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I’m excited to share that I contributed a chapter to the book The Gothic Tradition in Supernatural: Essays on the Television Series, edited by the brilliant professor Melissa Edmundson and published by McFarland. Hands down, my favorite part of Supernatural is Charlie Bradbury, so I wrote about her awesomeness and Gothic heroism. It’s easily the best thing I’ve ever written (thanks to some amazing editors), and I can’t tell you how much fun I had on the project. I even worked a swear word into my title, because I’m a professional!

Take a look:

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If you’re interested in Supernatural, badass female characters, or Gothic themes, the book is available on Amazon, and the Kindle edition is a pretty good deal. If you’re not into any of those things, it’s cool. We can still be friends.

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Supernatural wouldn’t be the same if it weren’t for Charlie Bradbury. Not only is she one of the few fully-fledged characters, she facilitates emotional communication between the Winchester brothers, enabling them to reconcile their feminine-gendered traits. Arguably, Dean and Sam both exhibit femininity throughout the show, despite their cookie-cutter emulation of American blue-collar, heteronormative masculinity. However, in the first six seasons, the brothers only show outward emotion in certain contexts—a pattern that Charlie disrupts.

In the first six seasons, even though Dean regularly denounces things like yoga and chick-flick moments, Tanya Michaels compares Dean to a soccer mom, who sees himself as the protector, nurturer, and upbringer. Michaels says, “In Mary’s absence, can there be any doubt that Dean was the most nurturing influence in Sam’s early life?” (82). Even in Sam’s adulthood, Dean watches over him and would give his life to protect him. There’s no question that female-gendered qualities abound before Charlie enters the scene; however, they seem to only surface in specific contexts.

Through most of the show, Dean would rather keep his feelings to himself and pound a few beers (or a fifth of whiskey) before talking to Sam about his feelings. The exceptions to this rule usually involve a heart-to-heart in the Impala, what Melissa Bruce notes as “visual space that is typically masculine, yet the series uses it as a device through which to filter the more intensely emotional moments” (154). In other words, the Impala renders the feminine show of emotion as acceptably masculine. In the rare instances where the boys do express emotion outside of the Impala, Lorna Jowett notes: “Dean and Sam sit […] facing straight ahead. (Typically, the characters do not look at each other while expressing emotion)” (45). Meaning, in the first six seasons, the Winchester brothers express emotion in specific contexts to uphold their carefully-guarded masculine personae.

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