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ABSTRACT Boys, Girls, and Monsters Regulation of Normative Gender In ABSTRACT Boys, Girls, and Monsters Regulation of Normative Gender in Supernatural Megan Genovese Director: Sarah W. Walden, Ph.D. Supernatural, a cult phenomenon currently in its tenth season on the CW, is about Sam and Dean Winchester and their heroic journey across a Gothic horror landscape of things that go bump in the night; as Dean puts it, “Sweetheart, this ain’t gender studies.” Yet while the creators may not have intended it to be as much, popular media texts always contribute to the construction of hegemonic norms. A close reading of Seasons 1 through 9 reveals that Supernatural is in fact built upon the bedrock of binary sex-gender identities. Through both individual characterizations and narrative structure, Supernatural presents detailed portraits of idealized maleness and femaleness the depend on mutual exclusion and the subordination of female characters to the male ego ideal embodied in the Winchesters. Most interestingly, Supernatural also features a host of inhuman characters, through which emerges a third portrait of monstrosity as that which threatens the integrity of normative male and female identities. APPROVED BY DIRECTOR OF HONORS THESIS: ____________________________________________ Dr. Sarah Walden, Baylor Interdisciplinary Core APPROVED BY THE HONORS PROGRAM: ____________________________________________ Dr. Andrew Wisely, Director DATE: _____________________ BOYS, GIRLS, AND MONSTERS: REGULATION OF NORMATIVE GENDER IN SUPERNATURAL A Thesis Submitted to the Faculty of Baylor University In Partial Fulfillment of the Requirements for the Honors Program By Megan E. Genovese Waco, Texas May 2015 TABLE OF CONTENTS List of Figures…………………………………………………………………………….iv Acknowledgements……………………………………………………………………….vi Introduction………………………………………………………………………………..1 Chapter One: Maleness……………………………………………………………………9 Physical Characterization………………………………………………………...11 Psychological and Relational Characterization………………………………….19 Sexual Characterization………………………………………………………….43 Narrative and Comparative Characterization…………………………………….53 Conclusion……………………………………………………………………….66 Chapter Two: Femaleness………………………………………………………………..68 Damsels in Distress………………………………………………………………70 Women in Fridges………………………………………………………………..75 Disruptive Women……………………………………………………………….81 Essential Mothers………………………………………………………………...91 Behavioral Transvestites………………………………………………………..101 The Lesbian Loophole………………………………………………………….114 Conclusion……………………………………………………………………...124 Chapter Three: Monstrousness…………………………………………………………127 Angels…………………………………………………………………………..130 Demons…………………………………………………………………………157 Fans……………………………………………………………………………..173 ii Conclusion……………………………………………………………………...186 Conclusion……………………………………………………………………………...188 Bibliography……………………………………………………………………………192 iii LIST OF FIGURES Figure 1. Winchesters, Season 1…………………………………………………………13 Figure 2. Winchesters, Season 8…………………………………………………………13 Figure 3. Winchesters, heroic plaid……………………………………………………...16 Figure 4. Winchesters, disguises…………………………………………………………16 Figure 5. Winchesters, the heterosexual script…………………………………………..47 Figure 6. Gordon Walker………………………………………………………………...61 Figure 7. Garth Fitzgerald IV…………………………………………………………….63 Figure 8. Ghostfacers.……………..……………………………………………………..63 Figure 9. Aaron Bass……………………………………………………………………..65 Figure 10. Mary Winchester……………………………………………………………..80 Figure 11. Amelia Richardson…………………………………………………………...85 Figure 12. Lisa Braeden………………………………………………………………….86 Figure 13. Sheriff Jody Mills…………………………………………………………….93 Figure 14. Linda Tran……………………………………………………………………97 Figure 15. Ellen Harvelle……………………………………………………………….100 Figure 16. Jo Harvelle…………………………………………………………………..104 Figure 17. Bela Talbot………………………………………………………………….109 Figure 18. Charlie Bradbury……………………………………………………………115 Figure 19. Uriel…………………………………………………………………………134 Figure 20. Zachariah……………………………………………………………………134 Figure 21. Raphael, male vessel………………………………………………………..139 iv Figure 22. Raphael, female vessel……………………………………………………...139 Figure 23. Anna………………………………………………………………………...142 Figure 24. Castiel……………………………………………………………………….145 Figure 25. Castiel, homoeroticism……………………………………………………...152 Figure 26. Meg………………………………………………………………………….160 Figure 27. Ruby………………………………………………………………………...163 Figure 28. Crowley……………………………………………………………………..168 Figure 29. Demian and Barnes………………………………………………………….178 Figure 30. Becky Rosen………………………………………………………………...182 Figure 31. Metatron…………………………………………………………………….184 v ACKNOWLEDGMENTS I would like to thank everyone who made this project possible, a list that begins and ends with my supportive and encouraging parents, to whom I owe everything. I’m also grateful to Dr. Sarah Walden, my thesis director, who has not only coached and coaxed me through this process but also the model of an exceptional scholar, mentor, and friend I strive to imitate. A special thanks to the founder, moderators, and editors of Supernatural Wiki, which has been an unparalleled and indispensible resource in this endeavor. Lastly, I would like to express my sincerest gratitude to my friend Katarina, who has been a marvelous unofficial research aide and my unflagging moral support during this trying time. vi INTRODUCTION The creators of Supernatural adhered to the aphorism to start as one means to go on and to go on as one began. The essence of the representation of gender in Supernatural is fully realized in the very first scene of the very first episode. Mary Winchester is murdered and the lives of her sons, Sam and Dean, change forever; it is man’s story, and woman is a narrative object. In end, as in the beginning, it is that simple. This thesis endeavors to explain and explore the foundations, corollaries, and stipulations of gender identity and performance as the creators of Supernatural present them. Though it is not an especially widely consumed cultural text, Supernatural is an important site for investigating representations of gender in popular culture. According to the models of media effects researchers such as John Fiske and Laura Mumford, ubiquity makes mass media such as television an “authoritative source of knowledge about what it means to be a man or woman, as well as what it means to be a good citizen, in today’s culture.”1 Wright (2008) situates Supernatural in terms of the “post-Clinton interest in masculinity” and a reiteration of traditional gender roles as valuable in mainstream television.2 Its combination of the horror and hero genres makes Supernatural particularly rich in examples of narrative conventions that accomplish this.3 Not only do media texts “reflect and enforce” the values of the cultural context in which they are created, viewers often internalize the narrative rewards and punishments meted out to 1 Krelko, 2013, pp. 49-50; p. 53. 2 ¶ 3. Cf. Krelko, 2013, p. 54; p. 65. 3 Stabile, 2009, p. 87. 1 characters into their understanding of correct gender identity and performance.4 This project will critique the text of Supernatural as the creators’ rhetorical project in portraying, disseminating, and regulating their particular understanding of correct and even ideal gender roles. In the course of this textual analysis, this project uses the poststructuralist definition of gender as performance. This understanding is informed by the writings of Judith Butler, especially Gender Trouble, “Imitation and Gender Insubordination,” and Bodies That Matter. Butler defines gender as something under perpetual creation, perpetuation, and modification, both in the sense of the communally created ideal form of gender (i.e., maleness, femaleness) and in the individual’s realization or lack of realization of that gender ideal (i.e., masculinity, femininity). Most contemporaneous scholars distinguished between gender and the biological status of sex, but Butler contends that this is logically untenable when sex is a linguistically and culturally gendered concept. From this, Butler concludes that there is no blank canvas entity of ‘the body’ on which gender is written, that the construction of sex/gender ‘create’ the body as something others can perceive. As Hekman (1998) briefly summarizes Butler’s argument, [T]he materiality of sex is constructed through a ritualized repetition of norms; performativity is not an act of “choice,” but a reiteration of norms, in this case the “law of sex” What this comes to is that, for Butler, there is no “choice” of gender, because even, or especially, “deviant” gender roles are discursively constructed by the symbolic. In contrast to Butler’s theory, Supernatural’s creators represent gender as an expression of intrinsic biological sex as it is understood to manifest in gonadal configuration. Like many cultural texts originating in patriarchal cultures, Supernatural 4 Krelko, 2013, pp. 53-54; p. 65. 2 adheres to the anachronistic Freudian dictum that “anatomy is destiny.”5 In this biological determinism, one’s gender identity is preordained by physical sex, which is considered a neutral ontological fact of the body. Sex and gender are both construed as oppositional binaries of strictly segregated physical, psychological, and behavioral traits. There is an element of Butler’s performativity in this system, however, as it requires characters constantly prove their gender identity. In addition to positive identification with the appropriate gender model, characters evidence their gender through the rejection of the other. This is particularly true for male characters, for whom “masculinity is defined by its not being feminine” and “the most significant thing
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