourtimes.
Transformative Works and Cultures,Vol 4 (2010)
Book review
Haunting experiences: Ghosts in contemporary folklore, by Diane E.
Goldstein et al.
Linda Levitt
Stephen F. Austin State University, Nacogdoches, Texas, United States
[0.1] Keywords—Hauntedhouse;Paranormal
Levitt,Linda.2010.Hauntingexperiences:Ghostsincontemporaryfolklore,by
DianeE.Goldsteinetal.[bookreview].TransformativeWorksandCultures,no.4.
http://dx.doi.org/10.3983/twc.2010.0194.
doi:10.3983/twc.2010.0194
DianeE.Goldstein,SylviaAnnGrider,andJeannieBanksThomas.Haunting
experiences:Ghostsincontemporaryfolklore.Logan:UtahStateUniversityPress,
2007,paperback,$24.95(272p)ISBN9780874216363.
[1] InHauntingExperiences:GhostsinContemporaryFolklore,folkloristsDianeE.
Goldstein,SylviaAnnGrider,andJeannieBanksThomasraisequestionsabouttherole
ofghoststoriesinamediasaturatedculture.Isourknowledgeofthesupernatural
drawnfromoraltraditions,orfromtelevisionandfilm?Doesthemediationofthe
paranormalhaveaneffectontraditionalstories?Althoughfolkloreistransmittedorally
andintimatelywhilepopularcultureistransmittedinmediatedcontexts,thetwoare
constantlyintertwined.Furthermore,popularculturecirculatesbothinintimate
conversationsandinpublicdiscourseamongfans,critics,andaudiences.Takingthis
intoaccount,HauntingExperiencesconsidersdifferentencounterswithand
perspectivesontheparanormalthatresultfromvariedmeansoftransmission.The
authorsarguethatalthoughnewtechnologiesandmediacreateandperpetuateideas
ofthesupernatural,theghostsofthedigitalagearenotterriblydifferentfromthe
ghoststoriestransmittedorallyovermanygenerations.Thebookaddressesaudiences
fromboththreadsofthediscussion,folkloreandpopularculture.Otherthanthe
introductionandconclusion,whicharecoauthoredbyGoldstein,Grider,andThomas,
eachsingleauthoredchapterhighlightstheresearchinterestsandexpertiseofits
author.
[2] Inchapter1,"TheUsefulnessofGhosts,"Thomaslooksatghoststoriesin
folklore,arguingthatsuchstoriescanenhanceunderstandingofboththenaturaland
thesupernaturalworlds,aswellasourculturesandworldviews.Forexample,ghost
storiescancreateasenseofplaceforvisitorsandresidentsthatmaynototherwisebe
manifest.IndiscussinghervisittoCapeBreton,whereshecollectedghoststories
fromlocalresidents,Thomasnotesthattheghostsinaparticularnarrative"helped
changemyattitudetowardplace;theyremindedmeofitsmysteryandpower"(45).
Thomasalsoarguesthatsupernaturalentertainmenttrivializesthesignificanceand
gravityofghoststories(30).FromTheBlairWitchProject(1999)toGhostHunters
(2004–),thereisaresurgenceofinterestinthesupernaturaldrawnlargelyfrom
popularculture.Ifweareexposedtotheparanormalprimarilyasameansof
entertainment,Thomasasserts,itismoredifficulttotakeseriouslyfirstperson
accountsofhauntedencounters,whethercontemporaryorhistorical.Thenarrative
complexityandelaboratevisualrepresentationoftheparanormalonaTVserieslike
Supernatural(2005–)makesastraightforwardrecountingofaghostlyencounterseem
quaintandunimpressive,potentiallydiminishingfolklore'sculturalsignificance.
[3] Chapter2,"ScientificRationalismandSupernaturalExperienceNarratives,"
positsthatonewouldexpectrationalismtostandinthewayofbeliefinthe
supernatural:academicsinfolkloreandotherfieldshavedismissedghoststoriesas
merefollyandmayseetraditionalstoriesassuperstitiousorignorant.YetGoldstein
usesfirstpersonnarrativestodemonstratethatwhenindividualstellstoriesoftheir
ownparanormalexperience,theyareconstitutedwithinarationalistframe.Thus,to
disregardghoststoriesis,asThomasalsonotesintheprecedingchapter,tomissan
opportunityforapointofaccessintoaparticularculture,itshistory,anditsbeliefs.To
supportherargumentsandthosethatfollowinsubsequentchapters,Goldsteincitesa
2005GalluppollshowingthatthreeoutoffourpeoplesurveyedintheUnitedStates
believeinatleastoneaspectofparanormalactivity(65).
[4] Chapter3,"GenderandGhosts,"arguesthatmostghostsencounteredinfolklore
andinpopularculturearegendered,andthatourculturalexpectationsformenand
womenextendtothesupernaturalworldaswell.Thomasspecificallydetailstwo
genderedstereotypesofghosts,whichshecallstheExtremeGuyandtheDeviant
Femme.ExtremeGuyishypermasculine,whiletheDeviantFemmedefiesstereotypical
expectationsofanurturing,passivewoman.Rather,femaleghostsoftenactviolently
inresponsetoharmpreviouslydonetothem.Thesetwotypesarecomparedtowhat
ThomascallstheGenderlessPresence,arguingthattheamorphouspresenceofa
spirit"repudiatesculturebyofferingthepossibilitiesofarealmwheregenderdoesnot
matter"(109).OnemightcounterthattheGenderlessPresencecouldalsobe
indicativeofaparanormalsensationnotwellformedenoughtomarkasgendered,or
anexperienceofthesupernaturalforwhichthereisnoreadylinktoanarrativein
whichaghostwouldbetaggedasmaleorfemale.
[5] Inadditiontoanengagingseriesofexcerptsfromspectralnarratives,this
chapterincludesalengthydiscussionoftheWinchesterMysteryHouse,recountingthe
author'svisittotheextraordinaryhomeofSarahWinchester,heiresstoherhusband's
familyfortunefromthemanufactureofguns.Thomasnotesthat"thehousegenerates
itssmallbitofspookycapitalthesedaysbyplayingupSarahWinchesterasaDeviant
Femme"(100),althoughWinchester'sdevianceismerelyinherbeliefinghostsandin
herendlessconstructiononherhouse,intendedtowardoffspirits.Alongwiththe
discussionsofhauntedhousesandthecommodificationoftheparanormalthatappear
inlaterchapters,thesectionontheWinchesterMysteryHousetiestogetherthebook's
themesofgender,architecture,andtourisminasinglesite.
[6] SylviaAnnGriderexamineschildren'sghoststoriesinchapter4,tracinga
traditioninwhichthesestoriesareusedasmeansofacculturationforyounglisteners
andstorytellersalike.Sherecountsseveralcommonlytoldghoststories,highlighting
andexplicatingvariationstothestories.Inthetellingofsuchstories,Gridernotes,
elementaryagechildren"attempttokeeptheirterrorofthesupernaturalandthe
perverseundercontrolbyhumorandparody"(117),implyingthatstorytelling
sessionscandisarmsomeofthehorrorandfearchildrenexperiencewithregardtothe
paranormal.
[7] Thediscussionofhauntedhousesinchapter5showsthecomminglingoffolklore
andpopularculture,inthatthevisualcharacteristicsofthehauntedhouseareiconic
andtakenforgrantedacrossliterature,film,folktales,children'sdrawings,andmass
marketHalloweenmerchandise.Griderpointsoutthatineachoftheseinstances,the
hauntedhouseservesasbothasettingandacharacter.Yetfromthesesimilaritiesin
depictionanduseacrosstheculture,Griderargues,"thetraditionalghoststoryoverall
isnotnearlyasdramaticasthetalespresentedincontemporarypopularfiction"
(147).Shenotesthatthosewhoencounterghostsinstoriesfrompopularculture
typicallyexperiencenegativeconsequences,whichisnotthecaseintheoraltradition
(157).
[8] Chapter6,"TheCommodificationofBelief,"arguesthatgainingprofitfromthe
supernatural,whetherthroughsellinghauntedrealestate,promotinghauntedhotels,
orhostingghosttours,doesnotdiminishtheseriousnessoftheparanormal,norisita
newphenomenon:ghosttoursdatebacktothelate18thcentury.Theargumentthat
consumercultureturnsexperiencesandobjectsintocommoditiesiscomplicatedby
thewaysinwhichthosewhoparticipateinghosttoursorstayathauntedhotelsfind
personalvalueintheirexperiences.
[9] Afteranexaminationofspecificappearancesofthesupernaturalinpopular
cultureandfolklore,theauthorsrevisitthesignificanceandubiquityofpopular
culture,asking,"Dothe'mass'andthe'popular'qualityofpopularculturecarrya
voiceofcredibilityandexpertisethatexertsanewkindofauthorityoverfolkloreand
belief?"(210).ThisisalingeringquestionthatHauntedExperiencesaddressesbut
doesnotresolve,asthescopeofthequestionfarexceedsthediscussionofthe
supernatural.Withregardtothesupernatural,however,theauthorsexpressconcerns
sharedamongfolkloriststhat"mediadiscoursewillreplaceordominatefolklore,"
particularlybecauseoftherecentprevalenceoftheparanormaltopicsinliterature,
television,andfilm(212).
[10] Becausetheproductsofpopularculturearewidelydispersedtoabroad
audience,sharedknowledgeofaparticularculturalproductlendsitcredibility.Unlike
theghoststoriesoffolklorethatexistinmanysimilarversions,film,television,and
booksarestaticandfixed;aparticularepisodeofatelevisionseriesalwaysplaysout
thesamewaywheneveronewatchesit,andeveryviewerseesthesameepisode,
althoughtheirinterpretationsandunderstandingsmayvarywildly.Assuch,fans
discussingatelevisionseriescanlendthatseriesakindofauthoritythatfolklore
generallylacks.Anexamplewouldbethewayinwhichurbanlegendsfromfolklore
arecarriedtomediapresentations,becomingfixedstoriesproventrueorfalseonline
orinvariousbooksandtelevisionserieslikeUrbanLegends(2007–)andMythBusters
(2003–).Supernaturalalsoincorporatestheselegendsfromfolkloreintoitsplot,
including1.05"BloodyMary"and1.07"Hookman."Theseries,then,transformsthe
colloquialghoststoriesintoplotlinestiedtothefictionalworldofSamandDean
Winchesterratherthanmovingfreelyinpublicdiscourse.
[11] HauntedExperiencesisprimarilyofinteresttoscholarsandfansofthe
paranormal,withasecondaryaudienceoffolkloristsandmediascholars.Theauthors
arenotfocusedonthepracticesoffandom,yetthecomparisonsofthesupernaturalin
oraltraditions,livedexperience,andmediatedexperiencescanmodelwaystostudya
particularthreadoffandomacrosstheculturallandscape.Afinalnodtofandom
appearsinoneofthelastparagraphsofthebook,wheretheauthorsconcludethat
"regardlessofthenarrativebasedworkofghosthunters,itwouldbefoolishto
maintainthattheyareinanywayaveragecontemporarytraditionbearers.Theyare
overthetopprofessionalsandenthusiasts,moreapartofafancommunitythanthe
averagetaleteller"(226).
Transformative Works and Cultures,Vol 4 (2010)
Book review
Pretend we're dead: Capitalist monsters in American pop culture, by
Annalee Newitz
Christopher M. Moreman
California State University, East Bay, Hayward, California, United States
[0.1] Keywords—Feminism;Filmstudies;Horror;Robot;Women'sstudies;Zombie
Moreman,ChristopherM.2010.Pretendwe'redead:CapitalistmonstersinAmerican
popculture,byAnnaleeNewitz[bookreview].TransformativeWorksandCultures,
no.4.http://dx.doi.org/10.3983/twc.2010.0195.
doi:10.3983/twc.2010.0195
AnnaleeNewitz.Pretendwe'redead:CapitalistmonstersinAmericanpopculture.
Durham,NC:DukeUniversityPress,2006,paperback,$22.95(223p)ISBN978
0822337454.
[1] InPretendWe'reDead:CapitalistMonstersinAmericanPopCulture,Annalee
NewitzappliesMarxist,postcolonial,feminist,andpostmoderntheoriestoanassorted
collectionofmonsters(looselydefined)infilmandfiction.Inthiseffort,hercoverage
isbroad,assheaimstodiscussthemonstrousinAmerica(withsomeCanadian
contentallowed)fromthelate19ththroughtheearly21stcenturies.Essentially,
Newitz'srathersimplethesisisthat"capitalismcreatesmonsterswhowanttokillyou"
(3).Withinthisthesis,Newitzalsoseekstodefinemonstersasspecificallycapitalist
monsters.Thatshethenultimatelyaimstoprovethat"capitalismcreates[capitalist]
monsters"makesherargumentseemratherobvious.Still,thepathsthatshetakesas
shepursuesthisrelativelywelltrodroadtakesomeinterestingturnsalongtheway.
[2] NewitzexplainsthetitleofherbookinrelationtoMarx'snotionthat"capitalis
deadlabor,"whichsucksthelifebloodfromtheworker,transformingthelatterinto
"anappendageofamachine"(6),akindofnotliving,inhumanmonster.She
emphasizesthe"made"aspectofthemonstersthatshewishestoconsider,as
opposedto"born"monsters.Giventhesocialconstructednessofthemonstrous,one
mightarguethatallmonstersaremade,whetherbornthatwayornot.Certainly
withintheparameterssetoutbyNewitz,hermonstersareallcreatedbycapitalist
forces.Newitzpositsaparadox,onethatsheunfortunatelydoesnotdissectbutrather
simplyexposes.Herbook,shesays,"isultimatelyanextendedmeditationonhow
worksaboutmonstersrepresenteconomiccrisis"(12).Themonstersappear,
however,withintheconstructsof"thecapitalistcultureindustry"ofHollywood(12).
WhythecapitalistmachineshouldoffercriticismofitselfisaquestionthatNewitz
makesnoattempttoanswer,thoughitisobviousfromherbookthatthecultural
artifactsofHollywoodcanbereadasselfcritical,ifnotselfawarelyso.
[3] Afterashortintroduction,Newitz'sfirstchapterexplorestheconnectionbetween
serialkillersandthecapitalistworkethos.Thischapterdrawstogetherideasof
masculinity,corporateproductivity,andviolenceininterestingways,though
sometimestothepointofstrainingcredulity.Forinstance,hernotionthatmodern
imagesofviolencecanbetracedtotheCivilWarnovelTheRedBadgeofCourage
(1895),byStephenCrane,soundshollowinthefaceofcenturiesofWestern
apocalypticimageryandeventhegoreofHomer'sIliad.Herdiscussionofthemodern
serialkillerasanextremeexampleofthelaborerwhoproducesliterallydead
commoditiesisdefinitelyworthconsideration,however.Herdiscussionrevealstheway
Marxisttheorycanbebroadlyapplied:anythingcanbeseenasaveritableworkplace,
thusleavingopenthepossibilityofproductioninanycontext.TurningtotheCivilWar,
Newitzdepictsitnotasaseriesofmilitaryengagementsbutratherasaworkplacein
whichsoldiersaslaborersbecometheappendageofamilitarymachineproducing
literallydeadcapitalinthemassofcorpses.Theserialkiller,forNewitz,"actsoutthe
enragedconfusion"(27)ofredefinedmasculineidentityinthecontextofmodern
capitalismwhereinlaborersproducenotangiblegoods.Further,theconnection
betweenmasculinityandproductiveeconomyisdrawnoutinfascinatingdetail.
[4] Thesecondchapter,dealingwithmadscientists,followsonsomethemespresent
inthefirstchapterandmovesalongthelinesofredefinedlabor.Here,astapleofB
horroriscomparedtothemoderndayprofessionalwhosementallaborresultsinthe
alienationoftheprofessionalfromhisorhermind.Theresultisdepicted,accordingto
Newitz,asearlyasRobertLouisStevenson'sStrangeCaseofDr.JekyllandMr.Hyde
(1886)andcontinuesinavarietyofformstoday.Mostinterestingistheargument
that"mentallabor…alienatesworkersfromtheirownminds,"leadingtoa
"proletarianization"ofprofessionals(55).Newitzalsomusesontheimageofthe
disembodiedbrainasasexualfetish,allowingthealienationofselffrommindtobe
viewedalonggenderlines.Newitzrepeatsobservationsongenderandsexuality
alongsidethemajornarrativeofcapitalistcontrol.Thoughthereadercanmakethe
connections,amoresustainedargumentwouldhavebeenvaluable.
[5] Thethirdchapter,nominallyabouttheundead,marksaweakpoint,although
thisisperhapstheresultofmyownhighexpectations.Theundead,especially
zombies,havebeenregularlyassociatedwithMarxistinterpretations,notonlyby
criticsbutalsobyfilmmakersthemselves.Giventhetitleofthebook,oneexpectsto
findatleastanoverviewofthishistory.Instead,Newitzengageswiththeappearance
ofracisminhorror,againatopicregularlyassociatedwiththezombiefromitsorigins
inHaitianfolklore.Ratherthandiscussingthezombieinthiscontext,however,Newitz
spendshalfofthechapterontheworkofH.P.LovecraftandhisCthulhumythos.
CertainlyadiscussionofLovecraftisworthwhile,butitisoutofplacegivenhiswork's
limitedconnectiontotheundeadasnormallydefined.Newitzidiosyncratically
interprets,forinstance,Lovecraft'sGreatOldOne,Cthulhu,acosmicdeity,asan
undeadcreature.Ontheotherhand,Lovecraft'spronouncedracismlendshimtoher
chosentopicinthisparticularchapter.Further,onceturningawayfromLovecraft,
Newitzpassesoverthezombieonlybrieflyindiscussingthe1943filmIWalkedWitha
Zombiealongsidethe1915CivilWarfilmBirthofaNationbeforemovingonto1972
blaxploitationvampirefilmBlacula.Again,herexamplespresentobviousracial
interpretations,thoughNewitzfailstorecognizethebreadthofalternate
interpretationsthatpresentthemselves.FilmcriticRobinWood,forinstance,goes
withoutmentiondespitetheusefulnessofhisdiscussionsofthereturnofthe
repressedinhorror,someexamplesofwhichaligncloselywithNewitz'sown
arguments.Newitzmayhavewishedtoavoidrehashingpreviousdiscussionsof
vampiresandzombies(ofwhichthereareagreatmany)inthischapter,butitisclear
thatsheappliesaProcrusteanbed,selectingherexamplescarefullyandthen
overgeneralizingherclaims—alongstandingproblemwithMarxist(amongother)
interpretations.
[6] Chapter4engageswithrobotsandcyborgs.Newitzgrantsforthepurposesof
herargumentthattherobotsinthefilmsshewillconsideraretakentobealive,orat
leastsentientinsomeway.Essentially,then,shewillonlyconsiderrobotsthatare
people.Thuslimitingherdiscussion,NewitzagainappliestheProcrusteanbed,as
thoserobotsthatareclearlypeoplecanobviouslybeseenashavingbecome
appendagesofaliteralmachine.Still,Newitzbelievesthattheserobotpeoplecanbe
viewedasblurringalineofconsensualitybecausetheyareoftenatleastpartially
enslavedbytheirprogramming,justasmodernhumansarenotentirelyfreetodecide
thecourseoftheirownlaborandproduction.Ofparticularinterestforthefilmbuffare
thenumberofrelativelyobscurefilmsthatarediscussed.
[7] Finally,Newitzconcludeswithachapterdiscussingthe"corporatemonsters"of
thecapitalistmovieindustry.Thischapter,whichlacksaclearfocus,rangesfromaged
actressmonsterstoJeanBaudrillard'ssimulacradevouringthemassesthrough
modernmedia.Itpresentsnoclearconclusion,exceptthevaguehopethat"perhaps,
oneday,ourmonsterstorieswillnotexpressthegriefofanationwhosepeople
pretendtobedeadinordertolive"(183).Thischaptermighthavebeenthelocusfor
asustaineddiscussionofwhythemonstrousindustrymightelecttodepictitselfas
monstrousratherthanattemptingtohideitselffrompublicscrutiny.Thatnoanswerto
thisquestionisattempted,excepttosimplysuggestthat"themediaarealsoinfected"
(182),weakenstheoverallargument.
[8] Overall,Newitzeffectivelyanddeftlymanipulatessomediversetheories.The
likesofBaudrillard,Žižek,Gramsci,andGirardallfindhomesinthisdiscussion.Onthe
otherhand,somenotableomissionswithbearingonthespecifictopicofthisbook
includeRobinWood'sHollywoodfromVietnamtoReagan…andBeyond(2003),
BarbaraCreed'sTheMonstrousFeminine:Film,Feminism,Psychoanalysis(1993),
JuliaKristeva'sPowersofHorror:AnEssayonAbjection(1982),andNoëlCarroll'sThe
PhilosophyofHorror,orParadoxesoftheHeart(1990).Thestructure,specificallyits
lackofapreciseconclusion,leavesthereaderunsatisfied.Indeed,severalquestions
beganswers.Intheconcludingchapterinparticular,Newitzobservesthatwhilehorror
filmspointtothemonstrosityofcorporateculturalcontrol,andsoserveasawarning
againstit,thefactthatcorporatefilmmakersproducesuchfilmsdoesnotposea
problemforherthesis,butinsteadillustratesthattheytooareinfectedbysomeeven
greaterforcethatinstillsthesamesenseofdreadinthem.
[9] Despitetheweaknessintheoverallargument,Newitzdoesdemonstratea
flexibilityinherapplicationofarangeoftheoriestoanumberoffilms,oftenobscure
ones,thatgivesonepauseforreflection.Thestrengthofthetextisinthevarious
discussionsofspecificfilms,orofgroupsoffilmsbroughttogetherinnewand
interestingways.Asacollectionofessays,asopposedtoabookofchaptersmoving
towardaclearconclusion,PretendWe'reDeadwillprovideanengagingreadfor
scholarsaswellashorrorfans.Infact,thelatterwillbeespeciallypleasedwithsome
ofNewitz'schoicesofliteratureandfilm,manyofwhichhavereceivedlittleorno
previousscholarlyattention.Thebookwillbemostinterestingtothosereaderswho
arenotalreadyfamiliarwithMarxistinterpretationsofhorrorortothoseinterestedin
applicationsofMarxisttheorytospecificfilmsthathavenotalreadyreceivedsuch
treatmentelsewhere.
