When Becky met Chuck: Bow the

bieakuown of the fouith wall is

affecting online fanuom.


Stuuy submitteu in pait fulfilment of the
iequiiement foi the awaiu of N.A. in Film anu
Television Stuuies.

Iiene B. Ncuinn

1S Septembei 2u1u

School of Communications, Bublin City 0niveisity.
Supeivisoi: Bi. Bebbie uing.

2
Beclaiation
I heieby ceitify that this mateiial, which I now submit foi assessment on the
piogiamme of stuuy leauing to the awaiu of N.A. in Film anu Television
Stuuies is entiiely my own woik, that I have exeiciseu ieasonable caie to
ensuie that the woik is oiiginal, anu uoes not to the best of my knowleuge
bieach any law of copyiight, anu has not been taken fiom the woik of otheis
save anu to the extent that such woik has been citeu anu acknowleugeu
within the text of my woik.




Signeu: ___________________ (Canuiuate) IB No.: S9211S27 Bate: 1S92u1u
S
Abstiact

This uisseitation examines the effects of the bieakuown of the conventions
anu functions within tiauitional naiiative that sepaiate the auuience fiom
the text anu the piouuceis. I am paiticulaily inteiesteu in the effects as they
peitain to the fanuom. Inteiaction thiough social netwoiking websites anu
fan conventions has helpeu to cieate a sense of intimacy anu collaboiation
between fans anu piouuceis. I will examine the possible iepeicussions of
this, incluuing ethical issues of piivacy anu powei.

I piimaiily appioach this thiough a case stuuy of the television seiies
!"#$%&'("%') anu its online fanuom. The stoiy of !"#$%&'("%') bioauly
centies on two biotheis, Sam anu Bean Winchestei who fight ghosts,
weiewolves, vampiies anu vaiious othei paianoimal cieatuies togethei. In
this uisseitation I examine the close ielationship that fans of the seiies have
with the piouuceis. I also look paiticulaily at the iepiesentations of the fans
anu the piouuceis within the !"#$%&'("%') text anu how this coiielates with
the close fanpiouucei ielationship that exists outsiue of the text. This is
achieveu via a combination of a textual analysis of a numbei of Supeinatuial
episoues anu a uocument analysis of existing inteiviews, viueos, BvB extias
anu fan comments. Thiough this ieseaich I have founu a uispaiity in fan
iepiesentations ielating to genuei. I have also iuentifieu a numbei of positive
anu negative potential effects of a close fanpiouucei ielationship.
4
Table of Contents

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S
Acknowleugements
I woulu like to acknowleuge the auvice anu guiuance of my supeivisoi, Bi.
Bebbie uing. I acknowleuge the many fans online that helpeu anu auviseu me.
I also thank Bi Rouuy Flynn anu my classmates foi theii feeuback anu
suggestions.

Finally, this uisseitation woulu not have been possible without the suppoit
anu encouiagement of my family membeis, fiienus anu housemates.
6
Chaptei 1: Intiouuction
The puipose of this uisseitation is to examine the bieakuown of the fouith
wall within populai meuia anu its effect on the ielationship between the
auuience anu the piouuceis
1
. The fouith wall, a name given in theatie to the
imaginaiy wall between the auuience anu the stage, is a teim useu foi the
conventions anu functions within tiauitional naiiative that sepaiate the
auuience fiom the text anu ieality fiom fiction. I wish to examine how the
lines between ieality anu fiction anu between auuience anu text aie
incieasingly bieaking uown anu how this affects auuience behavioui.
Foi the puiposes of this uisseitation I have chosen to concentiate on a case
stuuy of the television seiies !"#$%&'("%') anu its online fanuom. The
!"#$%&'("%') fanuom iefeis to a subcultuie of fans that engage in meaning-
making activities

centieu on the !"#$%&'("%') text. !"#$%&'("%') is an
ongoing television seiies that has iecently concluueu its fifth season on 0S
netwoik, The CW. The stoiy bioauly centies on two biotheis, Sam anu Bean
Winchestei (playeu by }aieu Paualecki anu }ensen Ackles) who have giown
up on the ioau with theii fathei, moving fiom town to town fighting ghosts,
weiewolves, vampiies anu vaiious othei paianoimal cieatuies. Noie
specifically the oveiaiching stoiyline focuses on the biotheis' ielationship
anu on theii mysteiious family histoiy. This stoiyline eventually ieveals a
wai biewing between Beaven anu Bell anu the biotheis aie helpeu along the
way by numeious othei chaiacteis incluuing family fiienu, Bobby (}im
Beavei) anu angel, Castiel (Nisha Collins). Incoipoiating angels, aichangels,
piophets, Satan, anu the antichiist, the mythology of the show is loosely
baseu on }uueo-Chiistian beliefs. This stoiyline culminates with the
supeinatuial foices within the woilu attempting to pit the biotheis' against
each othei, Sam on the siue of hell anu Bean on the siue of heaven.


1
Piouuceis, meaning all peisonnel involveu in the piouuction incluuing wiiteis, cast anu
ciew.
7
Beniy }enkins (1992) iuentifieu slash fiction as fan-constiucteu naiiatives
that focus on homoeiotic ielationships. uiven !"#$%&'("%')*s focus on the
unhealthily co-uepenuant ielationship between the Winchestei biotheis,
many fans have ieau a homoeiotic subtext to the stoiy. 0f the laige fanuom
that has emeigeu aiounu the show, much of the community aie slash fans
anu have uubbeu the peiceiveu iomance between the biotheis 'Wincest'.
Biawing on Natt Bills' uefinition of cult, Felschow says that fiom its genie
type of fantasyhoiioi, to the economic anu social 'otheiing' of its
piotagonists anu its "potential to be ieau as queei" (S.6), !"#$%&'("%')
natuially lenus itself to cult status. 0nlike contempoiaiy seiies' like ,-.( anu
/$%-$., !"#$%&'("%') appeais to have lackeu any initial extia-textual
initiative on the pait of piouuceis to actively engage a cult auuience. Rathei,
the fans "uiscoveieu anu celebiateu" (Felshow 2u1u S.8) the text on theii
own initiative anu this has leu to a stiongei sense of shaieu owneiship.

}onathan uiay's notion of the 'unueau authoi' (uiay 2u1u) iefeis to an
incieasingly common type of television heau-wiitei who uelibeiately bluis
the lines between authoi anu fan. This type of activity cieates a sense of
intimacy anu paiticipation in the auuience. Felchow (2u1u) anu Schmiut
(2u1u) uetail the !"#$%&'("%') BvB commentaiies that convey a sense of
intimacy, anu the fan conventions that aie helu woiluwiue as examples of the
way in which an intimate fanpiouucei ielationship has been foigeu. Nany of
the actois have also maue themselves available to fans on social netwoiking
websites like Facebook anu Twittei. These aie examples of what Schmiut
calls "oiganizeu situations of iecognition" of the intimate ielationship
between fans anu piouuceis (S.4, S.7). In auuition to this the show has maue
numeious iefeiences to slash since eaily in the fiist season anu the wiiteis
have inuicateu, both thiough the text anu in inteiviews, that they aie awaie
of 'Wincest'.

In the show's fouith anu fifth seasons the fanuom has been the subject of a
numbei of episoues. I believe that 'metafiction' is the teim best applieu to the
8
naiiative qualities of these episoues. Tiauitionally a liteiaiy teim, Linua
Butcheon uefines it as "An encloseu set of enulessly faceteu miiiois, closeu in
on itself, which becomes, "magically," a winuow to the woilu. The ieauei is
both tiappeu 0& the looking glass anu leu (1%-"21 it." (p14u). Netafiction
foices the ieauei to examine theii ielationship with the text anu the outsiue
woilu anu the ieauei of metafiction is maue explicitly awaie of this
meuiation by the text itself. In the metafiction episoues of !"#$%&'("%') the
Winchestei biotheis uiscovei the chaiactei Chuck, a 'piophet of the loiu',
who has been wiiting a seiies of novels baseu on theii lives. The novels have
a small but loyal 'cult' fanuom, anu this subplot is useu as an oppoitunity foi
the wiiteis to featuie chaiacteis who aie iepiesentative of the wiiteis, the
actois anu the fans. They have also incluueu fanuom-specific activities like
conventions, online foiums, fan ciiticism anu fan fiction within the piimaiy
text.

I wish to examine the fanpiouucei ielationship that leu to this, as piioi to
these episoues the wiiteis hau often integiateu fan iueas within the
naiiative. I also wish to examine the possible iepeicussions of these
iepiesentations within the online fanuom anu between the fans anu the
piouuceis. As pait of my stuuy I will fiist look at a numbei of episoues of
!"#$%&'("%') that integiate subveisive fan iueas (specifically Wincest) within
the naiiative
2
oi inuiiectly iepiesent fans
S
oi the cieative team
4
. I will then
look at the text of the show with specific inteiest in the metafiction episoues
of season foui anu five
S
anu how these episoues iepiesent the authoi, the
auuience anu the actois. I will also examine the way that the piouuceis
inteiact anu engage with the auuience (anu the fanuom specifically) outsiue
of the naiiative. I will uiscuss some of the potential effects on fanuom of this
type of bieakuown in bounuaiies with iefeience to the specific ieactions of a

2
1.8 Bugs, 1.18 Something Wickeu, 2.11 Playthings, S.8 A veiy Supeinatuial Chiistmas, 4.1
Lazaius Rising, 4.14 Sex anu violence, S.16 Baik Siue of the Noon, S.18 Point of No Retuin
S
1.17 Bell Bouse, S.1S uhostfaceis, 4.17 It's a Teiiible Life, S.8 Changing Channels
4
2.18 Bollywoou Babylon
S
4.18 The Nonstei at the Enu of this Book, 4.22 Lucifei Rising, S.1 Sympathy foi the Bevil,
S.4 The Enu, S.9 The Real uhostbusteis, S.22 Swan Song
9
numbei of membeis of the !"#$%&'("%') fanuom, some of whom enjoyeu the
metanaiiative stoiyline anu otheis who uiu not. This will be useu as pait of a
basis to ueteimine some of the ways that the bieakuown of the fouith wall
may be ieceiveu anu the potential iepeicussions of this type of stoiyline on a
fanuom.
I am inteiesteu in stuuying this aiea because with the intiouuction of
alteinate ieality games, tiansmeuia stoiytelling, anu usei geneiateu content
the level of sepaiation between fanuom anu text is getting piogiessively less.
Although theie is liteiatuie available on fan cultuie anu the changing natuie
of the fanpiouucei ielationship, much of this liteiatuie examines the effects
this has on the text, iathei than on the fanuom. Schmiut says that the sense of
intimacy within the !"#$%&'("%') community incieases the emotional
potency of sentiment on the pait of both fans anu piouuceis anu incieases
the iisk of huit feelings on both siues (6.2). The piouucei-auuience
ielationship has nevei seemeu moie intimate within meuia fanuom than it
uoes now anu theie is little wiitten on how aspects of piivacy anu powei can
be affecteu by this changing ielationship. I believe that a lack of
unueistanuing of laige poitions of theii fanuom exists on the pait of
piouuceis. This case stuuy exhibits this anu pioviues a unique oppoitunity to
examine the potential effects on a fan community of the bieakuown of the
fouith wall.
In Chaptei 2 I will uiscuss ielateu liteiatuie on fan cultuie, meuia tienus, the
changing natuie of celebiity anu othei stuuies ielateu to fan-authoi
ielationships. In Chaptei S I will uetail my methouology. In Chaptei 4 I will
examine the way that the tiauitional fouith wall bounuaiies have been
iuptuieu within the text. In Chaptei S I will uetail the histoiy of inteiactions
between the fans anu the cieative team outsiue of the text anu in Chaptei 6 I
will examine the potential effects on fanuom of the bieaking of the fouith
wall anu theii iepiesentation within the text. Chaptei 7 will concluue this
ieseaich papei anu pioviue suggestions foi fuithei stuuy.

1u
Chaptei 2: Review of Liteiatuie

2.1 : The Acauemic oiigins of Fan Stuuies

Populai cultuie is not consumption, it is cultuie - the active pleasuie of
geneiating anu ciiculating meanings anu pleasuies within a social
system: cultuie, howevei inuustiialiseu, can nevei be auequately
uesciibeu in teims of the buying anu selling of commouities. - Fiske
1989b p2S

0ntil the 198us fan stuuies was a ielatively unexploieu fielu in acauemic
ciicles howevei uuiing the late 198us anu eaily 199us theie was a maikeu
inciease in these stuuies, usually focusing on the moie active paits of
fanuom. Biawing on the theoiies of Pieiie Bouiuieu, Nichel BeCeiteau,
Rolanu Baithes, Stuait Ball, anu Nikhail Bakhtin, }ohn Fiske's (1989b) woik
is some of the most influential in the shift to viewing the auuience as active
iathei than passive. In 3&4$%.('&40&2 5-#")'% 6")("%$ Fiske aigues that the
piocess of watching television foi the active auuience is an act of 'cultuie'
iathei than 'consumption'. It involves active anu enthusiastic paiticipation
anu it is chaiacteiiseu by two main activities: uisciimination anu
piouuctivity. The fan uisciiminates by making a uistinct choice between what
they aie a fan of anu what they aie not a fan of anu Fiske likens this to
choosing social allegiances. The piouuctivity oi 'piouuceily' quality that he
iuentifies in fans is eviuent in the texts that they piouuce as a iesult of theii
fanuom. These piouuceily 'texts' iange fiom the way they uiess oi the way
they uecoiate theii beuiooms to "paiticipating actively anu piouuctively in
the social ciiculation of meaning" (p147).

Nany of the eaily "active auuience stuuies" (uiay 2uu8 pS1) pieuominantly
look at the powei of auuiences anu the communal natuie of some iesistant
ieauings. Stuuies that contiibute to eaily woik in active auuience ieseaich
incluue: }anice Rauway's stuuy of a gioup of Ameiican women anu the
11
pleasuies they got fiom ieauing iomantic novels in 7$'40&2 (1$ 7-8'&9$
(1987) (which uses ieauei-iesponse ciiticism baseu piimaiily on
questionnaiies anu fiee-foim focus gioups); Ien Ang's :'(910&2 ;'))'.
(198S), a stuuy on female Ballas fans, melouiama anu emotional iealism, (a
qualitative woik with most finuings ueiiveu fiom wiitten iesponses fiom
Ballas vieweis); anu <&($%#%0.0&2 :-8$& (1992) by Camille Bacon-Smith, (a
sociologist, specialising in folkloie,) a paiticipant-obseivation ethnogiaphy of
female !('% =%$> fanuom. It is notable that these thiee stuuies aie about
women anu caiiieu out by women. This is not untypical of eaily active
auuience stuuies anu so it is not suipiising that these stuuies often take a
feminist angle. Nany take the position of pointing out the innate patiiaichal
hegemony iepiouuceu in the text anu examine the way that gioups of female
vieweis have subveiteu this message, uiscaiuing the piefeiieu ieauings in
favoui of taking the meanings that they want fiom the text.

Beniy }enkins, one of the foiemost theoiists in the fielu of fan stuuies, aigues
that fans actively constiuct meaning. As a self-confesseu fan, }enkins uses his
insiue knowleuge of fanuom to his auvantage as he investigates the activities
of appiopiiation within television fanuom. Bis 1992 book, =$?("') 5-'91$%. is
one of the most impoitant eaily books in the fielu of fan stuuies. Biawing on
pievious feminist liteiaiy stuuies anu cultuial anthiopology, }enkins looks at
a numbei of fanuoms anu goes a long way to consoliuating much of the
contempoiaiy thinking on fan issues. }enkins views the piimaiy iuentifying
function of fans as active paiticipation in meaning making activities. Be
boiiows the teim 'poaching' fiom BeCeiteau to uesciibe the way that fans
use texts as iaw mateiial foi theii own cultuial piouuctions anu social
inteiactions. Along with this type of appiopiiation, he also iuentifies the
natuie of fans as 'cultuial nomaus' who take pleasuie fiom many meuia texts
anu fiom levels of inteitextuality, often using a paiticulai text as a 'point of
entiy' into fanuom. Natt Bills (2uu2) is cleaily influenceu by }enkins,
although he aigues that he uoes not subsciibe to the same 'moial uualism' he
sees in }enkins' woik of "the 'goou' fan" anu "the 'bau' non-fan"(p9).
12
Publisheu 1u yeais aftei =$?("') 5-'91$%.@ Bills' A'& 6")("%$. seives as an
upuateu souice, concentiating piimaiily on the continuum that exists
between fans anu acauemics. Be examines many of the pievious stuuies that
weie caiiieu out on fanuom anu the ielative meiits of theii methous anu he
emphasises the neeu foi the acknowleugement of subjectivities on both the
pait of fans anu acauemics.

Fans assimilate theii object of fanuom into theii iuentity in a way that non-
fans uo not. Fieuu's mouel of iuentification can be easily applieu to the
intiicate way in which fanuom is pait of iuentity. In Fieuuian teims,
investment anu iuentification with a show oi chaiactei (object) is not love foi
the object itself, but iathei foi a copy of the object that is helu as pait of the
ego. The moie investeu a fan is, the moie the loveu object becomes pait of
theii 'sense of self' (Citeu in Schmiut 2u1u S.6). While he acknowleuges that
the way in which 'self' anu 'iuentity' aie constiucteu is a contesteu aiea of
stuuy, Coinell Sanuvoss (2uuS) says that oui fan consumption "becomes a
geneially unueistoou language thiough which one's iuentity is
communicateu anu assesseu". Be iecognises the oveilap that exists between
inuiviuual iuentity anu gioup iuentity, anu compaies the emotional
significance of fanuom to the "physical, emotional anu iueological space" that
we associate with 1$08'( oi a sense of 'home' (pS).

}onathon uiay (2uu8) agiees with Sanuvoss' stance that fanuom becomes an
iuentity maikei anu that in the ievelation of oui fan (oi non-fan) status we
aie peifoiming aspects of oui iuentity. uiay iuentifies affective ielationships
as impoitant to oui iuentity anu says, "affect is the funuamental complicating
factoi in the examination of television enteitainment, foi affect can amplify
textual piopeities, eiase them, oi otheiwise mouify them" (p46). Affect is the
aspect of oui ieaction that has to uo with feelings, emotions anu impiessions.
This is not necessaiily iiiational but iathei it means that some television
elicits emotional iesponses like feai, sauness oi excitement fiom its vieweis,
making us laugh, ciy oi cheei. Lawience uiossbeig (2uu6) likewise iuentifies
1S
affect as a key aspect of fan sensibility, sensibility being the stiuctuie that
iuentifies the effects of a text within a specific context, space oi auuience
type. Affect is impoitant in iuentity constiuction anu in the way that we
stiuctuie a hieiaichy of what matteis to us. While consumei sensibility is
constiucteu aiounu piouuction of pleasuie, fan sensibility is constiucteu
aiounu affect anu moou. uiossbeig says that "affect piivileges volition ovei
meaning" (pS8S). This means that essentially, foi fans a text can altei theii
moou oi the way they ielate to the woilu.

No one knows the object bettei than a fan anu no one is moie ciitical.
The fan stance towaiu the object coulu even be uesciibeu as the oiiginal
tough-love appioach. - Penley 1997 pS

Anothei uefining featuie of a fan is theii ciitical appioach to the text.
Constance Penley in hei 1997 book BC!CD=%$> notes the way in which fans
ciiticise the texts they love in an attempt to change aspects of a text, even
while pieseiving it. }enkins (2uu6b) notes that fanuom is boin of a balance
between fascination anu fiustiation wheiein the fan is fascinateu enough
with a text to engage with it but uissatisfieu enough to appiopiiate anu
iewiite elements of the naiiative. In =$?("') 5-'91$%. (1992) he exploies the
way that fans claim a iight to ciiticise. Be says that this is geneially because
they feel that if mistakes aie pointeu out peihaps piouuceis will leain fiom
these mistakes, but often fans will also level much of theii ciiticism at
piouucei actions that challenge the fans' "own inteiest in a seiies
piopeity"(p87). Najoi aieas of fan ciiticism tenu to centie on changes in
foimat, the intiouuction of ietioactive continuity, a change of focus fiom one
populai stoiyline oi chaiactei to a less populai one, oi a lack of what Ien Ang
teims "emotional iealism". In :'(910&2 ;'))'. (198S) Ang iuentifies a sense
of 'emotional iealism' as the piimaiy aspect that appeals to the Ballas fans
that she stuuieu. This 'emotional iealism' is the way in which the fans
iecogniseu anu piioiitiseu the iealism of the emotions in the stoiy at a
'connotative level' ovei iealism (oi lack theieof) of the naiiative at a liteial
'uenotative level'. }enkins (1992) says that fans tieat the constiucteu woilu of
14
the naiiative as if it weie a ieal place that moves beyonu the bounuaiies of
the scieen anu thus, any bieakuown in the cieuibility oi coheience of the text
impacts on this imagineu woilu of the fan anu they ieseive the iight to
uefenu it by ciiticising anything that unueimines the iealism (oi emotional
iealism) of the imagineu woilu.

The effect of the Inteinet on fanuom has been expansive, given the way that it
has become the piimaiy methou of oiganisation anu communication. Bills
(2uu2) takes an inteiesting position when he suggests that thiough the
meuiation of the Inteinet, the auuience itself has become a 'commouity-text'
constiucteu as "a meuiateu anu textual peifoimance of
auuiencehoou"(p181). Shaion Naiie Ross (2uu8) in hei book E$F-&4 (1$ E-?
has exploieu the way that the Inteinet has expanueu the hoiizons of 'tele-
paiticipation'. She cites examples like Rob Thomas, cieatoi of G$%-&09' H'%.,
announcing the show's ienewal on online foiums =$)$I0.0-& :0(1-"( 50(F, anu
the way that Tv shows like E"JJF (1$ G'8#0%$ !)'F$% can iefeience anu
iecognise that they shaie fanuoms with othei shows. In this way piouuceis
aie essentially acknowleuging that theii fans aie pait of a laigei fan
community anu ieau inteitextually, as was noteu acauemically as eaily as
}enkins' =$?("') 5-'91$%.. Ross aigues that this has changeu the way that
both fans anu cieatois expeiience television. Rhiannon Buiy (2uuS) is
specifically inteiesteu in the ieasons why female fans sepaiate fiom male
fans online anu stake out theii own spaces. She iuentifies "uenigiation anu
haiassment" by male useis as the piimaiy ieason why female fans initially
began to use piivate mailing lists. Although genuei paiity online was
establisheu by 2uuu, Buiy finus that men anu women still use the Inteinet
uiffeiently, even within fanuom, with foiums anu spaces ueuicateu to geneial
uiscussion of meuia texts seemingly uominateu by males while females tenu
towaius foiums anu spaces that aie ueuicateu to actois oi fan fiction.
Bowevei, eailiei wiiting such as }enkins (1992) oi Bacon-Smith (1992)
woulu inuicate that genuei within fanuom was uispeiseu in much the same
1S
way befoie the Inteinet became populai so this is eviuence that this genuei
uispaiity is not necessaiily the effect of the Inteinet itself.



2.2 : The Cultuial Piouuction of Fanuom

Foi fans, the ubiquity anu public chaiactei of populai cultuie makes it in
some iespects unownable. By this iationale, once a populai cultuie text
enteis the public uomain, it becomes, to an extent, public piopeity. -
uwenllian-}ones 2uuS p17u

Beniy }enkins iuentifies the appiopiiation of texts as a key maikei foi fan
activity. Foi }enkins the cultuial piouuction of fanuom is a laige pait of what
sepaiates fans fiom othei vieweis. In uetailing the cultuial meaning
piouuceu by fan-maue viueos }enkins says that the pleasuie is ueiiveu fiom
appiopiiating images anu making them iepiesent the subtext that fans have
locateu in the footage anu which they believe is usually iepiesseu within the
seiies. In this way the viueos "aiticulate what the fans have in common: theii
shaieu unueistanuings, theii mutual inteiests, theii collective
fantasies"(}enkins 1992 p249). By appiopiiating footage fiom the oiiginal
text anu ie-euiting it, usually with the inclusion of appiopiiate music, the
fans can convey a specific theme oi aspect of the seiies that they aie
inteiesteu in.

Fanuom iecogniseu no cleai-cut line between aitist anu consumeis; all
fans aie potential wiiteis whose talents neeu to be uiscoveieu, nuituieu
anu piomoteu. - }enkins 1992 p28u

}enkins paiticulaily focuses in some uetail on the genie of fan fiction known
as Slash. Slash fiction (nameu foi the slash in paiiing titles such as
KiikSpock) focuses on homoeiotic naiiatives between chaiacteis.
0iiginating in the eaily 197us, }enkins consiueis slash to be one of fanuom's
16
most oiiginal contiibutions to the fielu of populai liteiatuie. Nentioning
Stotenbeig's contioveisial theoiy of how sexual oiientation ieinfoices
patiiaichal authoiity, }enkins poitiays the questions of sexuality anu populai
cultuie that aiise thiough slash as potentially the most impoitant aspect of
the genie. Although piioi to this }enkins says that slash was typically
chaiacteiiseu as "eiotica" oi "poinogiaphy by anu foi women" in =$?("')
5-'91$%. he aigues that much slash is mostly conceineu with situating any
sexual ielations within the context of the stoiy, often embeuuing the sex
within a laigei plot stiuctuie (p19u-191). }enkins applies Eve Kosofsky
Seugwick's teim "male homosocial uesiie" to slash fanuom, along with hei
theoiy that while feminist scholais have long acknowleugeu the continuum
between female fiienuships anu female-female iomance, the coiiesponuing
continuum between male fiienuship anu male-male iomance iemains
unacceptable within a patiiaichal society. Seugwick believes that most
fictional uepictions of male fiienuship iely heavily on the suggestion of
stiong homosocial uesiie. By intiouucing shoit-liveu heteiosexual love
inteiests foi one oi both of the chaiacteis in an effoit to enfoice the
chaiacteis' heteiosexuality, the naiiative only seives to make the bonu
between male piotagonists all the moie intense.

While Kiik loves many women ovei the couise of the seiies, he loves
none so ueaily as he loves Spock; Kiik consistently ienounces iomantic
ties that might inteifeie with his piofessional uuties, while he has just as
peisistently been piepaieu to uisobey oiueis anu put his job at iisk to
piotect his "fiienu". - }enkins 1992 p2uS.

In 6FK$%.#'9$. -J =1$0% LM& (2uuS) Rhiannon Buiy cites }enkins' application
of male homosocial uesiie to explain how she believes that slash engages
with "pioblematic ielations among men"(p78) in a way that noimative
uiscouises cannot because they place many moie iestiictions on
ielationships between men. Buiy aigues that although theoiists aie in
uisagieement ovei whethei slash functions as a feminist iejection of
patiiaichy oi an anti-feminist exclusion of females, both siues agiee that
17
slash pioviues a foimat foi "intimate ielationships among equals" that
noimative foimats uo not allow. She uiaws a compaiison between the
feminine iomantic 'quest' stoiyline anu the equivalent tiauitional masculine
quest of seaiching foi an objecta peisonthe tiuth in an attempt to explain
the neeu that many female fans have to ieau iomance into a patiiaichal text.
Buiy (2uuS) also engages with the concept of the 'otheiing' of slash fans anu
the effects of this. These effects aie exemplifieu by the 'closeteu' slash fan,
who keeps this aspect of theii life seciet "foi feai of ietiibution at woik oi at
home" (p18). 0f the ;"$ !-"(1 slash fans that paiticipateu in Buiy's stuuy,
only appioximately half consiueieu themselves comfoitable with the iuea of
telling fiienus anu family about theii activities online. }enkins (1992) has
pieviously auuiesseu this issue, uetailing an inciuent in the E)'>$*. N fanuom
wheiein an anti-slash fan iuentifieu a numbei of slash wiiteis by name to one
of the actois fiom the seiies who objecteu to the genie. This leu to a fanuom
uebate ovei the "politics of naming names" oi "outing" othei fans. Nany fans
believeu that the piotection of a pseuuonym was necessaiy to piotect them
fiom legal iepeicussions oi opposition fiom colleagues, family, oi fiienus
while otheis appeaieu to enjoy the subveisive, illicit anu scanualous qualities
that the clanuestine natuie of theii activities eliciteu.



2.S : Cult Tv anu Auuience Paiticipation


Cult television shows histoiically have been the piimaiy sites aiounu
which vieweis have paiticipateu with the Tv text. - Ross 2uu7 p12

In hei 2uu7 book E$F-&4 (1$ E-? Shaion Naiie Ross uefines an 'invitation to
paiticipate' as a "key factoi in uesignating the %$)'(0-&.10# between viewei,
text, anu cieatoi as a iecipiocal one" (p21). Although she is looking at tele-
paiticipation in geneial, iathei than cult television exclusively, Ross says that
18
these activities must exist to some uegiee in oiuei foi a show to be 'cult' anu
she acknowleuges that cult television is paiticulaily goou at piompting tele-
paiticipation. This is because the expansive natuie of cult television excites
the viewei's neeu to exploie the complexity of the woilu piesenteu to them.
Ross aigues that the inuustiy has iealiseu that many vieweis wish to be
incluueu, anu thus has iesponueu by inviting them to tele-paiticipate. Ross
iuentifies thiee main types of invitations oi calls to paiticipate: the 'oveit' call
to action, which is "easily uisceinable within the text"
6
; the 'oiganic'
invitation, which assumes a uegiee of tele-paiticipation is alieauy taking
place anu is uesigneu to look natuial
7
; oi the 'obscuieu' invitation which she
says is "appaiently caieless, opeiating at a piimaiily aesthetic level" (p8) anu
is usually embeuueu within the naiiative when viewei paiticipation is
actively uemanueu in oiuei to uniavel the plot
8
.

The pleasuie ueiiveu fiom paiticipating in the uniavelling of intiicate plots,
as in Ross' 'obscuieu' invitation, is akin to that piouuceu by gossip. Accoiuing
to P. Baviu Naishall (2uu6) pait of the fun of gossip is tiying to put togethei
a fictional puzzle. Be uiaws on Naaiten Reesink's, aigument that, foi some,
the pleasuie ueiiveu fiom gossip is fiom "intellectual exeicise in
hypothesizing about ielationships" (p296). In uiscussing the way the
!"%I0I-% online community pool theii iesouices to access seciets ielateu to
the show anu the ieaction of the show's piouuceis to this activity, }enkins
(2uu6a) says that much of the pleasuie in this is ueiiveu fiom the thiill of the
hunt foi infoimation - a similai piocess to that of a tieasuie hunt oi an
alteinate ieality game. Accoiuing to }enkins, !"%I0I-% is the iueal "television
foi the Inteinet age -uesigneu to be uiscusseu, uissecteu, uebateu, pieuicteu
anu ciitiqueu" (p 2S).


6
Examples of this aie when useis aie encouiageu to "vote now" oi "visit oui website".
7
0sing woius, coues oi iefeiences that may not be unueistoou by those who aie not
paiticipating is an example of an oiganic invitation.
8
Foi example, seiies' like ,-.( oi =M0& 5$'>. that thiive on theii geneial ambiguity.
19
Natt Bills (2uu2) iuentifies an extiatextual auteuiial piesence as one of the
uefining featuies of a cult text. Be says that this auteuiial voice is always
piesent in cult texts, although in meuia like Film anu Tv this iole may be split
acioss multiple peisonnel such as the piouucei, uiiectoi anu stai. In E$F-&4
(1$ E-?, Ross uiscusses the extiatextual auteuiial piesence of cult Tv show,
E"JJF (1$ G'8#0%$ !)'F$%. Ross uetails the way that E"JJF seiies cieatoi }oss
Wheuon anu othei wiiteis anu stais hau paiticipateu in online foium "The
Bionze" on the official WB website, visiting fiequently anu sometimes
inteiacting uiiectly with fans. This gave at least the illusion, if not the
actuality, of making the show collaboiatively 'with' fans. uiay (2u1u) points
out the way that eageiness uisplayeu by wiiteis like Wheuon to be iuentifieu
as pait-fan anu to iuentify fans as pait-authoi has contiibuteu to a giowing
sense foi fans that they aie collaboiatois iathei than simply spectatois.

Some wiiteis' piesence on fan boaius anu at fan conventions show (anu
is ieau by some fans as) an eainest inteiest in fan opinions. - uiay 2u1u
p112

Ross specifically iefeiences "Supeistai" an episoue fiom the fouith season of
E"JJF in which minoi chaiactei anu 'Inteinet uailing' }onathan becomes the
stai of the show. This change of the show's peispective incluueu an euiteu
veision of the show's opening cieuits anu a stoiyline wheiein }onathan hau
essentially imposeu his own fantasies of being a heio upon the naiiative of
the episoue. Nany Inteinet fans ieau }onathan as a 'Naiy-Sue' - a common
anu much maligneu chaiactei in fan fiction who essentially iepiesents the
fan authoi's own iuealiseu self. Although not a complementaiy
iepiesentation of fans, many enjoyeu the acknowleugement of fanuom anu of
the type of fiction they woulu often ciitique. Ross iefeis to this as the
extenuing of an invitation to paiticipate to fans, although she acknowleuges
that this is not the noimal foimat that these invitations take within this show.
E"JJF usually piesenteu an 'obscuieu' invitation via the "messy anu iich
mythology", anu thiough what Natt Bills teims the 'enulessly uefeiieu
2u
naiiative' of the show that invites fans to exploie the woilu of the show anu
to inteiact online.

Bills says that the enulessly uefeiieu naiiative anu 'hypeiuiegesis' that he
iuentifies in cult meuia is uiiectly ielateu to the authoi function, thus
enuowing the auteui as a 'guaiantoi of tiust', oi at least, of knowleuge
(p1S4). It is this coheient 'hypeiuiegesis', a teim that Bills coins to uesciibe
the extenueu woilu of the cult text, that the viewei invests in as a space foi
exploiation of iuentity, anu any bieach in continuity of the naiiative can
thieaten the ielationship that the viewei has establisheu with the text.
}effiey Sconce in his 2uu4 essay :1'( 0JO on the changes in television
naiiative, likewise talks about the way in which moie anu moie Tv shows
have staiteu 'woilu builuing' in the last 2u yeais, cieating naiiatives with
expansive back-stoiies in oiuei to fostei "intensifieu viewei involvement"
(p111) although he is not suie whethei this change is ieinfoicing consumei
capitalism oi heialuing a new eia of collaboiation.




2.4 : Inteitextuality anu the Auuience

Inteitextuality is long-helu as a vital pait of ieauing any text. The wiitings of
Baithes (1978), Kiisteva(198u) anu Fiske (1989a) in the aiea of semiotics
inuicate that inteitextuality is impoitant in constiucting meaning anu sense
beyonu what is shown in the inuiviuual woik, allowing foi polysemic
ieauings of seemingly stiaightfoiwaiu texts. New Neuia theoiist }onathan
uiay (2u1u) has taken liteiaiy theoiist ueiaiu uenette's notion of paiatexts
anu applieu it to the cuiient meuia age. uiay uefines meuia paiatexts as
"both 'uistinct fiom' anu alike. oi intiinsically pait of - the text" (p6). They
aie the piomos, spoileis, meichanuise, peiipheials anu othei elements that
auu to a text anu help to cieate anu manage its meanings. uiay cites A021(
21
6)"K as an example of this powei, as the bonus mateiials on the BvB sought
to claiify the intenueu ieauing of the text anu to uownplay the homoeiotic
aspects that hau been noteu at the time of its theatiical ielease. The BvB was
subsequently ieceiveu much bettei than the film hau oiiginally been ieceiveu
in theaties. As anothei example of the way that a paiatext can uiiectly
influence an auuience's ieception, uiay cites Baviu Buckingham's woik on
Eastenueis vieweis, anu how he noteu that viewei awaieness of a paiticulai
actoi's ciiminal iecoiu amplifieu his onscieen villainy foi those vieweis.
uiay says that BvBs with bonus mateiial anu featuies aie a step foiwaiu in
the powei of paiatexts as the inclusion of paiatexts within the official
package along with the text is a ieinfoicement of the meaning anu the
authoiity of the paiatext. In this way the paiatext becomes intia-textual
iathei than intei-textual.

uiay's theoiy of paiatexts owes much to the 'seconuaiy texts' that }ohn Fiske
talks about in H-8$&(. -J =$)$I0.0-& (1989a). Beie Fiske touches on the
inteitextual effects of the naiiatives constiucteu aiounu ieal people (such as
actois) who aie associateu with a text. Fiske notes that they have been
'wiitten' by piouuceis, fans oi actois themselves anu that they encouiage
vieweis to uevelop "inteitextual ielations between the iepiesentational anu
the ieal" (p6S). Rhiannon Buiy expanus on this notion, saying that subjecting
these seconuaiy texts to the same piocess of inteipietation as the piimaiy
text has the effect of making the seconuaiy texts emotionally ieal to the
viewei in the same way as the piimaiy texts. As they uo not know the actoi
peisonally, the fan constiucts the naiiative of the actoi baseu on seconuaiy
souices in a way that feels emotionally ieal to them. In uealing with celebiity
cultuie P. Baviu Naishall (2uu6) uetails a similai concept, piesenting us with
thiee uimensions oi woilus, which he calls Stoiywoilu, Realwoilu anu
Auuiencewoilu. Stoiywoilu is the woilu containeu within the naiiative of the
text, Realwoilu is containeu within stoiies anu tales of the actois anu
Auuiencewoilu is the space wheie the viewei inteipiets the events of
Stoiywoilu anu Realwoilu, both inuiviuually anu inteitextually. uiay (2u1u)
22
notes that with this inteitextual effect, paiatexts can be useu to cieate a
gieatei auia anu meaning aiounu a text. Be uses the platinum euition BvB
box set of ,-%4 -J (1$ 70&2.P =1$ =M- =-M$%. as an example of these kinus of
paiatexts at woik. The way that the BvBs piesent the foiging of a bonu
between the cast anu ciew is veiy impoitant to how multiple layeis of
paiatexts contiibute to what uiay calls a 'stacking' of the film naiiative
wheiein the basic naiiative of the film can be applieu to the naiiative of the
making of the film.

Thiough the use of music anu anecuotes, the language useu, anu the
inteiviewing techniques, euiting anu the footage chosen foi inclusion "the
BvBs piopose that we view all mannei of events anu chaiacteis associateu
with the film piouuction pieuominantly thiough uiegetic ,-%4 -J (1$ 70&2.
glasses, supeiimposing Fiouo anu company's quest anu ultimate victoiy onto
Tolkien, }ackson, the cast, anu the ciew" (p9S).

By 2uu6 the aveiage television piopeity coulu no longei be uefineu as a
seiies aiieu ovei bioaucast, cable oi satellite channels. Insteau, the
aveiage seiiescontent stieam spanneu 4.7 platfoims, analog anu uigital.
- }ohnson 2uu7 p67

Beiek }ohnson in his 2uu7 essay Q&I0(0&2 C"40$&9$. Q& uetails the way that in
the 199us netwoik Tv began to ieplicate cable Tv methous of ieaching out to
niche auuiences by attempting to engage vieweis anu ietain them by
uelibeiately intensifying the ielationship between the auuience anu the show
thiough hypeiuiegetic woilus anu the use of paiatexts. While online content
was seen mainly as a way of attiacting fans to ancillaiy meichanuise in the
199us, by the twenty-fiist centuiy these multiplatfoim techniques weie
being implementeu as a means of builuing fanuoms anu incieasing
vieweiship. }ohnson talks about how the auuience has been "inviteu in, askeu
to paiticipate in both the woilu of television anu the piocess of its
piouuction"(p6S). In the same way uiay (2u1u) uetails how =1$ =M- =-M$%.
platinum euition BvB not only uiaws compaiisons between the piouuceis
2S
anu the text but also infeis a bonu between the cieative team anu the
auuience, seeking to impait a sense of unique insight anu knowleuge on the
viewei. This is fuithei uemonstiateu by the inclusion of the fan club
membeis' names in the film cieuits.

Naishall (2uu6) uiscusses the Inteinet as anothei element that is changing
the ielationship between the auuience anu the celebiity. Celebiity woiks, in
pait, by fosteiing a sense of familiai connection between the stai anu theii
auuience anu by cieating a link of iuentification. vieweu as a "uiscouise of the
self" (p6SS), celebiity is now competing with social netwoiks, blogs, anu
console games with fiist peison peispective, which pioviue alteinate
avenues foi this uiscouise. The incieaseu level of meuiatisation of the self
that occuis online in blogs anu social netwoiking sites shows obvious
similaiities to the way that celebiity is piesenteu to us. This moue of
uiscouise is teimeu 'public-piivacy' (p6S9) by Naishall. Be says "the film
stai's auia of uistance anu uistinction is bieaking uown as the film
commouity's capacity to geneiate unique cultuial capital uissolves" (p64S).
The celebiity image is now iegulaily manipulateu on the Inteinet in
usei-cieateu content like viial viueos anu this points to a "bieakuown in
contiol of meuiateu cultuie"(p 641). Because of these changes in
meuiatisation, the peisonal level of celebiityfan inteiaction is giowing.
Nany celebiities have peisonal websites which they upuate with piivate
infoimation anu some even ieply to fans online. In this way the infeiiing of a
bonu between the piouuceis anu the auuience, piouuces a similai pleasuie
to that ueiiveu fiom gossip. }oke Beimes in 7$'40&2 R-..0# H'2'S0&$. (2uu6)
says that pleasuie is ueiiveu fiom gossip in one of two ways: the extenueu
family iepeitoiie anu the melouiama iepeitoiie. The main uiffeience
between these is that while the family iepeitoiie functions by a peiceiveu
closeness anu emotional investment in the lives of celebiities, the melouiama
iepeitoiie is baseu on the uiamatic anu sensational, anu pleasuie may be
ueiiveu fiom evaluating the lives, misfoitunes anu scanuals of celebiities. Be
says that wiitten gossip is about the ieauei cieating a peiceiveu closeness oi
24
familiaiity with celebiities anu biinging them into theii ciicle of family anu
fiienus. The pleasuie piouuceu by this feeling of involvement with stais anu
celebiities is suiely not uissimilai to the pleasuie piouuceu by the feeling of
connection that a fan feels when they encountei the infeiieu bonu that
paiatexts cieate between fans anu the text oi auteui(s).



2.S : New Tienus in Contiibution anu Communal Stoiytelling

The eailiest symptom of a piocess whose enu is the uecline of
stoiytelling is the iise of the novel at the beginning of mouein times. -
Benjamin 19S6 pS

In his essay =1$ !(-%F($))$% (19S6) Waltei Benjamin uetails the lost ciaft of
stoiytelling. Benjamin, wiiting at a time when tiauitional oial stoiytelling
was ueclining in the west, sees the stoiy's new 'uepenuence on the book' as a
negative uevelopment. The element of paiticipation, which he aigues is lost
thiough the wiiting uown of stoiies, is an essential component of stoiytelling
to Benjamin. Foi Benjamin the oial tiauition of stoiytelling was not only a
ciaft, but a way to exchange anu pass on infoimation anu shaie memoiies
while making them ielevant to the ieceivei. Foi this ieason he aigues that
goou stoiytelling must have iecipiocity. Without this the stoiy is not bent to
the context it is being tolu in anu is thus not much use. Stoiytelling is not so
much about pioviuing answeis as it is a venue foi auuiessing questions anu a
fiamewoik foi foimulating answeis. As Benjamin puts it, "counsel is less an
answei to a question than a pioposal conceining the continuation of a stoiy
which is just unfoluing"(pS). A stoiy also functions best within the context of
a community anu in goou stoiytelling the uistinctions between the tellei anu
the listenei aie bluiieu. The listenei can actively paiticipate, making the
stoiy suit theii own life, viewpoint oi context.

2S
Familiai though his name may be to us, the stoiytellei in his living
immeuiacy is by no means a piesent foice. Be has alieauy become
something iemote fiom us anu something that is getting even moie
uistant. - Benjamin 19S6 p1

In iesponse to Benjamin's contention that stoiytelling is ueau, Ross (2uu7)
aigues that peihaps the television seiies foimat is now ieapplying this type
of inteiactive stoiytelling. Benjamin's uesciiption of stoiytelling is not unlike
the enulessly uefeiieu naiiative that Natt Bills' woik has iuentifieu in cult
television. By incluuing the Inteinet as an extension of Tv, Ross aigues that
Benjamin's neeu foi "the ability to exchange expeiiences" (Benjamin 19S6
p1) is satisfieu by this meuium. The stoiy must be influenceu by the context
anu community in which it is tolu anu Ross aigues that the Inteinet
influences the stoiytelling that emeiges on Tv in the same way as since the
integiation of the Inteinet, Tv encouiages viewei paiticipation.

uiay (2u1u) also notes in 5'%'($?(. that the potential foi inteiaction is
peihaps gieatei in seiies television than any othei foimat because of the way
the authoi's voice is 'in meuias ies'. Biawing on }uii Lotman's inteipietation
of the novel's authoiieauei expeiience as a 'game' in which the wiitei anu
ieauei must make 'moves' anu 'countei-moves' with the ieauei attempting to
guess the outcome anu the wiitei attempting to misuiiect them, uiay notes
that in the novel foimat the game is competitive anu the authoi is always set
up to win. 0nlike in books anu movies, the Tv authoi's iesponse to auuience
'moves' oi ieactions is moie liteial anu immeuiate, given that the entiiety of
the text is not pie-wiitten. This may leau to a moie communal game without
fixeu 'winneis' anu 'loseis'.

The ieauei is the space on which all the quotations that make up a
wiiting aie insciibeu without any of them being lost; a text's unity lies
not in its oiigin but in its uestination. - Baithes 1967 pS

26
Baithes, in his 1967 essay ;$'(1 -J (1$ C"(1-% ciiticises the methou of
inteipieting a text wheiein the authoi's backgiounu anu intentions aie
stuuieu. Be aigues that this methou imposes "a limit on the text", closing it
uown to one 'intenueu' meaning iathei than opening it up to the
inteipietation of its 'uestination' oi auuience. Although speaking of the novel
foimat, iathei than the oial tiauition that Benjamin (19S6) laments the
passing of, Baithes too places the buiuen of inteipietation anu meaning on
the ieauei. In 5'%'($?(., }onathan uiay iuentifies a giowing gioup of
television 'authois' who appeai eagei to actively engage with theii fanbase.
0n a basic level they may have a piesence at fan foiums oi conventions but
many aie now going fuithei in an attempt to seemingly confuse the authoi
anu ieauei ioles. In teims loaneu fiom Baithes, uiay uesciibes these
television wiiteis as uisplaying a willingness to at least paitially 'kill'
themselves as the authoi. Be iefeis to these wiiteis as 'unueau authois' anu
says of theii methous that the effect is a moie communal anu paiticipatoiy
moue of Tv piouuction.

In 6-&I$%2$&9$ 6")("%$ (2uu6a) }enkins ueals with new tienus in television,
the meuia anu online anu the technological auvances anu changes in attituues
anu usage that have leau to conveigence of multiple meuia platfoims. The
shift towaius consumption as a netwoikeu piactice has changeu the
ielationship between piouuceis anu consumeis. Conveigence, }enkins says,
encouiages paiticipation, collective intelligence anu communal meuia
(p2S6). Ross uesciibes }enkins' woik in 6-&I$%2$&9$ 6")("%$. as 'close in
spiiit' to hei own woik in E$F-&4 (1$ E-? (2uu7) as both look at how new
meuia is encouiaging vieweis to actively paiticipate in texts by uispeising
infoimation acioss a numbei of platfoims. Wheie Ross chooses to focus on
television anu the Inteinet exclusively, }enkins looks at the conveigence of
meuia moie bioauly, tiacing the emeigence of tiansmeuia stoiytelling.
Accoiuing to }enkins, this inteiactive moue of naiiative can be seen as
enteitainment foi the eia of collective intelligence anu meuia conveigence
anu it has taken the post-mouein blenuing of uistinctions between piouucei
27
anu spectatoi to a new level (p97). These naiiatives exhibit the
'hypeiuiegesis' qualities that Bills (2uu2) talks about in ielation to cult
meuia. }enkins ties this in with }anet Nuiiay's wiiting on the "encyclopaeuic
capacity" of new meuia anu the way that auuiences may now seek
infoimation beyonu the uiegesis of the text (p118).




2.6 : The Neuia Bistoiy of Fan Repiesentations

Wiitten in 1992, }enkins' =$?("') 5-'91$%. uetails the way in which fans hau
been poitiayeu in the meuia up until that point. 0sing the example of the
poitiayal of !('% =%$> fans in the famous William Shatnei sketch on !'("%4'F
B021( ,0I$, }enkins paints a poitiayal of social ineptituue, biainless
consumeiism anu a minuless uevotion to the culmination of knowleuge
about uevalueu cultuial mateiials. Neuia fans weie feminiseu anu
infantiliseu anu showeu a lack of unueistanuing of the uistinction between
ieality anu fantasy. }enkins notes that this was the steieotype of the male fan
that was wiuely accepteu by most of the public. Be tiaces the oiigins of this
steieotype to the inception of the teim 'fan' in the late 19
th
centuiy, which is
ueiiveu fiom the woiu 'fanatic'(p12). }enkins also cites numeious suspense
films which uepict fans as uangeiously out of touch with ieality to the extent
that they aie psychopathic (=1$ A'& 1981, H0.$%F 199u) anu a numbei of
comeuy films which iepiesent fans as less uangeious, but iathei socially
inept (=1$ !$9%$( ,0J$ -J :')($% H0((F 1947, !(--2$8'&0' 198S). Neanwhile
poitiayals of female fans weie typifieu by the Beatlesmania of the sixties as
eioticiseu, scieaming, fainting giils. }enkins puts foiwaiu that this type of
iepiesentation is the iesult of the "violation of uominant hieiaichies" (p19)
that fans have committeu by investing in something that is seen by society as
having low cultuial value. Fans tieat populai cultuie as if it weie high
cultuie anu this behavioui is not acceptable to those with vesteu inteiest in
28
the maintenance of the elite status of high cultuie. This is compounueu by
the way that fans ieau texts, iefusing to be passive auuiences, insteau
engaging in inteipieting, evaluating anu iewoiking them. }enkins aigueu in
this book that these two aspects set fans in conflict with the 'uominant
aesthetic logic' (p19) anu this left them open to meuia iiuicule that was
uesigneu to uissuaue othei vieweis fiom auapting similai stiategies.

}oli }ensen in A'&4-8 '. 5'(1-)-2F (1992) iuentifies a tenuency in populai
meuia anu acauemic stuuies of 'otheiing' fans. She uesciibes two types of fan
iepiesentations that occui in these aieas, "the obsesseu inuiviuual anu the
hysteiical ciowu" (p9) anu she aigues, similaily to }enkins, that these
iepiesentations suppoit elitism. Natt Bills wiiting in 2uu2 makes iefeience
to the poitiayals inuicateu by }enkins anu }ensen anu though he uoes not
aigue with theii analysis he uoes say that this is no longei the case. Inueeu,
}enkins himself says in 2uu7 that fans aie now so noimal anu pait of
mainstieam that this is no longei the case.

Shaion Naiie Ross exploies T$&'P :'%0-% 5%0&9$.. anu E"JJF (1$ G'8#0%$
!)'F$% as "mouels of cult television anu fanuom anu as foieshauowings of
emeigent foims of invitational stiategies to tele-paiticiption that aie
influenceu heavily by the Inteinet." She makes specific note of the oiganic
invitations that occuiieu within the text of both shows. The T$&' season 2
episoue "A Bay in the Life" "obliquely paints a pictuie of both female anu
male fans of the stai" by having the titulai chaiactei meet a husbanu anu wife
who aie unuei the influence of a spell which iesults in the husbanu falling in
'love' with Xena while the wife uiesses up like Xena anu attempts to ieplicate
hei uemeanoui. The episoue also featuieu the two female leaus shaiing a
bubble bath anu iefeienceu thiough uialogue how they woulu make a goou
couple. 0nline fans of the show enjoyeu both the iefeience to fans anu to the
pievalent fan uiscussions about aspects of the show such as the chaiacteis'
clothing anu the subtextual lesbian tension. In anothei episoue this lesbian
ielationship is again examineu by a mouein-uay television tabloiu iepoitei
29
("You Aie Theie") anu anothei episoue with a mouein-uay setting, "Senu in
the Clones" featuies actual iepiesentations of fans of the seiies anu pokes fun
at a numbei of steieotypes of T$&' fans while also acknowleuging that it is
the fans that aie 'keeping the chaiacteis (anu thus, the show) alive' (p S9-Su).
Likewise in E"JJF, when the chaiactei Willow uevelopeu a lesbian stoiyline,
some fans saw this as a uiiect iesponse to theii wiiting slash fan fiction
involving the chaiactei.

}ohnson's 2uu7 essay A'&U('2-&0.8 uetails the fan iepiesentations that
iesulteu fiom the ieaction of some fans to wiitei Naiti Noxon taking ovei as
show-iunnei at the stait of E"JJF*s 6th Season. }ohnson notes that Noxon's
piouuctive authoiity was seen as a thieat to the "hypeiuiegetic secuiity of
auteuiism"(p292) anu as a iesult many fans blameu all the pioblems of the
new season on Noxon, vilifying hei anu conuemning hei cieative choices. In
iesponse, Noxon effectively mobiliseu the text of the seiies to constiuct a
naiiative of acceptable fan activities by "builuing ciitiques of uniuly fans
uiiectly into the text that suppoits unauthoiiseu uiscuisive activity" (p29S).
Noxon iesponueu to ciiticisms by incluuing 'The Tiio', a gioup of unpopulai
geeks, as the season's ineffectual villains. Neanwhile, the populai chaiactei
of Xanuei who hau long been asciibeu fan status, hau his fan status
significantly ieuuceu in season 6 anu was seen to conuemn fannish
9

behavioui as juvenile. These iepiesentations seiveu to ieinfoice the iuea that
fans shoulu be "uisiegaiueu, mockeu anu even feaieu as obsessive, socially
ueviant outcasts". In season seven this tienu continues when Anuiew (the
last iemaining membei of the Tiio) authois a fan viueo about Buffy. This
episoue seives to uemonstiate how unauthoiiseu fan content is filteieu
thiough the fan's inteipietive gaze to such an extent as to essentially iewiite
the histoiy of the seiies. At the enu of the episoue he is iepiimanueu by Buffy
anu it is cleai that he must uiscontinue his fannish activities if he is to be
"socially iehabilitateu" (p297). This uelibeiate iepiesentation of the fans is
confiimeu by Tom Lenk, the actoi who plays Anuiew, when he saiu: "the

9
Fannish is useu to uesciibe anything that is typically of oi like a fan.
Su
wiiteis have tolu us that we'ie basically |the obsessive E"JJF fansj
peisonifieu" (p297). }ohnson also cites a numbei of othei seiies' that have
integiateu fan iepiesentations within the naiiative, incluuing Agent Baiiison
in the TUA0)$. anu LT. Baiclay in !('% =%$>. }ohnson concluues that these types
of chaiacteis seive to ieuiaw the line between inuustiy anu auuience anu to
ieinfoice the uistinction between 'noimative' auuiences anu '0theieu' fans
(p298).
S1
Chaptei S: Nethouology

I have chosen a single Case Stuuy foi my ieseaich because I believe that the
focus that a singulai bouy of woik will pioviue will piove moie manageable
anu piouuctive in the time anu constiaints available to me. The case stuuy I
have chosen is not a typical example of the uynamic between a television
show anu its auuience. Rathei it is an extieme example of what seems to be a
highly motivateu anu engageu fanuom inteiacting with a highly engageu
gioup of wiiteis anu actois. Although this moue of auuience is becoming
incieasingly common I will show that the !"#$%&'("%') fanuom exhibits an
above aveiage loyalty anu sense of owneiship compaieu to the majoiity of
theii contempoiaiies.

In Chaptei 4 my uata will be collecteu via an analytical ieauing of fan, wiitei,
cast anu ciew iepiesentations within the Supeinatuial text. I will also look at
iepiesentations of fan iueas - specifically slash - within the text. This uata
will be analyseu in a qualitative mannei uiawing upon the television stuuies
moue of textual analysis in oiuei to exploie the ielationship between the
cieatois anu the fans.

In Chaptei S I will conuuct a uocument analysis investigating the histoiy of
the fanpiouucei anu fantext ielationship. Ny uata will be collecteu via a
compiehensive seaich of existing piint anu viueo inteiviews with seiies
wiiteis anu actois, BvB extias, convention viueos, fan comments on websites
anu othei souices that pioviue infoimation on the ielationship between the
fans of Supeinatuial anu the wiiteis, cast anu ciew. The puipose of this
chaptei is to establish the backgiounu anu timeline of the show anu its fans
anu situate my case stuuy within a wiuei context. I will chait impoitant
moments of giowth oi change in fan attituues to the show anu its associateu
peisonnel, anu uetail the ieasons why these changes occui. I am paiticulaily
inteiesteu in the uevelopment of the laige slash following within the fanuom
anu the ieasons foi this. To gain insight into the ieactions of fans to
S2
metafiction episoues the final section of this chaptei utilises comments,
uiscussions anu posts on peisonal anu public jouinals, piimaiily on
Live}ouinal.com. With the exception of a numbei of comments that weie
oiiginally posteu anonymously peimission has been ieceiveu foi all quotes
useu.

In Chaptei 6 I will builu on the woik in chapteis 4 anu S, looking in moie
uetail at the effects of the bieakuown of the fouith wall on the fanpiouucei
ielationship anu issues of powei anu piivacy.

The main questions that I seek to exploie within chaptei 6 aie:
1. Bow aie fanpiouucei anu fantext ielationships changing, anu what
aie the implications.
2. What implications uoes the inclusion of fans within the canonical text
have on the balance of powei between the fans anu piouuceis.
S. As the fanauthoi uynamic changes is stoiytelling becoming tiuly
collaboiative.
4. What aie the ethical anu piivacy issues involveu on both the paits of
the cieatois anu the auuience.

SS
Chaptei 4 : Textual Analysis

4.1 : The Epic Love Stoiy of Sam anu Bean
I sometimes say it's "the epic love stoiy of Sam anu Bean," but
that's just to tease Eiic - Seia uamble (wiitei) in Sequential Tait
2uu6

While the fiist Wincest fan fictions weie wiitten in iesponse to the pilot
episoue of the show, the concept fiist enteieu into canon in "Bugs"
1u
when a
housing uevelopei pointeuly infoims Sam anu Bean "We accept home
owneis of any iace, ieligion, coloui oi . sexual oiientation." This is fuithei
highlighteu when latei in the episoue the heau of sales foi the uevelopment
makes the same assumption (that Sam anu Bean aie a gay couple) anu Bean
iesponus by tuining to Sam anu saying "I'm going to go talk to Laiiy. 0kay,
Boney.". This is the fiist of many times that the Winchestei biotheis aie
mistaken foi a gay couple. When Sam anu Bean shaie an emotionally chaigeu
hug in "Lazaius Rising"
11
the giil in the ioom asks them if they aie 'togethei',
implying that she thinks they aie gay, an assumption that Sam is quick to
coiiect, explaining that Bean is his biothei. In "It's a Teiiible Life"
12
Bean anu
Sam aie woiking in the same builuing but have no memoiy of each othei oi
theii pievious life. When Sam encounteis Bean in the elevatoi he asks him if
they know each othei saying that Bean looks "ieally familiai". Bean iesponus
with "Save it foi the Bealth Club, pal," implying that he thinks Sam is gay anu
attempting to fliit with him.
In "Something Wickeu"
1S
Bean checks into a motel wheie a young boy,
Nichael, is woiking behinu the check-in uesk. In the conveisation tiansciibeu
as follows, Nichael insinuates that Sam anu Bean aie a gay couple, cleaily
invoking the uouble meaning of the woiu 'queen' as a colloquial teim foi a
gay man.

1u
Season 1, Episoue 8
11
Season 4, Episoue 1
12
Season 4, Episoue 17
1S
Season 1, Episoue 1u
S4
Nichael: King oi two queens.
Bean: Two queens.
Nichael: (looks out the winuow at Sam) Yeah, I bet.

The biotheis aie once again assumeu to be a gay couple when checking into a
hotel in "Playthings"
14
. The ownei guesses that they aie antiqueis anu when
Bean plays along, asking hei how she knew they weie antiqueis, she
iesponus that they "look the type" anu assumes they want to shaie a king-
sizeu beu. The butlei in the same hotel also piesumes that they aie antiqueis,
the implication being that they look like a gay couple. Bean comments on this
latei in the episoue when he asks Sam "0f couise the most tioubling question
is, why uo these people assume we'ie gay." to which Sam iesponus, "Well,
you aie kinu of butch. They piobably think you'ie ovei-compensating."
Bespite his stateu woiiy about being mistaken foi gay, Bean latei plays to the
assumption that they aie gay antiqueis, using it to his auvantage when he
convinces the ownei of the hotel that Sam is an aviu uolls collectoi in oiuei
to gain access to piivate aieas of the builuing. This is not the only time that
Bean actively encouiages the notion that they aie gay in oiuei to foiwaiu an
investigation. In "A veiy Supeinatuial Chiistmas"
1S
Bean again pioves
willing to pietenu they aie a gay couple, piesenting himself to a Chiistmas
shop ownei as Sam's oveily-inuulgent paitnei.
Peihaps even moie meaningful than the times in which Sam anu Bean aie
piesenteu to otheis as a gay couple aie the events of the episoues "Sex anu
violence"
16
anu "Baik Siue of the Noon"
17
. In "Sex anu violence" a Siien
seuuces men by taking the foim of theii peifect woman. When the Siien
attempts to seuuce Bean howevei, it is not the foim of a woman it takes, but
insteau that of a youngei biothei figuie. Although the intenueu meaning of
the episoue seems to be that the thing that Bean wants most is a youngei

14
Season 2, Episoue 11
1S
Season S, Episoue 8
16
Season 4, Episoue 14
17
Season 4, Episoue 16
SS
biothei who looks up to him, the homoeiotic implications of the compaiison
to the Siien's othei victims aie eviuent. In "Baik Siue of the Noon" we leain
that Sam anu Bean shaie a heaven anu aie tolu that this is an unusual
ciicumstance that only occuis in special cases, such as that of soulmates. This
ievelation caiiies with it the iomantic connotations associateu with the teim
'Soulmates', again implying a bonu between Sam anu Bean that is moie than
fiateinal.
In "Point of no Retuin"
18
aichangel Zachaiiah says, "You know Sam anu Bean
Winchestei aie psychotically, iiiationally, $%-(09'))F co-uepenuant on each
othei." Although the chaiactei of Zachaiiah is auept at manipulating the tiuth
foi his own puiposes the uysfunctional natuie of Sam anu Bean's
ielationship has been ieau in an eioticiseu light by many fans. The intensely
co-uepenuant natuie of Sam anu Bean's ielationship has become one of the
coie tenets of !"#$%&'("%') anu the iecuiiing insinuations of a sexual
ielationship between the two inuicates that the wiiteis have taken some of
theii cues fiom slash fans.


4.2 : The case of Eu, Baiiy anu the uhostfaceis
Although "The Nonstei at the Enu of this Book"
19
is the fiist time that the
fans of !"#$%&'("%') specifically weie auuiesseu in the text, this was not the
fiist appeaiance of fans in the !"#$%&'("%') seiies. The episoue "Bell
Bouse"
2u
fiist intiouuces the chaiacteis of ghost hunting 'fanboys' Eu
Zeuumoie anu Baiiy Spanglei. These chaiacteis subsequently ieappeai as

18
Season S, Episoue 18
19
Season 4, Episoue 18
2u
Season 1, Episoue 17
S6
the leaueis of a geeky ghost hunting team in "uhostfaceis"
21
anu "It's a
Teiiible Life"
22
.
In "Bell Bouse", the seaich foi supeinatuial cieatuies biings Sam anu Bean
to a haunteu house in Richaiuson, Texas that was biought to Sam's attention
by a paianoimal website calleu BellBounusLaii.com. While seaiching the
house they bump into Eu anu Baiiy, self pioclaimeu "paianoimal
investigatois" anu the owneis of BellBounusLaii.com. Bespite Eu anu Baiiy's
gianu claims of ghost hunting, it soon becomes cleai that they have nevei
encounteieu a ghost. They tell Sam anu Bean stoiies about theii hunt foi
ghosts in an attempt to impiess them but when they fiist see a ghost they
panic anu iun away.
Baiiy anu Eu appeai to live in a caiavan that they have equippeu with an
aiiay of computei equipment anu uecoiateu with vaiious bumpei stickeis
anu Tv anu movie memoiabilia. When Bean anu Sam finu them in the
caiavan Bean jokingly iefeis to them as "action figuies in theii oiiginal
packaging". It soon becomes cleai that the only thing that Eu anu Baiiy know
about fighting ghosts is what they have witnesseu on Tv anu in movies. This
is emphasiseu by theii constant use of pop cultuie iefeiences. At one stage
Eu tiies to convince Baiiy to be biave by asking him what Buffy woulu uo
anu at the point when they see a ghost foi the fiist time Baiiy shouts "Sweet
Loiu of the Rings, iun!". Latei, when confionteu uiiectly by a ghost, Eu shouts
"The powei of Chiist compels you!", appaiently attempting to peifoim the
iitual fiom the film =1$ <?-%90.8. In this episoue it seems that Eu anu Baiiy
aie less inteiesteu in confionting evil than they aie in fame anu foitune.
Sam: What you tiying to uo, get youiself killeu.
Eu: We'ie just tiying to get a book anu movie ueal, okay.
In the thiiu season episoue "uhostfaceis" Sam anu Bean encountei Eu anu
Baiiy again. This time they have set up a laigei team of 'ghost hunteis' as

21
Season S, Episoue 1S
22
Season 4, Episoue 17
S7
pait of a Tv show calleu R1-.(J'9$%.. This episoue is piesenteu in the foimat
of an unsoliciteu pilot episoue foi theii ieality tv show R1-.(J'9$%.. The othei
team membeis aie Eu's sistei Naggie - who is secietly uating Baiiy, theii
intein Coibett who has a ciush on Eu, anu Spiuce theii cameiaman. They go
to investigate a haunting at the notoiious "Noiton Bouse" anu set up cameia
coveiage of the whole house befoie attempting to communicate with the
ghost that lives theie. Sam anu Bean soon aiiive at the Noiton Bouse anu,
iecognising the uangei the uhostfaceis have put themselves in, the biotheis
pietenu to be police officeis in oiuei to get eveiyone to leave the house
safely. Even though Eu iecognises Sam anu Bean fiom theii pievious
encountei in "Bell Bouse" it seems like Sam anu Bean will succeeu in getting
eveiyone to leave until Coibett goes missing anu they all get tiappeu in the
house while seaiching foi him. The Noiton ghost kills Coibett befoie the
otheis can figuie out wheie he is anu Coibett's ghost becomes a 'ueath echo'
- a ghost that ie-lives the pain of his ueath ovei anu ovei again. Eu anu Baiiy
use the emotional connection that Coibett has with Eu to bieak him fiom the
ueath echo cycle anu it is Coibett's ghost that eventually uefeats the Noiton
ghost.
In "It's a Teiiible Life" Bean anu Sam have lost all memoiy anu knowleuge of
theii past. They no longei know each othei but have been given new
iuentities anu lives woiking in the same coipoiate builuing. It becomes cleai
that the builuing is haunteu anu they begin to woik togethei to tiy to woik
out how they might uefeat a ghost. They tuin to the Inteinet foi help anu finu
the R1-.(J'9$%. website which Bean tells Sam is "the best site evei - ieal,
actual ghost hunteis - these guys aie genius." The R1-.(J'9$%. website has
instiuctional viueos, which incluue much of the infoimation they have
gleaneu fiom theii encounteis with Sam anu Bean, incluuing a step-by-step
guiue on how to uefeat a ghost. In this episoue the uhostfaceis aie piesenteu
as the expeit guiuing hanu to Sam anu Bean's amateui ghost-hunting
activities. Sam anu Bean listen to what the uhostfaceis have to say anu act on
the basis of theii auvice.
S8
The aic of these fans within the stoiy is an inteiesting one because although
they stait off as a hinuiance to Sam anu Bean
2S
they eventually enu up (albeit
unwittingly) helping Sam anu Bean uefeat a ghost anu peihaps even save
theii lives in "It's a Teiiible Life". Initially piesenteu as stonei computei
geeks with uelusions of gianueui anu the subject of the Winchestei biotheis'
amusement, ueiision anu pianks in "Bell Bouse", by "uhostfaceis" we see
some giowth in theii chaiacteis. They aie the leaueis of a laigei gioup, they
have a much bettei technical set-up anu the pilot that they film in the Noiton
Bouse is genuinely inteiesting anu well put togethei. Theii main puipose in
the episoue is still comic ielief, enteitaining the auuience by attempting to
walk in slow motion foi the cameia oi iefeiiing to themselves as "Two lone
wolves". They still exhibit a lot of the immatuie qualities that weie eviuent in
"Bell Bouse" - they get extiemely excitable when they see a ghost anu Sam
anu Bean tieat them like chiluien, attempting to humoui them anu biibe
them with ice-cieam - but they have cleaily uevelopeu bettei skills in film-
making anu they have leaineu new ghost-hunting techniques fiom theii
pievious encountei with the Winchesteis. At the enu of the episoue it is cleai
that making suie theii fiienu Coibett uoes not spenu an eteinity in pain is
moie impoitant to them than theii own feai anu this is ieal chaiactei
uevelopment foi them. In the enu it is the uhostfaceis, iathei than the
Winchesteis, who pull thiough anu uefeat the Noiton ghost. By "It's a
Teiiible Life", it is cleai that theii encounteis with Sam anu Bean have ieally
affecteu Eu anu Baiiy. They aie much moie knowleugeable in ghost hunting
techniques, effectively instiucting Sam anu Bean on the piocess, anu they
seem to have uioppeu the iuea of a Tv ueal in favoui of the moie iealistic
goal of an opeiational website which incluues viueos anu infoimation. The
uhostfacei chaiacteis pioveu to be fan anu wiitei favouiites, even having a
fan convention ueuicateu specifically to them
24
anu the stoiy of the
uhostfaceis is fuithei exploieu in theii self-titleu spin-off web seiies.

2S
Eu anu Baiiy aie eventually ievealeu in "Bell Bouse" as the unwitting cause of the
haunting.
24
Rogue Events helu a special uhostfaceis Convention "Bell Bounus" in Yoik, 0K, ovei
Balloween weekenu 2uu9.
S9
4.S : Bean can be a Fanboy too
The uhostfaceis aie not the only iepiesentation of fans to appeai in the
eailiei seasons of Supeinatuial. It is cleai in a numbei of episoues that Bean
can be a fanboy on occasion, uemonstiating many fannish chaiacteiistics
such as encyclopaeuic knowleuge anu extieme enthusiasm oi stai stiuck
behavioui when encounteiing vaiious actois he aumiies. The action of
"Bollywoou Babylon"
2S
centies on the piouuction of a hoiioi film calleu /$))
/'S$%. QQ. 0ne of !"#$%&'("%')*s eailiest self-iefeiential episoues, "Bollywoou
Babylon" is iiuuleu with in-jokes foi vieweis to spot. The uiiectoi of /$))
/'S$%. QQ is calleu Ncu
26
anu theie is a fake movie tiailei shown in the miuule
of the episoue that contains clips fiom Supeinatuial anu iefeiences the
61'%)0$*. C&2$). films
27
. Nany membeis of the ciew of !"#$%&'("%') aie
visible in the scenes as membeis of the film ciew, incluuing the ieal Ncu who
is piesent as an extia in a scene with the fictional Ncu. It is also maue veiy
eviuent that the wiiteis aie awaie of the powei of the Inteinet anu meuia
fanuom when one of the film actois justifies a publicity stunt to Sam anu
Bean saying "It's alieauy all ovei the Inteinet. These uays, it's all about new
meuia, builuing buzz."
This is the episoue in which Bean fiist uisplays the extent of his fannish
tenuencies - listing off pop cultuie iefeiences anu small uetails about vaiious
hoiioi movies anu actois to Sam. Be also gets veiy exciteu about meeting the
leau actiess of the movie anu he gets unchaiacteiistically neivous anu
tongue-tieu when he tiies to question hei about the ghost she saw. Bean's
expansive knowleuge of hoiioi films helps to piogiess the case when he
iecognises the 'ueau ciew membei' they aie tiying to iuentify as a hoiioi
movie actoi, ueiaiu St }ames, ievealing the ueath as a hoax.
We see Bean's fanboy siue again in "Changing Channels"
28
, anothei episoue
that is full of pop-cultuie iefeiences anu in-jokes, as Sam anu Bean aie foiceu

2S
Season 2, Episoue 18
26
Ncu is one of Supeinatuial's executive piouuceis.
27
These aie films uiiecteu by the ieal Ncu. (Chailie's Angels 2uuu)
28
Season S, Episoue 8
4u
to act out scenes in a vaiiety of television shows. When Sam anu Bean get
tianspoiteu into the meuical uiama ;% !$?F HV;@ which Bean is a fan of, Bean
spenus much his time in this woilu pointing out chaiacteis to Sam anu
explaining the intiicacies of theii stoiylines. Be appeais staistiuck when he
encounteis the chaiactei of Bi Sexy anu he eventually iuentifies the
chaiactei as a fake when he notices a minute oveisight in his costume.
Bean: Pait of what makes Bi Sexy sexy is the fact that he weais
cowboy boots. Not tennis shoes!
Sam: (saicastically) Yeah, you'ie not a fan...
Bean: It's a guilty pleasuie!
I believe it is ielevant that the episoues in which Bean shows this siue of his
peisonality contain some of the most obscuie anu most uensely-packeu
iefeiences anu in-jokes of the seiies. The natuie of these episoues iequiies
the viewei to be somewhat 'fannish' in teims of theii behinu the scenes
knowleuge of the show anu of othei shows in oiuei to fully appieciate the
episoues. I believe that by poitiaying Bean as a fan in these episoues the
wiiteis allow the auuience to engage actively anu openly with the episoue as
fans, anu to iuentify with Bean within that context.



4.4 : Chuck Shuiley anu the Supeinatuial Fanuom
In "The Nonstei at the Enu of This Book"
29
Sam anu Bean uiscovei a seiies of
novels calleu !"#$%&'("%') by Caivei Eulunu
Su
. Each book iepiesents an
episoue of Supeinatuial anu has the same title as the episoues. Sam anu Bean
ieseaich the books on the Inteinet anu they uiscovei a small cult fanuom foi

29
Season 4, Episoue 18
Su
This penname is maue of an amalgam of the suinames of two of the wiiteis, of the seiies,
}eiemy Caivei anu Ben Eulunu.
41
the seiies. When they visit an online foium they encountei fan ciitics, Sam
giils anu Bean giils
S1
anu fans of Wincest - all iepiesentations of common
fan-types founu within the ieal !"#$%&'("%') fanuom.
When the Inteinet yielus no infoimation on the authoi of the books the
biotheis iealise that Caivei Eulunu must be a pen name. They visit the
publishei, whose name is Seia Siege
S2
in an effoit to finu him. Although given
hei name anu iole as publishei she is appaiently a iepiesentation of a
piouuceiwiitei, Seia Siege's behavioui is much moie the steieotypical
behavioui of a fan. Foi instance, when they talk about the books the
publishei says: "The best paits aie when they ciy. Like in /$'%(, when Sam
hau to kill Nauison, the fiist women since }essica he ieally loveu, anu in /-8$
when Bean hau to call }ohn anu ask him foi help." This encyclopaeuic
knowleuge, anu emotional investment in the chaiacteis is often associateu
with fans anu the emotional vulneiability of male chaiacteis is a tiait
associateu with slash fiction (}enkins 2uu6b p8S) anu so this iepiesentation
is ambiguous anu can be ieau as of fans oi of piouuceis. Sam anu Bean claim
to be fans of the book anu the publishei tests them by asking them numeious
obscuie tiivia questions about themselves. Eventually Sam anu Bean cement
theii fan status by ievealing theii matching tattoos. The publishei
immeuiately iecognises the tattoos fiom the books anu ieveals that she has
the same tattoo.
SS
Satisfieu with theii fan knowleuge anu commitment she
gives them the authoi's ieal name- Chuck Shuiley- anu his home auuiess.
Chuck is intiouuceu as a stiuggling anu hackneyeu wiitei, who is woiking
fiom home anu uiesseu in a tatty uiessing gown anu unueiweai. When Sam
anu Bean confiont him about wiiting theii life stoiy Chuck seems genuinely
taken by suipiise, having thought he was wiiting a woik of fiction baseu on
stiange uieams he'u been having. Be is fiighteneu by Sam anu Bean's claims

S1
Nany fans online piefei one biothei to the othei anu call themselves Sam uiils oi Bean
uiils.
S2
This is also an amalgam of two of the female wiiteis on the show, }ulie Siege anu Seia
uamble.
SS
This may be in iefeience to a comment maue eailiei by wiitei Seia uamble when she saiu
that she woulu juuge Supeinatuial to be tiuly cult when a fan got the same tattoo as Sam anu
Bean (Cochian, Fiiefox News 2uu8)
42
of being the people fiom his books, anu thinks that they aie ciazy fans
S4
.
When they begin to ask Chuck questions about books he has not yet
publisheu he begins to believe that they ieally aie the chaiacteis fiom his
books as he iecalls that the cuiient book he is wiiting is slightly uiffeient
fiom his usual faie. "It's 'Kilgoie Tiout' vonnegut. I wiote myself into it. I
wiote myself, at my house confionteu by my chaiacteis," Chuck says,
compaiing his cuiient wiiting to the chaiactei Kilgoie Tiout, the authoi
ciphei that appeais anu inteiacts with the chaiacteis in many of Kuit
vonnegut's novels.
At the enu of the episoue it is ievealeu thiough Castiel that Chuck is a
piophet of uou anu that the books he is wiiting will one uay be known as the
Winchestei uospel. Chucks ability to foiesee Sam anu Bean's stoiyline is
utiliseu in a numbei of othei episoues. In "Lucifei Rising"
SS
Bean anu Castiel
go to Chuck's house foi his help in locating Sam. Bean goes to finu Sam while
Castiel stays to waiu off the aichangel that is piotecting Chuck. In the next
episoue, "Sympathy foi the Bevil"
S6
, Sam anu Bean ietuin to Chuck's house
looking foi Castiel. In the same episoue we aie intiouuceu to Becky - Chuck's
'Numbei 0ne Fan'. When Chuck contacts hei anu asks hei to pass a message
on to Sam anu Bean she is on hei computei wiiting slash fiction. When Chuck
asks hei to get a message to the Sam anu Bean of his books she seems
sceptical at fiist but she is quick to believe him anu eagei to help.
Becky: Yes, I'm a fan, but I ieally uon't appieciate being mockeu. I
know that Supeinatuial's just a book, okay. I know the uiffeience
between fantasy anu ieality.
Chuck: Becky, it's all ieal.
Becky: I knew it!

S4
At one point Chuck asks Sam anu Bean if this is a "H0.$%F thing", making iefeience to the
poitiayal of a psychotic, muiueious female fan in the Stephen King novel (1987) anu
subsequent film auaptation (199u).
SS
Season 4, Episoue 22
S6
Season S, Episoue 1
4S
Becky goes to Sam anu Bean's motel ioom to pass on Chuck's message. When
Sam answeis the uooi she becomes bieathless anu emotional anu can't seem
to stop touching him. She makes Sam veiy uncomfoitable with hei
inappiopiiate touching, commenting on his physique anu telling them that
she knows all about them anu that she's wiitten stoiies about them.
In "The Real uhostbusteis"
S7
Chuck anu Becky appeai togethei once moie.
This episoue is set at a !"#$%&'("%') convention full of fans of the books.
0nlike ieal !"#$%&'("%') conventions, the convention ciowu poitiayeu in this
episoue is veiy male-heavy anu most fans have come in costume as vaiious
chaiacteis fiom the books. Sam anu Bean aie assumeu to also be fans,
uiesseu up as the Sam anu Bean of the books. In the evening theie is a iole-
playing competition in which the paiticipants, all uiesseu as Sam anu Bean,
have to investigate a haunting in the hotel. Two specific fans, Bemian anu
Baines
S8
, aie uiesseu as Sam anu Bean anu spenu most of the episoue iole-
playing conveisations between the chaiacteis fiom eailiei episoues,
comically exaggeiating all of Ackles anu Paualecki's acting styles. When it
emeiges that the hotel ieally is haunteu, Bemian anu Baines woik togethei
with Sam anu Bean to uefeat the ghosts. At the enu of the episoue it is
ievealeu that they aie a gay couple who weie biought togethei by the
!"#$%&'("%') novels.
Thioughout the episoue it also becomes cleai that Chuck has a ciush on
Becky anu although his auvances seem to be continuously negateu by Becky's
obsession with Sam, by the enu of the episoue Becky 'bieaks up' with Sam to
be with Chuck insteau. The 'love-tiiangle' type stoiy that emeiges in this
episoue between Becky, Chuck anu Sam seems to imply that although the
piouucei (Chuck) aumiies the fan (Becky) his cieation (Sam), anu peihaps
also hei obsession with his cieation, gets in the way of theii ielationship.
This ieflects the 'tempestuous, loving ielationship' that Kiipke has noteu that
he has with fans of the show(Comic con 2uu9).

S7
Season S, Episoue 9
S8
These chaiacteis weie nameu aftei a moueiatoi anu a ieviewei on =$)$I0.0-& :0(1-"( 50(F
(Thoine, Tv 0veiminu 2uu9)
44
Look, I appieciate youi enthusiasm. Really, I uo. It's always nice to
heai fiom a fan. But foi youi own goou I stiongly suggest you get
a life. - Chuck, The Nonstei at the Enu of This Book

As with the iepiesentations featuieu in the Xena episoue "Senu in the Clones"
as uetaileu by Ross (pS9) the metafiction episoues of Supeinatuial seem to
'poke loving fun' at fans while at the same time acknowleuging the laige
contiibution they make to keeping the show on aii. While the majoiity of fans
poitiayeu in !"#$%&'("%') may be silly oi fiivolous they also invaiiably come
thiough in the enu to help save the uay. Fans like Bemian anu Baines may at
fiist seem to be oveily investeu in theii chosen text but by the enu of "The
Real uhostbusteis" we see that they aie also biave anu moial people who
have iegulai jobs anu a healthy anu loving ielationship. Even Eu anu Baiiy,
who staiteu off as comic ielief, eventually uevelop into the paianoimal
investigatois they claimeu to be when they fiist met Sam anu Bean. The
piimaiy steieotype anu ciiticism of fans as people who aie "emotionally
immatuie anu unable to uistinguish fiction fiom ieality" (uoiton 2uu9 pS8)
applies to Becky moie than any othei fan iepiesentation within the seiies,
anu while she pioves helpful on occasion she shows a lack of awaieness of
social bounuaiies anu nevei seems to be fully awaie of 'ieality'. This pooi
iepiesentation woulu not be as much of an issue if Becky weie not the only
oveit iepiesentation of a female fan within the show. While publishei Seia
Siege featuies many fannish chaiacteiistics anu can be ieau as a fan
iepiesentation to anyone who is familiai with online fanuom, she is
piesenteu to the uninitiateu auuience as a piouucei iathei than a fan.
Accoiuing to Rhiannon Buiy (2uuS), female fans online have hau to etch out
theii own space in the Inteinet aftei enuuiing a histoiy of "uenigiation anu
haiassment" fiom male useis, anu iepiesentations like this compounu the
notion that female fans aie less 'valiu' than male fans.
4S
The enu of the five-season aic, !M'& !-&2
WX
is naiiateu by Chuck, telling the
stoiy of the Chevy Impala cai that Sam anu Bean have giown up in. Be tells
the auuience that this episoue is wheie the stoiy enus, but once again he has
a iole to play. When Bean calls Chuck to finu out Sam's location Chuck
ieauily supplies the infoimation. With this infoimation Bean manages to save
the woilu, though it is at the expense of his biothei's life. At the enu we see
Chuck uiesseu in white finishing the stoiy, befoie he vanishes into thin aii.
Fans have speculateu on Chuck's final appeaiance in this episoue with many
agieeing that the implication is that Chuck is not a piophet but iathei the
'uou' chaiactei that Sam, Bean anu Castiel have been seaiching foi ovei the
couise of the season.
4u
While the implication that the wiitei's self-inseition
chaiactei is uou has been somewhat oveishauoweu by the poitiayal of uou
as a milu-manneieu, untalenteu, piomiscuous anu slovenly authoi, it is
nonetheless an impoitant facet of the iepiesentation of the wiiteis within
the text. The poitiayal of the wiiteis as gous - anu moie specifically as the
}uueo-Chiistian uou - implies an all-knowing anu all-poweiful entity. This, in
contiast to the main chaiacteis in the show who aie all laigely victims of fate
(pieuestination) oi the fan iepiesentations whose powei within the stoiyline
is limiteu to that of bystanueis, is a telling poitiayal of how the wiiteis see
theii iole in ielation to the text anu the fans.

S9
Season S, Episoue 22
4u
Wiitei Seia uamble has iefuseu to comment on the accuiacy of this theoiy. (Newitz 2u1u)
46
Chaptei S: Bocument Analysis
S.1 : The ActoiFan Relationship

They'ie so piotective of the show anu they'ie so suppoitive of the
show anu it ieally kinu of makes the whole thing woithwhile
when you get ieactions foi essentially what you uo as youi woik
anu youi ait. The ieactions that we get fiom those fans just ieally
kinu of makes it all woith while. - }ensen Ackles, Supeinatuial
1uu
th
Episoue Paity 2u1u

Supeinatuial has a small uomestic auuience in the 0S
41
but it is well known
foi its thiiving fanbase (Bekakos 2u1u, Beinaiuin 2uu9, Baitingei 2uu9). The
Supeinatuial online fanuom is a veiy active one, with a high level of slash
fans since the fiist episoues aiieu. The pilot episoue aiieu Septembei 1S,
2uuS (INBB 2u1ua) anu the fiist fan fiction posteu on the SupeinatuialFic
Live}ouinal community was a slash stoiy featuiing biotheis Sam anu Bean
(}aneuavitt 2uuS). This paiiing of the biotheis Sam anu Bean Winchestei
was quick to become one of the most populai genies of !"#$%&'("%') fan
fiction anu it was uubbeu 'Wincest'
42
.

It is both the level of inteiaction between the piouuceis anu the fans anu the
inteiest anu engagement that the piouuceis have taken in fanuom activities
that has helpeu to uevelop the unusual ielationship that exists between the
piouuceis anu fans of the show. The Supeinatuial Panel at the Paley
Television Festival 2uu6 (Paley Event 2uuS) pioviueu some of the eailiest
inteiview footage of the cast anu wiiteis. The event was attenueu by actois
}aieu Paualecki anu }ensen Ackles anu a numbei of wiiteis anu piouuceis
incluuing Kim Nanneis, Robeit Singei anu Eiic Kiipke anu uuiing the panel

41
The show aveiageu 2.6 million vieweis in its fifth season (Tv By The Numbeis 2u1u).
42
A quantitative stuuy of ovei SS,uuu fan fiction stoiies was conuucteu by Livejouinal usei
Black-Samvaia as uetaileu in the Supeinatuial Wiki. The iesults inuicate that as of 17 August
2uu9 appioximately 46.41% of Supeinatuial fan fiction is slash-baseu anu that Wincest is
the most populai foim of fan fiction accounting foi S8.49% of all !"#$%&'("%') fan fiction.
(Supeinatuial Wiki 2uu9)
47
the actois anu wiiteis answeieu questions uiiectly fiom fans. Bowevei it
was the fiist !"#$%&'("%') Convention, "Asylum", that ieally set a pieceuent
foi the high level of inteiaction between the actois anu fans. The convention
occuiieu in the 0K in Nay 2uu7 anu was attenueu by numeious actois fiom
the seiies incluuing }ensen Ackles. It was at this convention that Ackles
confiimeu that the cast anu ciew weie fully awaie of slash fiction, claiming
that uiiectoi anu executive piouucei Kim Nanneis hau posteu some on set
foi eveiyone to see (Youtube 2uu8a). !"#$%&'("%') conventions since then
have been iegulaily attenueu by seiies actois anu these events help to fostei
a close anu pseuuo-peisonal ielationship between the fans anu the actois.
The fiist Supeinatuial Scieening anu Q&A, at San Biego Comic Con took place
in }uly 2uu7 (Youtube 2uu7c). Since then membeis of the cast anu wiiting
team have attenueu this event eveiy yeai.

With fan fiction anu RPus |.j eveiyone's taking a pait anu they'ie
not just watching it. |.j It's a gieat leaining tool, anu exploiing
tool to exploie this woilu. So I'm suppoitive. - }aieu Paualecki,
Eyecon Apiil 2uu8

Nisha Collins joineu the cast of Supeinatuial as a iecuiiing chaiactei in the
fouith season (2uu8) anu as a seiies iegulai in the fifth season (2uu9).
Collins says that he "uiun't know that Supeinatuial hau such a stiong fanbase
until aftei |hej joineu the show" (SpaceTv 2uu9). Bowevei he has confesseu
an inteiest in fanuom, saying he is "fascinateu by subcultuies anu
communities that seem to evolve oiganically anu this seems to be a veiy
inteiesting one anu I woulu love to finu out moie" (Youtube 2uu9a). Bis
quick wit anu saicastic natuie has leu to him ueveloping a unique, banteiing
ielationship with the fans, sometimes stietching the bounuaiies of theii
comfoit levels. Collins aptly uesciibeu the attituue within fanuom towaius
speaking about slash fiction to actois at conventions when he attempteu to
explain slash to actoi Naik Pellegiino uuiing a Q&A panel at Asylum Euiope
2u1u, saying that "Eveiy convention someone asks about it. anu then
48
eveiyone else goes "ohhh no!" It's this whole othei woilu. I uon't know how
many of these people aie involveu in it, might be eveiy single one. We uon't
know, they'll nevei tell us, but it's like they wiite stoiies that have this
homoeiotic bent to it." (Youtube 2u1uc) This quote fiom Collins shows both
the level of knowleuge the actois have of fan activities while simultaneously
acknowleuging that many fans aie uncomfoitable that this level of
knowleuge exists. This unueilying knowleuge of slash anu the playful natuie
that exists between the actois anu the fans is eviuent when Collins anu }im
Beavei (Bobby) aie askeu if theii chaiacteis weie "going to become buuuys"
at San Biego Comic Con 2uu9 (Youtube 2uu9b). The actois iesponueu as
follows:
Nisha Collins: It's moie of a iomantic vibe.
}im Beavei: You talking on oi off cameia. 0m, it's an uniequiteu
thing foi Castiel.
Nisha Collins: Staiing in his beuioom winuow, looking longingly.
}im Beavei: veiy uniequiteu.
Even though some fans aie uncomfoitable with the level of awaieness the
actois have of fanuom activities it is appaient by theii continueu attenuance
at conventions that the appeal of meeting anu talking to actois that they
aumiie outweighs any uiscomfoit. Asiue fiom payment foi attenuing
conventions, (Chaffee 2uu8 pS) Richaiu Speight }i explains the benefits foi an
actoi of meeting fans at conventions:
Theie's an olu saying, "If a tiee falls in the woous anu no one is
aiounu to heai it, uoes it make a sounu." Well, actois face the
same uilemma - If an actoi peifoims, but no one watches oi caies,
then why uo it. Foi the past foui seasons of "Supeinatuial", you
people have been my ieason why. I am consistently astounueu by
the suppoit anu kinu woius I get fiom so many of you on this
page. - Richaiu Speight }i (uabiielTiickstei), Facebook, Apiil
2u1u
49
Following the ueath of his chaiactei, the actoi posteu a long anu heaitfelt
thank you to all fans following him on Facebook, wiiting that he was blown
away by fans iesponse at his fiist convention: "The enthusiasm you, the fans,
uisplay at those events is contagious anu has maue eveiy convention I've
gone to an absolute blast." Anothei actoi, Touu Stashwick, commenteu on the
effect that attenuing Supeinatuial conventions has hau on his Facebook anu
Twittei saying, YNy FB anu Twittei followeis just jumpeu in foi that
convention, anu again it was ieally humbling that people on whatevei level
caie what I have to say oi what stupiu photos I post."(Fangasm 2u1u)
Quite a numbei of suppoiting actois anu membeis of the ciew have public
social netwoiking accounts, which they use to inteiact with the fans in a
vaiiety of ways. Recuiiing actois }im Beavei, Tiaci Binwiuuie, Chau Linubeig,
Samantha Feiiis anu moie have iegulaily upuateu Twittei accounts that they
use to inteiact with fans while many also have Facebook fanpages foi the
same puipose (see Webogiaphy). Season iegulai Nisha Collins is also
extiemely active on both Twittei anu Facebook, engaging fans in online
events anu iole-playing, anu oiganising activities piioi to conventions. I
believe that the pseuuo-peisonal natuie of online social meuia has
contiibuteu to an incieaseu feeling of intimacy on the pait of fans. Nuch of
the inteiaction between fans anu the actois anu ciew occuis thiough this
uiiect anu peisonal meuium cieating a sense of connection that helps
auuience iuentification (Naishall 2uu6).


S.2: Slashing ieality

Is it haiu playing biotheis when you aie loveis in ieal life. -
Nisha Collins, All Bell Bieaks Loose Convention 2uu9

A keen inteiest in the peisonal lives of actois }aieu Paualecki anu }ensen
Ackles, anu moie specifically in theii ielationship with each othei, was
Su
eviuent among some fans since veiy eaily in the life of the Supeinatuial
fanuom. By Novembei 2uuS Supeinatuial Real Peison Fiction (RPF) hau
emeigeu as a fanuom that bioauly inteisecteu with the Supeinatuial Slash
fanuom. A ueuicateu Livejouinal community was cieateu foi these RPF
stoiies that featuieu actois oi wiiteis fiom the seiies (Supei_Real 2uuS). The
most populai paiiing to emeige in RPF was the paiiing of actois }aieu
Paualecki anu }ensen Ackles who play Sam anu Bean iespectively anu these
stoiies weie uubbeu }2 oi Pauackles
4S
. RPF has become incieasingly populai
with online fanuom in geneial ovei iecent yeais, often occuiiing when the
objects of fan inteiest aie seen to be living togethei in a heimetically sealeu
woilu. This is the case with a numbei of situations that have spawneu laige
RPF fanuoms such as Tv shows anu films that aie filmeu in a countiy foieign
to the cast
44
oi boy banus when membeis aie constantly on the ioau togethei
touiing (Busse 2uuS, 2uu6, Coppa 2uu6).

This guy's smoking hot. I can't play his biothei! - }ensen Ackles,
Paley Television Festival 2uu4
It was the Supeinatuial Panel at the Paley Festival in 2uu6 that ieally
cementeu the }2 RPF paiiing. This was the fiist time a public appeaiance of
Ackles anu Paualecki togethei was filmeu anu uistiibuteu wiuely online anu
within the fanuom. The two seemeu close anu appeaieu to fliit in fiont of the
cameia
4S
. Anothei constant souice of mateiial foi RPF fans came with the
stait of Supeinatuial conventions attenueu by actois anu fans. While all of
the othei actois that attenueu geneially conuucteu sepaiate Q&A panels with
the fans, Ackles anu Paualecki tenu to also conuuct joint panels when they

4S
Accoiuing to Black-Samvaia's figuies RPF accounts foi 22.uS% of all fiction in this fanuom
anu }2 fan fiction accounts foi 84.87% of all RPF.
44
This is the case with Supeinatuial, which is filmeu in vancouvei, Canaua. Anothei
piominent example that encouiages a laige amount of RPF was the cast of Loiu of the Rings
who liveu in New Zealanu togethei foi ovei a yeai uuiing piinciple photogiaphy. (Allington
2uu7)
4S
At one point Ackles exclaims about how Paualecki is fai too "hot" to be his biothei anu at
anothei point Paualecki appeais to attempt to kiss Ackles but is uissuaueu by Ackles'
knowing nou to the auuience.
S1
attenu the same convention anu this ieinfoices the iuea of the close natuie of
theii ielationship (Cieation Enteitainment 2u1u, Rogue Events 2u1u).

}ensen was giabbing my butt in that pictuie. - }aieu Paualecki,
TCA Wintei Piess Toui 2uu7

The fiist season BvB was ieleaseu Septembei S
th
2uu6 anu containeu behinu
the scenes footage incluuing a 'Bay in the Life of }aieu anu }ensen' featuiette
anu a gag ieel. The Supeinatuial gag ieels have pioven an ample picking
giounu foi slash fans. The Season S gag ieel alone contains many snippets
that coulu be easily inteipieteu in a slashy context. Theie is a sequence of
Paualecki anu Ackles saying numeious unsciipteu, but seemingly in
chaiactei, "I love you"s to each othei in vaiious uiffeient situations. In one
instance Ackles auus "I miss youi musk", cementing the appaiently non-
fiateinal natuie of the love. Elsewheie in the same gag ieel the actois hug
numeious times, they buist into appaiently spontaneous synchionizeu song
anu uance anu at one point Ackles ieaches acioss anu lifts an eyelash fiom
Paualecki's face - a seemingly intimate action that Paualecki hau confiimeu
to be a iegulai occuiience when he spoke about it at the Chicago Convention
Novembei 2uu7.
}ensen's got a big ol' ciush on me |.j Bis eyes aie always on me,
uespeiately wanting. - }aieu Paualecki, Buuuy Tv 2uu8
By Septembei 2uu8, at the beginning of Season Foui it was ievealeu by
Buuuy Tv that Ackles anu Paualecki weie shaiing a house in vancouvei. The
homoeiotic unueitones of this ievelation weie compounueu by the viueo
that accompanieu the announcement in which Paualecki spoke of Ackles
iolling 'his pietty little ass out of beu' anu askeu him the question "why uo
you ciy so much anu why uo you say my name when you'ie sleeping." Ackles
seemeu unphaseu by this anu iesponueu by complaining about how long it
took Paualecki to get ieauy to leave the house in the moinings. The appaient
uomesticity of this move causeu some fans to question the natuie of the
S2
actois' close ielationship, which has been the subject of much gossip anu
many iumouis within the fanuom. The case of Paualecki anu Ackles is a
veision of 'biomance'
46
, a iomantic view of close male bonuing that is
cuiiently populai (Noloney 2u1u). uiven the oveit natuie of many of the
innuenuos incluueu in officially ieleaseu mateiials, this iaises the question of
how many of these moments weie incluueu to uelibeiately fostei an
inteitextual level to the 'closei than biotheis' ielationship that Sam anu Bean
have on-scieen, similai to that uesciibeu in ,-%4 -J (1$ 70&2. by }onathan
uiay (2u1u).



S.S : Fan Woiks anu Suppoit

We aie so conscious anu awaie of oui fans. We'ie making the
show foi the fans; we'ie not making the show foi the netwoik. We
woulu nevei uo anything to betiay them. I'm not saying we'ie
peifect. I'm not saying we uon't make mistakes. But we'ie veiy
conscious anu awaie. - Eiic Kiipke (Cieatoi) Tv uuiue }uly 2uu7
0vei the fiist five seasons of Supeinatuial, fans of the show have taken the
initiative to show theii suppoit to the piouuceis in a numbei of ways. The
iegulai fan conventions supply plenty of oppoitunities foi fans to voice theii
suppoit foi theii favouiite chaiacteis anu aspects of the show to many of the
actois. 0n iaie occasions such as San Biego Comic Con anu Cieation
Enteitainment's LA Convention 2uu7 some of the staff wiiteis, incluuing Eiic
Kiipke, have also been in attenuance (Youtube 2uu7c, 2uu9e), anu in 2uu9
Cieation Enteitainment helu a convention in vancouvei which was attenueu
by many of the ciew (Youtube 2uu9f). Bowevei conventions aie not the only

46
'Biomance' is the teim useu in populai meuia foi the cuiient populaiity of male
homosocial ielationships.
SS
way that fans have shaieu theii enthusiasm anu commitment foi the show
with the wiiteis, actois anu ciew.
0ui office in vancouvei is just plasteieu with postcaius. People
that aie into the show aie ieally into it. - Robeit Singei (Executive
Piouucei) 0fficial Companion Season 1 2uu7
In }anuaiy 2uu6 SPN Postcaius campaigns began, cooiuinateu by fans on
Live}ouinal (SPN_Postcaius 2u1u). Initially the fans aimeu one postcaiu
campaign at netwoik executives as a show of suppoit foi !"#$%&'("%') which
was at the time in its seconu season anu in uangei of cancellation, anu they
aimeu anothei campaign at the cast anu ciew of !"#$%&'("%') in vancouvei
to show theii suppoit. The suppoitive postcaiu campaigns became a
iecuiiing event foi eveiy new season of the show anu ciewmembeis take
photogiaphs of each new set of postcaius at the enu of each season anu put
them online foi fans to peiuse. Buiing the 2uu7 Scieen Wiiteis uuilu stiike
SPN_Postcaius cooiuinateu a campaign of postcaius to let the wiiteis, cast,
anu ciew know that the fans suppoiteu the stiike. Some fans also uonateu
money to senu a fiuit basket to the stiike picket lines (Supeinatuial_Tv
2uu7). When Eiic Kiipke steppeu uown as showiunnei at the enu of the fifth
season !"#$%&'("%') fans placeu an au in =1$ /-))FM--4 7$#-%($% thanking
him foi his woik on the show (}estei 2u1ub).
I'm a huge fan of the fan fiction. I think it's a wonueiful aitfoim
wheie people get to wiite anu extiapolate on the existing stoiies
anu uo theii thing. |.j It contiibutes to the mythology of the show
veiy, veiy nicely. (Ncu, (Executive Piouucei), Supeinatuial 1uu
th

Episoue Paity 2u1u)
}ust as the fans have shown theii suppoit foi the show, the piouuceis of
Supeinatuial have encouiageu the piouuction of fan woiks
47
anu othei
fannish activities thioughout its fiist five seasons. In 2uu7 =QH< magazine
noteu that Supeinatuial was the numbei seven seaich engine keywoiu
ielateu to fan fiction at the time (Tancei 2uu7). In the same yeai =1$ 6:
netwoik fiist ian theii H'>0&2 (1$ 6"( competition. This competition actively

47
Fan woiks aie any fan piouuceu content, incluuing fan fiction, fan viueos anu fan ait.
S4
encouiageu fans to use footage fiom !"#$%&'("%') to cieate piomotional
tiaileis foi the show (Supeinatuial Scoop 2uu7). Nany of the people involveu
in making !"#$%&'("%') have commenteu on the level of fan-cieateu content
in the fanuom. "I was amazeu by the neat pics folks hau of me that they maue
into theii own special piece foi me to sign. Really cieative!"(Winchestei Bios
2uu9) actiess Tiaci Binwiuuie saiu, commenting on the level of fan
piouuction she witnesseu at conventions.
At Comic Con 2uu7 Eiic Kiikpe saiu of the wiiteis "We love the show anu
we'ie passionate about it anu what we always talk about amongst ouiselves
is we have some of the smaitest, most passionate, most intelligent fans of any
show on television." This open attituue of tuining a blinu eye to copyiight
issues oi even encouiaging fan cieativity is in contiast to the pievailing
attituue in the twentieth centuiy of shutting uown fan websites foi copyiight
infiingement (Poitei et al 2uu7 p11S).


S.4 : Biiect Reaction of the 0nline Fanuom to the Neta Stoiyline
It's soit of fun to poke fun at the show anu again, I have such a
tempestuous, loving, conflicteu ielationship with the online
fanuom that I neeueu too. I was also attiacteu to the possibility of
poking a bit of veiy loving fun. - Eiic Kiipke, Comic Con 2uu9
Theie weie a vaiiety of ieactions to the metafiction episoues (uetaileu in 4.4)
within the fanuom, with many of the fans polaiiseu in theii opinion on the
stoiyline. Even though many fans loveu the episoues anu founu them funny,
almost as many uislikeu the metafiction elements. A lot of these fans
expiesseu both positive anu negative iesponses to the metafiction stoiyline
although some uislikeu it outiight. They saw the stoiyline as belittling fans
anu making fun of them, oi poitiaying fanuom in a pooi anu unfaii light.
SS
This show ietains almost nothing of fiist season, anu insteau of
giaciously acknowleuging it, it pokes fun at it anu the fans who
love it. - Riona on Live}ouinal 2uu9a
I'm beginning to think Kiipke has no iespect foi his own fan base.
I uon't expect |the poweis that bej to conuone slash oi Wincest,
but I uon't appieciate it when the cieatois of one of my favoiite
shows make fun of the fanuom in geneial. - Spiueiine on
Live}ouinal 2uu9b
Nany fans felt that the wiiteis uiu not poitiay fanuom accuiately, choosing
to incluue only the less socially acceptable aspects in theii poitiayal iathei
than the aspects of fanuom that casual vieweis woulu be moie likely to
empathise with. The chaiactei of Becky was often singleu out as being a
paiticulaily unfavouiable iepiesentation that boie a iesemblance to only a
small minoiity of 'ciazy' fans that many wisheu not to be associateu with.
Kiipke anu co. focuseu on only one aspect of fanuom, exaggeiateu
it anu piesenteu it as being something fieakish anu Not Quite
Right. Foi vieweis who aie membeis of fanuom, it was a funny (oi
not funny) in-joke. Foi vieweis who aien't, it's yet anothei
poitiayal of those fans who live in basements anu can't
uistinguish between fantasy anu ieality anu now, on top of it all,
they wiite poinogiaphy; aien't they sick. Kiipke might not have
meant to cause haim; he was piobably just tiying to be funny. But
he was tiying to be funny about something he uiun't seem to fully
unueistanu anu enueu up being huitful in the piocess. -
Biting_moopie

on Live}ouinal 2u1ua
Ny initial ieaction at the enu of the show, was to wonuei what
|Eiic Kiipkej was tiying to say to anu about fanuom, anu I have to
say |Ij was a little peeveu by what I fiist thought was a bit of a
shaip jab at fans. But now I think that may have been my stiong
uislike of Becky. Why uiu he have to fixate on the Becky's of
fanuom. They aie by fai the minoiity, anu I as a fan loathe being
compaieu to anu thought to be the same as them by fanuom
outsiueis. Nany of whom think fans aie all weiiuos anyway. -
Sethia2uuu on Live}ouinal 2uu9c
S6
0theis founu the episoues embaiiassing to watch. It suggests a veiy piivate
anu peisonal aspect to fanuom when they equateu the expeiience of
watching the episoues to activities like uisplaying theii unueiweai in public.
The semi-piivate natuie of Livejouinal anu Livejouinal clone sites
48
such as
}ouinalfen anu Bieamwiuth wheie the majoiity of the online slash fanuom
opeiates auus to this uiscomfoit. Also, foi many fans, the iuea of watching the
episoues with family anu fiienus who may only be vaguely awaie of theii
involvement in fanuom was not an inviting piospect. A lot of the measuieu
iesponses I ieau inuicateu that while many fans enjoyeu the humoious
aspects of the episoues they questioneu the impact of the metafiction
stoiyline on the oveiall aic of the show anu the effect that bieaking the
fouith wall woulu have on the auuience.
It makes me .$I$%$)F uncomfoitable when subcultuie things aie
mentioneu uiiectly anu explicitly in the main cultuie meuia. I
think it's tacky anu inappiopiiate. Fanuom shoulun't be
mainstieam. Stop panueiing anu fanseivicing, especially in the
foim of "loving" jest. - Riona on Live}ouinal 2uu9u
I uiun't like the jabs at Inteinet fanuom because theie aie people
who ARE N0T on the Inteinet with the uebating anu slashing anu
they uon't neeu to know about that shit. - Nichelle on Live}ouinal
2uu9e
I think I'm gonna get a few uncomfoitable questions fiom some
people I know who aie moie casual fans of Show but know that
I'm obsesseu. I intenu to claim that I've heaiu of such things but
have no peisonal expeiience with it. - Logos_uu on Live}ouinal
2uu9f
Theie aie all kinus of ieasons that you might not want ceitain
people in youi life know what you uo online. I uon't know that the
Supeinatuial showiunneis aie entiiely the bau guys heie. I think -
anu just my opinion, obviously - that the SPN stuff is just anothei

48
"Anothei Quality to Livejouinal is the ability to "lock" ceitain posts, oi even entiie
jouinals, changing the public natuie of Live}ouinal blogs. Livejouinaleis can set theii posts
to be visible only to uesignateu Livejouinal useis, oi even only to themselves if they wish to
keep a piivate jouinal." (Bley 2uu9)
S7
step in the giowing mainstieam awaieness of Fanuom in geneial.
Theie may not be a way to put the genie back in the bottle, anu
maybe that's goou anu maybe it's bau, uepenuing on who you aie.
|...jBowevei playfully it was meant, |the wiiteisj hau maybe not
consiueieu that not eveiy fangiil is in a position to be totally
honest with the people aiounu hei, who might be sitting watching
the episoue with hei. That the ones who have that kinu of fieeuom
anu can just appieciate the |humouij aie, honestly, pietty uamn
lucky. - Innocentsmith on Live}ouinal 2u1ub
0n the bieaking the fouith wall thing: I finu it both funny anu
uncomfoitable -- both ieasons because I've seen enough YouTube
clips anu ieau enough iepoits on |Supeinatuialj conventions to
see this not as just a spoof but also as a iathei accuiate (anu
peihaps even geneious) take on fanuom. |...j The loving mockeiy
went both ways, which went a long way with *me* in establishing
the intent of goouwill towaius fanuom, howevei much we in tuin
may caiefully put the show, chaiacteis anu |the poweis that bej
unuei oui own micioscopes. - BlackcatSSS_99 on Live}ouinal
2uu9g
"I uiu think theie weie a numbei of genuinely funny moments in
the show, but they weie at the expense of the show anu not in
suppoit of it. A show shoulu be able to poke fun at itself but nevei
go this fai into self-paiouy because how uo you get back on the
hoise aftei that. -Youilibiaiian on Live}ouinal 2uu9h
It shoulu also be noteu that many fans loveu the episoue anu appieciateu the
humoui that the meta stoiyline auueu to the show. Some felt that the
poitiayal of fans was the wiiteis' benign way of poking fun while otheis
seemeu to gain a sense of schauenfieuue at the uiscomfoit that othei fans felt
when they weie effectively 'calleu out' on theii behavioui in the episoue.
This polaiisation of opinions means that the meta episoues weie some of the
most talkeu about, uebateu anu fought ovei episoues of the show.
I loveu this episoue. I loveu that it maue fun of some of the people
in my fanuom. I founu that hilaiious that it was basically a
"Bwahahaha we know what you uo anu we aie amuseucieepeu
out, anu also, see how we feel, have even a fiaction of the
S8
attention heapeu upon us," because they'ie not |annoyeuj at being
maue fun of, at the enu of the uay. They'ie fieaking out that the
people they know |in ieal lifej will ask them, "|oh my gouj uiu you
know that some people wiite about the biotheis in youi favoiite
show...like (1'(. - Anon on }ouinalFen 2uu9
I know otheis will be uncomfoitable because of it, but |...j if we'ie
alloweu to wiite fan fiction about the show, they aie totally
alloweu to wiite fan fiction about us, the fanuom. It's a complete
ciicle now, the love is mutual anu come on, they mock because
they love us. -Rogueslayei4S2 on Live}ouinal 2uu9i
A show uoing meta on itself is always ventuiing into uangeious
teiiitoiy, bieaking the usual walls between the fiction anu the
viewei, but I thought Supeinatuial uiu a goou job of it without
uoing excessive violence eithei to its own integiity oi to the fans. I
suspect that the uepiction of fans amuseu most, offenueu some,
embaiiasseu moie, anu huit otheis, but I think that all those
ieactions spoke moie to what the fans themselves biought to the
table than to what the episoue uiu. -Baiuicvoice on Live}ouinal
2uu9j
S9
Chaptei 6 : Implications of Results
6.1 : Bieaking the Fouith Wall anu the Beath of Piivacy
The Live}ouinal community SPN_uossip was cieateu just 17 uays aftei the
chaiactei of Chuck maue his fiist appeaiance on !"#$%&'("%') on Apiil 2nu
2uu9. The puipose of the SPN_uossip community is to pioviue an
anonymous foium wheie fans can uiscuss the peisonal anu piivate lives of
the actois in the show anu shaie any peitinent infoimation they finu.
49

Buiing 2uu9, in the weeks piioi to the intiouuction of the meta stoiyline the
show ieceiveu a numbei of wiite-ups in high piofile enteitainment
magazines (Wheat 2uu9). These aiticles coinciueu with incieaseu inteiest in
the show's stais by a numbei of Inteinet gossip columnists some of whom
implieu a homosexual natuie to the actoi's ielationship with each othei.
Columnists like Teu Casablanca anu Peiez Bilton began to uiiect moie
attention anu innuenuos towaius Paualecki anu Ackles, encouiaging the
small numbei of the conspiiacy theoiists amongst fans.

The two !"#$%&'("%') stuus aie as close as fictional biotheis can
be, oi so I heai. Boes that mean theie's no possibility that they
might get all supei anu natuial with each othei. 0f couise
not...but you uiun't heai it fiom me. - Casablanca 2uu9a

}.A. anu }.P. hau bettei slap a iing on one anothei so they uon't let
all theii tech-savvy fans uown! - Casablanca 2uu9b

}ensen Engageu! Biu The CW Aiiange This... - Bilton 2uu9

0n the 12
th
Novembei 2uu9 the episoue "The Real uhostbusteis" fiist
bioaucast, featuiing a gay couple 'poitiaying' Sam anu Bean. At the time
Paualecki anu Ackles, who play Sam anu Bean, weie co-habiting in a house in
vancouvei but shoitly befoie the episoue aiieu both actois got engageu to

49
Activities in the community incluue, but aie not limiteu to, posting uetails of piopeity
owneiship anu piivate photogiaphs fiom the actois peisonal social netwoiking accounts
anu those of theii fiienus anu families.
6u
theii iespective giilfiienus on the same weekenu.
Su
P. Baviu Naishall
explains the natuie of celebiity gossip, saying that events in Stoiywoilu anu
Realwoilu can be inteipieteu inteitextually in Auuiencewoilu
S1
. Although it
is likely that the bioaucast of the episoue anu the engagements aie entiiely
unielateu, many fans inteipieteu these events inteitextually. This may go
some way towaius explaining why the engagement announcements leu to
Ackles' fiance Banneel Baiiis (uanneelhaiiis) engaging Teu Casablanca
(theawfultiuth) in a public aigument on Twittei about the valiuity of hei
engagement. (Casablanca 2uu9c)

A colu winu is blowing acioss the lanuscape of piivacy. The twin
impeiatives of technological auvancement anu counteiteiioiism
have leu to uiamatic anu possibly iiieveisible changes in what
people can expect to iemain of piivate life." (Biown 2uu8)
Novembei 2uu9 also saw an inciease in the activity on the SPN_uossip
community
S2
anu an inciease in the invasive natuie of the activities.
Paualecki's weuuing website at theknot.com was hackeu anu weuuing uetails
incluuing the uate anu location weie posteu at the community (SPN_uossip
2u1ua). Facebook anu NySpace piofiles of family anu fiienus of Paualecki
anu Ackles weie also founu by fans, who posteu photogiaphs anu othei
peisonal infoimation available in these piofiles onto the SPN_uossip public
foium (SPN_uossip 2u1ub). The invasive natuie of these activities is obvious
but, iathei than being specific to this fanuom, this level of uelving into the
peisonal piofiles of fiienus anu families of the actois ieflects a giowing
uisiegaiu foi piivacy in society at laige. Bon Tapscott says in his 2uu9 book
'uiown 0p Bigital' that the level of shaiing on social netwoiking sites means
that many people may be uestioying theii "iight to be left alone"(p6S). Be
says "as the Net becomes the basis foi commeice, woik, the meuia,

Su
citations neeueu
S1
see Chaptei 2.4
S2
All gossip posts on SPN_uossip aie between 9,uuu anu 1u,uuu comments. In its fiist 6
months (Apiil - 0ctobei 2uu9) the community aveiageu one post pei month. Fiom 0ctobei
2uu9 - Apiil 2u1u the amount of comments uoubleu anu the community aveiageu two posts
pei month.
61
enteitainment, healthcaie, leaining, anu most foims of human uiscouise, oui
piivate lives aie becoming a lot less piivate." (Tapscott p69) Lipton (2u1u)
uiscusses the lack of legal iestiictions that incieasingly means that any
membei of the public can become a 'papaiazzi' anu use theii mobile phones
to shaie unsoliciteu footage of otheis online, anu in }uly 2u1u Niciosoft
ieseaichei Bannah Boyu saiu "We have no uefinition of piivacy," in ielation
to ciiticism levelleu at Facebook foi theii lack of piivacy contiols (NcCaithy
2u1u). I believe that if these piivacy issues continue to exist, theie is a
uangei that meuia fanuom will become moie anu moie invasive in natuie.
uiven the level of inteiest fans have in Paualecki anu Ackles' piivate lives it
woulu seem sensible that they uo not engage in any online social netwoiking
with fans. Bowevei this also iaises the possibility that imposteis might pose
as them online. Though most fake social netwoiking accounts aie paiouies oi
fans iole-playing as celebiities (Paul 2uu9, Twitteicism 2u1u), this is not
always the case. In 2uu9 Clif Kosteimann - a membei of the !"#$%&'("%')
ciew anu bouyguaiu to Paualecki anu Ackles - establisheu himself on Twittei
with the useiname Bouyguaiu4}anu}. Kosteiman tolu followeis that an
impostei posing as Ackles on Twittei hau aiiangeu to meet a young fan in an
offline setting (Clif Kosteiman 2u1ua, 2u1ub, Supeinatuial Tv 2u1u). The giil
hau not gone to the aiiangeu meeting alone anu hau come to no haim,
howevei this inciuent seives to highlight the potential uangeis of the cuiient
tienu of peisonal coiiesponuence with celebiities thiough social netwoiking
sites anu the pseuuo-peisonal auia that suiiounus this. While in the case of
!"#$%&'("%') this may be compounueu by fiequent conventions anu face-to-
face meetings this is also incieasingly becoming the case foi shows that uo
not meet the tiauitional uefinition of 'Cult'. Comic Con 2u1u is a piime
example of this change, with shows like :10($ 6-))'%, E-&$. anu 6'.()$
exhibiting at the event, which once taigeteu a niche auuience of comic book,
science fiction anu fantasy fans (Comic Con 2u1u).


62
6.2 : The Balance of Powei anu Contiol
What a fanuom this is, anu what a stiange anu wonueiful
ielationship we have with the showiunnei. An almost...co-
uepenuent anu incestuously close ielationship, one might say... -
Anuieth47 on Live}ouinal 2u1uu
It is impossible to piopeily examine the effects of the metafiction stoiyline
without also taking into account the ostensible cultuie of intimacy anu
collaboiation that exists between the Supeinatuial fanuom anu piouuceis.
The intiouuction of the metafiction stoiyline within the Supeinatuial text uiu
not cause a suuuen anu abiupt uestiuction of the fouith wall, but iathei it
was the final blow that bioke an alieauy unstable wall. The fan teim
'Kiipkeu' was coineu eaily in the life of the Supeinatuial fanuom
SS
. The teim
is useu to uesciibe times when piouuceis - knowingly oi unknowingly -
incoipoiate fanon
S4
into the canon of a show
SS
. The Supeinatuial wiiteis
have a histoiy of ieaffiiming fan iueas within the text
S6
. The iegulai
inclusions of iefeiences to Wincest anu many othei fan fiction clich's within
the cannon of the show inuicate the level of attention that the wiiteis pay to
the fanuom.
S7
This level of attention was again maue appaient when female
chaiacteis }o Baivelle (Season 2) anu Bella Talbot (Season S) weie wiitten
out of the show, paitially uue to the opposition of a vocal contingent of fans
(Ruuolph 2uu7, Williams 2uu8). It became even moie cleai that the wiiteis
weie taking many of theii cues fiom fan ieaction to episoues when in
0ctobei 2uu8, aftei a line of uialogue fiom the episoue "Yellow Fevei"
S8

pioveu contioveisial in online foiums, Eiic Kiipke ieleaseu a statement

SS
Accoiuing to Supeinatuial Wiki the teim was fiist useu by Clex_monkie89 in a IN
conveisation in 2uu6.
S4
Fanon is the beliefs wiuely helu about the show oi its chaiacteis by fans that have not
been establisheu in the show's canon.
SS
The teim Kiipkeu was coineu anu is wiuely useu baseu on a uiiect opposition to the
longhelu fan teim '}osseu' which ielateu to moments when canon negates fanon anu is
nameu aftei wiitei }oss Wheuon's (Buffy the vampiie Slayei, Fiiefly) penchant foi
uelibeiately uefying his fans' expectations.
S6
See Chaptei 4.1 foi an example of this.
S7
See Fanfic cliche bingo foi moie uetails on this. Available online at:
<http:missyjack.livejouinal.comS22uu8.html> |last accesseu 12 Auguest 2u1uj
S8
Season 4, Episoue 6
6S
explaining his ieasoning foi the line moie fully within 24 houis (The Tv
Auuict 2uu8). By the time "The Nonstei at the Enu of this Book" aiieu in
2uu9 any iemaining illusion of a wall between the wiiteis anu the auuience
was lost.

Ripping uown the fouith wall, anu exploiing some of the uneasy
issues anu conflicts that aiise between fictional subjects, theii
cieatois, anu the fans who enjoy the woik, has been gieat fun foi
us, anu something most shows uon't get the oppoitunity to uo--
because they'ie geneially not as insane oi stupiu as we aie. - Eiic
Kiipke, Winchestei Family Business 2u1u.

In A'&('2-&0.8 (2uu7) Beiek }ohnson uiscusses the iole of fan
iepiesentation in the 'powei-lauen uiscuisive stiuggles' of the fan-text-
piouucei ielationship (p286). Be notes that this stiuggle foi powei exists
both between inteinal factions within fanuom anu exteinal institutions like
the piouuction team(p287). }ohnson sees the fan iepiesentations that
occuiieu in the sixth season of E"JJF as the piouuceis' way of uisciplining
fans foi pooi behavioui. In a similai way, Felschow (2u1u) sees "The Nonstei
at the Enu of this Book" as an effoit on the pait of piouuceis to asseit theii
powei, ieminuing fans that they uo not get to choose what stoiies aie tolu on
the show. Those fans who feel that the iepiesentation was inaccuiate anu
one-siueu uo not have the same iesouices as the piouuceis foi piesenting
theii own iepiesentations to the viewing public. In this way the episoues
give the piouuceis the powei to set the paiameteis on how fans shoulu be
peiceiveu by the viewing public anu peihaps even by themselves. When Bills
(2uu2) suggesteu that fans hau become "a meuiateu anu textual peifoimance
of auuiencehoou"(p181) he may not have been iefeiiing to a situation as
extieme as this but it is cleai to me that within this meta stoiyline the fans of
!"#$%&'("%') have essentially been iepuiposeu as plot uevices anu within
this same iealm the wiiteis aie gous.

64
Well, theie's only one explanation foi it. 0bviously I'm a gou. -
Chuck, The Nonstei at the Enu of This Book

In uiscussing the E$'"(F '&4 (1$ E$'.( fanuom }enkins (1992) uesciibes a
situation wheiein the piouuceis anu the fans inteiests weie in uiiect
opposition. Be uses this example to suggest that ciiticism anu active
opposition can be an essential pait of fanuom (p122). Similaily Stuait Ball
(citeu in Pioctei 2uu4) iefeis to oppositional ieauings as 'significant political
moments' in which a gioup of vieweis actively iecognise anu oppose the
piefeiieu ieauing of a text (p7u). If we consiuei the aigument that
oppositional ieauings tiansfoim the consumei fiom passive to active
(Colebiook 1997) it coulu be aigueu that in some cases the act of
incoipoiating these ieauings into the text coulu tiansfoim the active
auuience into a passive auuience. In the same way the inclusion of fan
ieauings of opposition within a text coulu iecontextualise these ieauings as
piefeiieu ieauings anu thus the oppositional ieaueis as complicit. Bowevei, I
believe that in the case of !"#$%&'("%')@ wheie oppositional ieauings such as
Wincest have been incoipoiateu into the text, this is an empoweiing act of
iecognition, peihaps in pait because the wiiteis only evei alluue to the iuea,
iathei than actually establishing a canon incestuous ielationship between the
biotheis. The willingness heie of the authois to paitially kill themselves
(uiay 2u1u) is an empoweiing move anu fai fiom cieating a passive
auuience, I believe that foi most fans the wiiting in !"#$%&'("%') actively
encouiages a paiticipation fanuom, ieinstating the type of stoiytelling that
Waltei Benjamin heialueu the loss of in 19S6. The wiiteis achieve this using
a combination of obscuieu anu oiganic invitation in the foims of the
hypeiuiegetic natuie of the text anu the consistent iefeiences to fan activities
anu to the laigei meuia fanuom.

Theie aie some cieatois that'll heai what fans aie saying but
often times will stick with what they have going, iegaiuless
whethei the auuience likes what is happening anu what is, anu
theie aie those that will completely allow theii fans to make theii
6S
cieative uecisions foi them. Kiipke kinu of falls somewheie in the
miuule of these two categoiies. Be's hau a five yeai plan since the
beginning, he's hau iueas of wheie he wants the seiies to heau
towaius, but he also uoes listen to fans anu what they aie saying
anu takes those into consiueiation, but still molus it into his own
iueas. - Rogueslayei4S2 on Livejouinal
0ne of the majoi fanuom uebates suiiounuing RPF is the moiality of using
anothei peison's life as inspiiation foi fiction (Busse 2uu6 p22u). While
many fans feel uncomfoitable with RPF foi this ieason, many who wiite
aigue that "celebiities uisplay themselves publically as pait of theii celebiity
text" anu this makes celebiities faii game. Busse uiaws paiallels between the
celebiity peifoimance anu the peifoimativity of social inteiaction online
saying that "Biscouises about fans - wheie ieal-life iuentity is paitially
hiuuen anu wheie online iuentities aie paitially peifoimeu- allow fans to
engage with one anothei's peisonas, which aie unueistoou to not fully
coinciue with the actual peison" (p2u7). Nany fans of !"#$%&'("%') weie
upset by the metafiction stoiyline because they felt that it iaiseu
uncomfoitable questions with family anu fiienus. The politics of 'outing' fans
to family, fiienus oi colleagues against theii will is a long helu uebate within
fanuom (}enkins 1992 p2u2) but if Busse's aigument is taken to its logical
conclusion then the inclusion of iepiesentations of online fans in
Supeinatuial is no moie questionable oi immoial than the inclusion of ieal
actois in fan fiction. uiven the ambiguous natuie of RPF's moial status in
fanuom this is not to say that these iepiesentations aie unobjectionable.
When the balance of powei is also taken into account it is unueistanuable
that some fans felt aggiieveu by the iepiesentations in the metafiction
episoues.
It is impoitant to note that many of the negative anu uncomfoitable ieactions
that I encounteieu in ielation to the metafiction stoiyline weie moie
conceineu with a sense that the hypeiuiegesis of the woilu has been
bieacheu. Bills (2uu2) anu }enkins have both noteu that fans will ieact
hostilely to any thieat to the hypeiuiegesis of theii text. }enkins (1992) says
66
that fans feel that they have a 'moial iight' to ciiticise aspects of the text that
they feel thieaten theii ieauing of the text. Foi many !"#$%&'("%') fans the
bieaking of the fouith wall was a step too fai to pieseive the integiity of the
chaiacteis anu woilu of !"#$%&'("%') anu this iesulteu in many uissenting
voices in the online fanuom.
67
Chaptei 7: Conclusion
Thioughout this papei I have examineu how the bieakuown of the tiauitional
baiiieis between the auuience anu piouuceis anu the fans anu text aie
affecting fanuom. Ny liteiatuie ieview shows that this tienu is becoming
incieasingly eviuent, paiticulaily in many consciously post-mouein
television piogiammes aimeu at a young auult auuience. I have examineu the
oiigins of fan stuuies anu much of the pievious wiitings on fan woiks, cult
Tv, inteitextuality anu auuience paiticipation. I also lookeu at a numbei of
stuuies that examineu othei Tv seiies' anu films that iepiesenteu fans within
the text.
In oiuei to appioach the question of how this bieakuown in baiiieis is
affecting fans I useu the !"#$%&'("%') fanuom as a case stuuy. Although the
case of !"#$%&'("%') has an above-aveiage level of fantext anu fanpiouucei
inteiaction I believe that, given cuiient tienus in how uiiectly mainstieam
shows aie now engaging with theii auuience (as uetaileu in 2.4, 2.S), it
iepiesents a potential mouel foi television seiies' in the futuie. In this way
my finuings as they peitain to !"#$%&'("%') can potentially be applieu to the
futuie of meuia fanuom geneially.
In examining the iepiesentation of fans anu fan oiiginateu iueas in the text of
the show !"#$%&'("%') I founu that while many fan iepiesentations weie
piimaiily comeuic steieotypes, fan chaiacteiisations within the show aie
geneially positive. The one exception I founu to this was the chaiactei of
Becky, who is also the only oveit poitiayal of a female fan. Beniy }enkins
(2uu7) anu Natt Bills (2uu2) have both noteu that iepiesentations of fans in
the meuia have become moie sympathetic as piouuceis have begun to see
the commeicial benefits of telepaiticipation, howevei I believe that fuithei
stuuy is neeueu on whethei this applies equally to male anu female meuia
fans.
Similaily to Schmiut (2u1u) I founu that whatevei the intent on the pait of
piouuceis of incluuing fan iepiesentations within the text, when fans feel
68
that they have been inaccuiately iepiesenteu oi mockeu theie is a potential
foi huit feelings anu loss of vieweiship. Auuitionally, I have aigueu that any
bieach of the fouith wall function cieates instability within the hypeiuiegesis
of the inteinal woilu anu logic of the Tv show. Foi this ieason this type of
naiiative shoulu be useu spaiingly (if at all) in any show that ielies heavily
on the vieweis' investment in the emotional iealism of the woilu anu its
chaiacteis. This applies paiticulaily to cult television wheie theie is an
auuitional uangei that vieweis may lose faith in the integiity of the auteuiial
piesence, anu thus in the futuie of the show.
I founu that ovei the couise of its five seasons both fans anu piouuceis of
!"#$%&'("%') have embiaceu a cultuie of intimacy, wheie fans often paitake
in the chance to meet with oi otheiwise communicate with actois anu
wiiteis fiom the show. I also founu that the piouuceis of !"#$%&'("%') openly
encouiage the piouuction of fan woik, incluuing fan fiction. Auuitionally, I
have suggesteu that much of the inteiview footage anu BvB extias that
featuie the two main actois may playfully encouiage the ieauing of stiong
male homosocial uesiie into the ielationship in oiuei to inteitextually
ieinfoice the bonu between the two main chaiacteis. I have lookeu foi
potential coiielation between the poitiayal of fans within the text anu theii
behavioui online anu I finu that theie aie many potential implications ielateu
to piivacy anu powei that aiise fiom this compaiison, paiticulaily when the
iesults of this case stuuy aie applieu moie bioauly to the futuie of the wiuei
meuia fanuom. The cuiient social netwoiking eia has leu to seemingly close
intei-peisonal ties between some fans anu piouuceis. In the case of
!"#$%&'("%')@ fans anu piouuceis also inteiact in even moie intimate ways,
such as face-to-face at conventions. This is a type of inteiaction that is
becoming incieasingly common, even in shows that woulu not be consiueieu
typically 'cult'. This biings with it issues ielateu to piivacy anu safety
conceins, incluuing the heighteneu iisk of online pieuatois impeisonating
celebiities to meet with young fans.

69


The measuies that Tv piouuceis aie now taking to engage auuiences in
mainstieam television piogiamming aie becoming both moie uiiect anu
moie extiatextual. The immeuiate natuie of the Inteinet as a tool of
uiscouise with piouuceis anu celebiities is fosteiing a sense of familiai
connection with fans. Foi many fans the way they communicate with
piouuceis is now almost iuentical to the methous they use to communicate
with fiienus online (2.4). I have founu that even with the use of one specific
case stuuy the changes that the aichitectuie of the fan-text-piouucei
uynamic is unueigoing aie a huge aiea of stuuy. It is an aiea that I believe is
becoming moie ielevant anu one that I woulu be keen to exploie fuithei.

7u
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74
uenette, u. 1997. 5'%'($?(.V =1%$.1-)4. -J 0&($%#%$('(0-&. New Yoik:
Cambiiuge 0niveisity Piess.

R0)8-%$ R0%).P =1$ 6-8#)$($ !$9-&4 !$'.-&. 2uu1. |BvBj Biiecteu by vaiious.
Wainei Bome viueo.

uoiton, K. 2uu9. H$40' C"40$&9$.P =$)$I0.0-&@ H$'&0&2 '&4 <8-(0-&.
Euinbuigh 0niveisity Piess. 0K.

uoiman, B. 2u1u. Final 2uu9-1u Bioaucast Piimetime Show Aveiage
vieweiship. 16 }une 2u1u. =G EF (1$ B"8K$%.V |0nlinej Available fiom:
<http:tvbythenumbeis.com2u1uu616final-2uu9-1u-bioaucast-
piimetime-show-aveiage-vieweishipS4SS6> |accesseu 26 }uly 2u1uj

uiay, }. 2uu8. =$)$I0.0-& <&($%('0&8$&(. New Yoik: Routleuge.

uiay, }. 2u1u. !1-M !-)4 !$#'%'($)FP 5%-8-.@ .#-0)$%.@ '&4 -(1$% 8$40'
#'%'($?(.. New Yoik: New Yoik 0niveisity Piess

uiossbeig, L. 2uu6. Is Theie a Fan in the Bouse. The affective sensibility of
fanuom. QBP Naishall, P.B. (eu) 2uu6. =1$ 6$)$K%0(F 6")("%$ 7$'4$%. New Yoik:
Routleuge

uwenllian-}ones, S. 2uuS. Web Wais: 0nline Fanuom anu Stuuio Censoiship.
QBP }ancovich,m. anu Lyons, }. (eus) ["')0(F 5-#")'% =$)$I0.0-&P 6")( =G@ (1$
Q&4".(%F '&4 A'&.. Lonuon: BFI.

uwenllian-}ones, S. anu Peaison, R.E. 2uu4. 6")( ($)$I0.0-&V Ninnesota:
0niveisity of Ninnesota Piess

Baitingei, B. 2uu9. When Exactly uiu Supeinatuial go fiom being "Pietty
uoou" to "uieat". 11 Nay 2uu9. =1$ =-%91L&)0&$V9-8 |0nlinej Available fiom:
7S
<http:thetoichonline.com2uu9uS11when-exactly-uiu-supeinatuial-
go-fiom-being-pietty-goou-to-gieat> |accesseu 12 August 2u1uj

/$%-$.V 2u1u. Beioes Alteinate Reality uame. |0nlinej Available fiom:
<http:www.nbc.comheioesevolutions> |accesseu 4 Septembei 2u1uj

Bilton, P. 2uu9. }ensen Engageu! Biu the CW Aiange This... 9 Novembei
2uu9. 5$%$S/0)(-&V9-8. |0nlinej Available fiom:
<http:peiezhilton.com2uu9-11-u9-jensen-engageu-uiu-the-cw-aiiange-
this> |accesseu 1S August 2u1uj

Beimes, }. 2uu6. Reauing uossip Nagazines: The imagineu communities of
'gossip' anu 'camp' QBP Naishall, P.B. (eu) =1$ 6$)$K%0(F 6")("%$ 7$'4$%. New
Yoik: Routleuge

Bills, N. 2uu2. A'& 6")("%$.. Lonuon: Routleuge.

Butcheon, L. 198u. B'%90..0.(09 &'%%'(0I$P (1$ 8$('J09(0-&') #'%'4-?. Canaua:
Wilfiiu Lauiiei 0niveisity Piess.

INBB. 2u1ua. Supeinatuial Episoue List. |0nlinej Available fiom:
<http:www.imub.comtitlettu46u681episoues> |accesseu 17 August
2u1uj

}aneuavitt. 2uuS. Reunion - fiist fan fiction posteu on Supeinatuialfic
community. 14 Septembei 2uuS. !"#$%&'("%')A09. |0nlinej Available fiom:
<http:community.livejouinal.comsupeinatuialficSSu.html> |accesseu 26
}uly 2u1uj

}enkins, B. 1992. =$?("') 5-'91$%.P ($)$I0.0-& J'&. '&4 #'%(090#'(-%F 9")("%$.
New Yoik: Routleuge

76
}enkins, B. 2uu6a. 6-&I$%2$&9$ 9")("%$P :1$%$ -)4 '&4 &$M 8$40' 9-))04$V New
Yoik: New Yoik 0niveisity.

}enkins, B. 2uu6b. A'&.@ K)-22$%.@ '&4 2'8$%.P $?#)-%0&2 #'%(090#'(-%F 9")("%$.
New Yoik: New Yoik 0niveisity Piess.

}enkins, B. 2uu7. =1$ M-M 9)08'?P (%'90&2 (1$ $8-(0-&') 08#'9( -J #-#")'%
9")("%$. New Yoik: New Yoik 0niveisity Piess.

}ensen, }. 1992. Fanuom as Pathology: The Consequences of Chaiacteiisation.
QBP Lewis, L.A. =1$ C4-%0&2 C"40$&9$P A'& 6")("%$ '&4 5-#")'% H$40'V Lonuon:
Routleuge.

}estei, A. 2u1ua. Eiic Kiipke anu the Supeinatuial Fans: An 0nconventional
Relationship. :0&91$.($% A'80)F E".0&$... 17 Nay 2u1u. |0nlinej Available
fiom: <http:www.thewinchesteifamilybusiness.comaiticle-
listcategoiy7848S-eiic-kiipke-anu-supeinatuial-fans-an-unconventional-
ielationship.html> |accesseu 26 }uly 2u1uj

}estei, A. 2u1ub. Fans Show Eiic Kiipke Theii Love in the Bollywoou
Repoitei. 11 }une 2u1u. :0&91$.($% A'80)F E".0&$... |0nlinej Available fiom:
<http:www.thewinchesteifamilybusiness.comnews-anu-
announcementsnews-anu-announcements9198-fans-show-eiic-kiipke-
theii-love-in-the-hollywoou-iepoitei.html> |accesseu 26 }uly 2u1uj

}ohnson, B. 2uu7. Fan-tagonism: Factions, Institutions, anu Constitutive
Begemonies of Fanuom QBP uiay, }., Sanuvoss, C anu Baiiington, C.L. (eus.)
2uu7. A'&4-8P Q4$&(0(0$. '&4 6-88"&0(0$. 0& ' H$40'($4 :-%)4. New Yoik:
New Yoik 0niveisity Piess.

77
}ohnson, B. 2uu7. Inviting Auuiences In: The Spatial Reoiganisation of
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vol S.1.

}ouinalfen. 2uu9. Anonymous comment. |0nlinej Available fiom:
<http:www.jouinalfen.netcommunityfanuom_wank12uSS4S.html.thie
au=196uS47uS#t196uS47uS> |accesseu August 2S 2u1uj

King, Stephen. 1987. H0.$%F. 0SA: Signet.

Knight, N. 2uu7. !"#$%&'("%')P =1$ LJJ090') 6-8#'&0-& !$'.-& \V Titan books.

Kosteiman, C. 2u1ua. Twittei comment by bouyguaiu4januj.16 }anuaiy
2u1u. Twittei. |0nlinej Available fiom:
<http:twittei.combouyguaiu4}anu}status78196641S9> |accesseu
August 2S 2u1uj

Kosteiman, C. 2u1ub. Clif Kosteiman poucast inteiview.17 }anuaiy 2u1u.
Twittei. |0nlinej Available fiom:
<http:www.blogtalkiauio.comwinchestei_iauio2u1uu117clif-
kosteiman-inteiview-episoue-S1u-pait-2> |accesseu August 2S 2u1uj

Kiisteva, }. 198u. ;$.0%$ 0& ,'&2"'2$P C !$80-(09 C##%-'91 (- ,0($%'("%$ '&4
C%(V 0xfoiu: Basil Blackwell

KTLA. 2u1u. Bow } & } Poppeu the Question. ]=,CV9-8. |0nlinej Available
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S86SSe1f21baEnteitainmentSupeinatuial-Bow-}-}-Poppeu-the-Question>
|accesseu 2S August 2u1uj

Kubicek, }. 2uu9. Nisha Collins anu 'Supeinatuial' Fans Beclaie Twittei Wai
on P. Biuuy. 14 Septembei 2uu9. E"44F=GV |0nlinej Available fiom:
78
<http:www.buuuytv.comaiticlessupeinatuialmisha-collins-
supeinatuial-fan-S1194.aspx> |accesseu 14 August 2u1uj

Lipton, }. 2u1u. "We, the Papaiazzi": Beveloping a Piivacy Paiauigm foi
Bigital viueo. Q-M' ,'M 7$I0$M; Nai2u1u, vol. 9S Issue S, p919-984, 66p.

Livejouinal. 2uu9a. Comment by Riona. S Apiil 2uu9. |0nlinej Available fiom:
<http:halfshellvenus.livejouinal.comSS1841.html.thieau=68191S7#t681
91S7> |accesseu August 2S 2u1uj

Livejouinal. 2uu9b. Comment by Spiueiine. 2 Apiil 2uu9. |0nlinej Available
fiom: <http:spiueiine.livejouinal.comS6uS28.html> |accesseu August 2S
2u1uj

Livejouinal. 2uu9c. Comment by Sethia2uuu. 19 Novembei 2uu9. |0nlinej
Available fiom:
<http:baiuicvoice.livejouinal.com6uSS4.html.thieau=1u12618#t1u1261
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Livejouinal. 2uu9u. Comment by Riona. S Apiil 2uu9. |0nlinej Available
fiom: <http:iesounuing-
echo.livejouinal.com118248.html.thieau=881896#t881896> |accesseu
August 2S 2u1uj

Livejouinal. 2uu9e. Comment by Nichelle. S Apiil 2uu9. |0nlinej Available
fiom: <http:iesounuing-
echo.livejouinal.com118248.html.thieau=881S84#t881S84> |accesseu
August 2S 2u1uj

Livejouinal. 2uu9f. Comment by Logos_uu. S Apiil 2uu9.|0nlinej Available
fiom:
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<http:community.livejouinal.comspnfencentialS48S28.html.thieau=S1
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Livejouinal. 2uu9g. Comment by BlackcatSSS-99. 14 Novembei 2uu9.
|0nlinej Available fiom: <http:blackcatSSS-
99.livejouinal.com1S6742.html#cutiu1> |accesseu August 2S 2u1uj

Livejouinal. 2uu9h. Comment by Youilibiaiian. 14 Novembei 2uu9. |0nlinej
Available fiom:
<http:youilibiaiian.livejouinal.com14u7S6.html.thieau=1669824#t1669
824> |accesseu August 2S 2u1uj

Livejouinal. 2uu9i. Comment by Rogueslayei4S2. 12 Septembei 2uu9.
|0nlinej Available fiom:
<http:iogueslayei4S2.livejouinal.comS229u7.html> |accesseu August 2S
2u1uj

Livejouinal. 2uu9j. Comment by Baiuicvoice. 6 Apiil 2uu9. |0nlinej Available
fiom: <http:baiuicvoice.livejouinal.comS2172.html> |accesseu August
2S 2u1uj

Livejouinal. 2u1ua. Comment by Biting_moopie. 1S }anuaiy 2u1u. |0nlinej
Available fiom:
<http:vulgaiweeu.livejouinal.com299u66.html.thieau=41S7SSu&foimat
=light#t41S7SSu> |accesseu August 2S 2u1uj

Livejouinal. 2u1ub. Comment by Innocentsmith. 1S }anuaiy 2u1u. |0nlinej
Available fiom:
<http:vulgaiweeu.livejouinal.com299u66.html.thieau=4124474&foimat
=light#t4124474> |accesseu August 2S 2u1uj

8u
Livejouinal. 2u1uc. Comment by iogueslayei4S2. S Febiuaiy 2u1u.|0nlinej
Available fiom:
<http:community.livejouinal.comspn_heavymetaSuS2S7.html.thieau=1
uu746S#t1uu746S> |accesseu August 2S 2u1uj

Livejouinal. 2u1uu. Comment by Anuieth47. S }anuaiy 2u1u. |0nlinej
Available fiom:
<http:missyjack.livejouinal.comS22uu8.html.thieau=1S7S9S44#t1S7S9
S4> |accesseu August 2S 2u1uj

Live}ouinal. 2u1u. About Live}ouinal. |0nlinej Available fiom:
<http:www.livejouinal.comsiteabout.bml> |accesseu 2S }uly 2u1uj

Lost. 2u1u. The Lost Alteinate Reality uame. |0nlinej Available fiom:
<http:theislanuisntuonewithyouyet.com> |accesseu 4 Septembei 2u1uj

Naishall, P.B. (eu) 2uu6. =1$ 6$)$K%0(F 6")("%$ 7$'4$%. New Yoik: Routleuge

Naishall, P.B. 2uu6. New Neuia - New Self : The Changing powei of celebiity.
QBP Naishall, P.B. (eu) 2uu6. =1$ 6$)$K%0(F 6")("%$ 7$'4$%. New Yoik:
Routleuge

NcCaithy, C. 2u1u. Biu We Pionounce Piivacy Beau This Week. Su }uly 2u1u.
6B$( B$M.. |0nlinej Available fiom: <http:news.cnet.com8Su1-1SS77_S-
2uu122S4-S6.html> |accesseu 1S August 2u1uj

H0.$%FV 199u. |BvBj Biiecteu by Rob Reinei. 0SA: Castle Rock Ent.

Noloney, }. 2u1u. Tiue Biomance Reveals Nen's Beep Neeu foi Beep
Emotional Comfoit. 1S August 2u1u. Iiish Inuepenuent. |0nlinej Available
fiom: <http:www.inuepenuent.ielifestyletiue-biomance-ieveals-mens-
81
ueep-neeu-foi-ueep-emotional-comfoit-229794S.html> |accesseu 17 August
2u1uj

Newitz, A. 2u1u. Supeinatuial's Showiunnei Seia uambles talks about uou
anu enuings. 19 Nay 2u1u. Q-XV9-8. |0nlinej Available fiom:
<http:io9.comSS4Su2Ssupeinatuials-showiunnei-seia-gamble-talks-
about-gou-anu-enuings> |accesseu 2 Septembei 2u1uj

!"#$%&'("%')P =1$ 6-8#)$($ A0%.( !$'.-&V 2uuS. Bonus Bisc. 0SA: Wainei
Bome viueo.

Paul, I. 2uu9. 1S Fake anu Funny Twittei Accounts. 16 Febiuaiy 2uu9. 56
:-%)4. |0nlinej Available fiom:
<http:www.pcwoilu.comaiticle1S94921S_fake_anu_funny_twittei_acco
unts.html> |accesseu S Septembei 2u1uj

Penley, C. 1997. BC!CD=%$>P 5-#")'% !90$&9$ '&4 !$? 0& C8$%09'. 0K: veiso.

Poitei, L., Laveiy, B. anu Robson, B. 2uu7. ,-.(*. E"%0$4 =%$'."%$. P =1$
3&-JJ090') R"04$ (- <I$%F(10&2 ,-.( A'&. B$$4. Illinois: Souicebooks Inc.

Pioctei, }. 2uu4. !("'%( /')). Routleuge, Lonuon.

Rauway, }. 1984. 7$'40&2 (1$ 7-8'&9$. Noith Caiolina: The 0niveisity of
Noith Caiolina Piess.

Raymonu, C. 2uu9. #lucifeiiscoming... Anu Be Bioke Twittei! 1u Septembei
2uu9. C..-90'($4 6-&($&(. |0nlinej Available fiom:
<http:www.associateucontent.comaiticle2162689lucifeiiscoming_anu_
he_bioke_twittei.html> |accesseu 14 August 2u1uj

Ross, S.N. 2uu7. E$F-&4 (1$ E-?. 0K: Blackwell Publishing
82

Rogue Events. |0nlinej Available fiom: <http:iogueevent.com> |accesseu
12 August 2u1uj

Ruuolph, I. 2uu7. 0p Close with Supeinatuial's }ensen Ackles: Pait 2. 26
0ctobei 2uu7. =G R"04$. |0nlinej Available fiom:
<http:www.tvguiue.comnewssupeinatuial-jensen-ackles-4uS1u.aspx>
|accesseu 12 August 2u1uj

Sanuvoss, C. 2uuS. A'&.P =1$ H0%%-% -J 6-&."8#(0-&. 0K: Polity Piess.

Schmiut, Lisa. 2u1u. Nonstious melouiama: Expanuing the scope of
melouiamatic iuentification to inteipiet negative fan iesponses to
!"#$%&'("%'). =%'&.J-%8'(0I$ :-%>. '&4 6")("%$.@ no. 4. |0nlinej Available
fiom: <http:ux.uoi.oig1u.S98Stwc.2u1u.u1S2> |Accesseu 16 }uly 2u1uj

Sconce, }. 2uu4. What If.: Chaiting Television's New Textual Bounuaiies QB:
Spigel, L. anu 0lsson, }. =$)$I0.0-& 'J($% =GP $..'F. -& ' 8$40"8 0& (%'&.0(0-&.
Buke 0niveisity Piess.

SPN_uossip. 2u1ua. The Weuuing Page. 19 }anuaiy 2u1u. |0nlinej Available
fiom:
<http:community.livejouinal.comspn_gossip4161.html.thieau=2S89689
7#t2S896897> |accesseu 1u August 2u1uj

SPN_uossip. 2u1ub. Pictuies fiom Paualecki's sistei-in-law's Facebook
posteu to anonymous foium. 1S Naich 2u1u. |0nlinej Available fiom:
<http:community.livejouinal.comspn_gossipS7SS.html.thieau=S8271SS
S> |accesseu 1u August 2u1uj

SPN_Postcaius. 2u1u. Livejouinal community foi the Supeinatuial Postcaiu
Pioject. |0nlinej Available fiom:
8S
<http:community.livejouinal.comspn_postcaiuspiofile> |accesseu 26
}uly 2u1uj

SPN Newslettei. 2uu6. Supeinatuial Newslettei. Cieateu 16 Febiuaiy 2uu6.
|0nlinej Available fiom: <http:community.livejouinal.comspnnewslettei>
|accesseu 26 }uly 2u1uj

Stoiey, }. 2uu6. 6")("%') =1$-%F '&4 5-#")'% 6")("%$P C& Q&(%-4"9(0-&@ G-)"8$
^__`@ 5'%( ^. 0K: Peaison Euucation Limiteu.

Supei_Real. 2uuS. Supeinatuial Real Peison Fiction Community. Cieateu 1S
Novembei 2uuS. |0nlinej Available fiom:
<http:community.livejouinal.comsupei_ieal> |accesseu 26 }uly 2u1uj

Supeinatuial: Season 1, Episoue 1. 50)-(. 2uuS. Wiitten by Eiic Kiipke.
Biiecteu by Baviu Nuttei. The WB. 0SA. 1S Septembei 2uuS.

Supeinatuial: Season 1, Episoue 8. E"2.. 2uuS. Wiitten by Rachel Nave anu
Bill Coakley. Biiecteu by Kim Nanneis. The WB (0SA). 2S 0ctobei 2uuS.

Supeinatuial: Season 1, Episoue 17. /$)) /-".$. 2uu6. Wiitten by Tiey
Callaway. Biiecteu by Chiis Long. The WB (0SA). Su Naich 2uu6.

Supeinatuial: Season 1, Episoue 18. !-8$(10&2 :09>$4. 2uu6. Wiitten by
Baniel Knauf. Biiecteu by Whitney Ransick. The WB (0SA). 6 Apiil 2uu6.

Supeinatuial: Season 2, Episoue 11. 5)'F(10&2.. 2uu7. Wiitten by Natt
Witten. Biiecteu by Chailes Beeson. The CW (0SA). 18 }anuaiy 2uu7.

Supeinatuial: Season 2, Episoue 18. /-))FM--4 E'KF)-&. 2uu7. Wiitten by
Ben Eulunu. Biiecteu by Phil Sgiiccia. The CW (0SA). 19 Apiil 2uu7.

84
Supeinatuial: Season S, Episoue 8. C G$%F !"#$%&'("%') 61%0.(8'.. 2uu7.
Wiitten by }eiemy Caivei. Biiecteu by }. Nillei Tobin. The CW (0SA). 1S
Becembei 2uu7.

Supeinatuial: Season S, Episoue 1S. R1-.(J'9$%.. 2uu8. Wiitten by Ben
Eulunu. Bieiecteu by Phil Sgiiccia. The CW (0SA). 24 Apiil 2uu8.

Supeinatuial: Season 4, Episoue 1. ,'S'%". 70.0&2. 2uu8. Wiitten by Eiic
Kiipke. Biiecteu by Kim Nanneis. The CW (0SA). 18 Septembei 2uu8.

Supeinatuial: Season 4, Episoue 6. a$))-M A$I$%. 2uu8. Wiitten by Anuiew
Babb anu Baniel Loflin. Biiecteu by Phil Sgiiccia. The CW (0SA). 2S 0ctobei
2uu8.

Supeinatuial: Season 4, Episoue 14. !$? '&4 G0-)$&9$. 2uu9. Wiitten by
Cathiyn Bumphiis. Biiecteu by Chailes Beeson. The CW (0SA). S Febiuaiy
2uu9.

Supeinatuial: Season 4, Episoue 17. Q(*. ' =$%%0K)$ ,0J$. 2uu9. Wiitten by Seia
uamble. Biiecteu by }ames L. Conway. The CW (0SA). 26 Naich 2uu9.

Supeinatuial. Season 4, Episoue 18. =1$ H-&.($% '( (1$ <&4 -J =10. E-->.
2uu9. Wiitten by }ulie Siege. Stoiy by Nancy Weinei. Biiecteu by Nike Rohl.
The CW (0SA). 2 Apiil 2uu9.

Supeinatuial: Season 4, Episoue 22. ,"90J$% 70.0&2. 2uu9. Wiitten by Eiic
Kiipke. Biiecteu by Eiic Kiipke. The CW (0SA). 14 Nay 2uu9.

Supeinatuial: Season S, Episoue 1. !F8#'(1F J-% (1$ ;$I0). 2uu9. Wiitten by
Eiic Kiipke. Biiecteu by Robeit Singei. The CW (0SA). 1u Septembei 2uu9.

8S
Supeinatuial: Season S, Episoue 4. =1$ <&4. 2uu9. Wiitten by Ben Eulunu.
Biiecteu by Steve Boyum. The CW (0SA). 1 0ctobei 2uu9.

Supeinatuial: Season S. Episoue 8. 61'&20&2 61'&&$).. 2u1u. Wiitten by
}eiemy Caivei. Biiecteu by Chailes Beeson. The CW (0SA). S Novembei
2uu9.

Supeinatuial: Season S, Episoue 9. =1$ 7$') R1-.(K".($%.. 2uu9. Wiitten by
Eiic Kiipke. Stoiy by Nancy Weinei. Biiecteu by }ames L. Conway. The CW
(0SA). 12 Novembei 2uu9.

Supeinatuial: Season S, Episoue 16. ;'%> !04$ -J (1$ H--&. 2u1u. Wiitten by
Anuiew Babb anu Baniel Loflin. Biiecteu by }eff Woolnough. The CW (0SA).
1 Apiil 2u1u.

Supeinatuial: Season S, Episoue 18. 5-0&( -J B- 7$("%&V 2u1u. Wiitten by
}eiemy Caivei. Biiecteu by Phil Sgiiccia. The CW (0SA). 1S Apiil 2u1u.

Supeinatuial: Season S, Episoue 22. !M'& !-&2. 2u1u. Wiitten by Eiic Kiipke.
Stoiy by Eiic 'uiz' uewiitz. Biiecteu by Steve Boyum. The CW (0SA). 1S Nay
2u1u.

Supeinatuial Scoop. 2uu7. Announcement of The CW's Naking The Cut
competition. 18 Becembei 2uu7. !"#$%&'("%') !9--#V9-8. |0nlinej Available
fiom: <http:www.supeinatuialscoop.com2uu712making-the-cut-ii-
win-cw-inteinship-with-youi-supeinatuial-viueo> |accesseu 26 }uly 2u1uj

Supeinatuial_Tv. 2uu7. Fan uiscussion about suppoiting the wiiteis stiike.
Thieau staiteu 6 Novembei 2uu7. !"#$%&'("%') =G. |0nlinej Available fiom:
<http:community.livejouinal.comsupeinatuial_tv12S91u6.html.thieau=
26778466#t26778466> |accesseu 26 }uly 2u1uj

86
Supeinatuial_Tv. 2u1u. }ensen anu }aieu aie not on Twittei. !"#$%&'("%') =G.
|0nlinej Available fiom: <http:www.supeinatuial.tv.p=1786> |accesseu
26 }uly 2u1uj

Supeinatuial Wiki. 2uu9. Supeinatuial Fic Link Aichive: Statistical
bieakuown of Supeinatuial fan fiction by Black-Samvaia. 17 August 2uu9.
|0nlinej Available fiom:
<http:www.supeinatuialwiki.cominuex.php.title=Supeinatuial_Fic_Link_
Aichive> |accesseu 26 }uly 2u1uj

Suiette, T. 2u1u. Tv's Ciaziest fanbases, with viueo pioof. 1u Naich 2u1u.
=GV9-8V |0nlinej Available fiom: <http:www.tv.comtvs-ciaziest-fan-
bases...-with-viueo-
pioof%uBstoiy21826.html.page=2&tag=news_stoiy;1#> |accesseu 26
}uly 2u1uj

Tancei, B. 2uu7. Life aftei Pottei, Bonanza anu uunsmoke. Su August 2uu7.
=QH<. |0nlinej Available fiom:
<http:www.time.comtimebusinessaiticleu,8S99,16S7764,uu.html>
|accesseu 26 }uly 2u1uj

Tapscott, B. 2uu9. R%-M& 3# ;020(')P /-M (1$ B$( R$&$%'(0-& 0. 61'&20&2 a-"%
:-%)4V 0SA: Ncuiaw-Bill

The Tv Auuict. 2uu8. A veiy Special Nessage fiom Supeinatuial Showiunnei
Eiic Kiipke. 24 0ctobei 2uu8. =1$ =G C4409(V9-8. |0nlinej Available fiom:
<http:thetvauuict.com2uu81u24a-veiy-special-message-fiom-
supeinatuial-showiunnei-eiic-kiipke> |accesseu 26 }uly 2u1uj

Thoine, }. 2uu9. Supeinatuial S.u9 "The Real uhostbusteis' Recap. 1S
Novembei 2uu9. =G LI$%H0&4. |0nlinej Available fiom:
<http:www.tvoveiminu.comcablethecwsupeinatuial-tv-
87
newssupeinatuial-S-u9-the-ieal-ghostbusteis-iecap1SS9u> |accesseu 2S
}uly 2u1uj

Twitteicism. 2u1u. Fake Celebiity Accounts that Twittei uoesn't seem to caie
about. 9 Naich 2u1u. =M0(($%90.8. |0nlinej Available fiom:
<http:twitteicism.commichael-joiuan-twittei> |accesseu S Septembei
2u1uj

vigas, F. B. (2uuS). Bloggeis' expectations of piivacy anu accountability: An
initial suivey. b-"%&') -J 6-8#"($%UH$40'($4 6-88"&09'(0-&@ \_(S), aiticle 12.
|0nlinej Available fiom:
<http:jcmc.inuiana.euuvol1uissueSviegas.html> |Accesseu 16 }uly
2u1uj

Wheat, A. 2uu9. Bemons, ueities, anu ueliiious fans. The CW's iapiuly
giowing cult fave has them all. So why uo its stais anu cieatoi want to vanish
aftei one moie spooky season. 8 Apiil 2uu9. <&($%('0&8$&( :$$>)F. |0nlinej
Available fiom: <http:www.ew.comewaiticleu,,2u27u84S,uu.html>
|Accesseu 26 }uly 2u1uj

Williams, B. 2uu8. Cieatoi Eiic Kiipke Talks 'Supeinatuial' Season 4V 8
Septembei 2uu8. E"44F =GV |0nlinej Available fiom:
<http:www.buuuytv.comaiticlessupeinatuialsupeinatuial-convention-
biings-181u7.aspx> |last accesseu 12 August 2u1uj

Winchestei Bios. 2uu9. Q&A with Tiaci Binwiuuie. 21 Apiil 2uu9.
:0&91$.($%K%-.V9-8 |0nlinej Available fiom:
<http:www.winchesteibios.cominuex.php.option=com_content&task=vie
w&iu=SS29&Itemiu=1> |accesseu 26 }uly 2u1uj

Youtube viueo. 2uu7a. }ensen Ackles anu }aieu Paualecki at the Paley
Television Festival 2uu4. (4 Nins). 0ploaueu 2 Apiil 2uu7. |0nlinej Available
88
fiom: <http:www.youtube.comwatch.v=fyNgcTSkYBc> |accesseu 26
}uly 2u1uj

Youtube viueo. 2uu7b. }aieu Paualecki telling the stoiy of the 'Eyelash
Inciuent' at Salute to Supeinatuial Chicago Convention 2uu7. 0ploaueu 11
Novembei 2uu7. |0nlinej Avaliable fiom:
<http:www.youtube.comwatch.v=CNSiWi0v9h0> |accesseu 26 }uly
2u1uj

Youtube viueo. 2uu7c. Supeinatuial Panel at San Biego Comic Con 2uu7. (2u
Nins). 0ploaueu S1 }uly 2uu7. |0nlinej Available fiom:
<http:www.youtube.comwatch.v=Pjzz2oKzQXs> |accesseu 26 }uly
2u1uj

Youtube viueo. 2uu8a. Fan asks }ensen Ackles about Fan Fiction, Asylum
2uu7. 0ploaueu S1 }anuaiy 2uu8. |0nlinej Available fiom:
<http:www.youtube.comwatch.v=FuYh2w}h7vE&featuie=ielateu>
|accesseu 26 }uly 2u1uj

Youtube viueo. 2uu8b. }aieu Paualecki talks about Fan Fiction at Eyecon
convention, Floiiua, Apiil 2uu8. 0ploaueu 8 Apiil 2uu8. |0nlinej Available
fiom: <http:www.youtube.comwatch.v=ZxkAuSNSlNu> |accesseu 26
}uly 2u1uj

Youtube viueo. 2uu9a. Nisha Collins speaking about Fanuom anu Slash at
Salute to Supeinatuial LA Convention 2uu9. 0ploaueu 9 Nay 2uu9. |0nlinej
Available fiom: <http:www.youtube.comwatch.v=pf_WsNSBSa4>
|accesseu 26 }uly 2u1uj

Youtube viueo. 2uu9b. Supeinatuial panel at San Biego Comic-Con 2uu9.
(Nisha Collins anu }im Beavei in pt 2 at S.SS mins, Eiic Kiipke in pt 6 at S.Su
89
mins) 0ploaueu 26 }uly 2uu9. |0nlinej Available fiom:
<http:www.youtube.comwatch.v=CSi-qf-7bSo> |accesseu 26 }uly 2u1uj

Youtube viueo. 2uu9c. Nisha Collins inteiiupts }ensen Ackles anu }aieu
Paualecki's Panel at All Bell Bieaks Loose Convention, 2uu9 (4 Nins).
0ploaueu 19 Apiil 2uu9. |0nlinej Available
fiom:<http:www.youtube.comwatch.v=vzNo1iRiEi4> |accesseu 1u
August 2u1uj

Youtube viueo. 2uu9u. Nisha Collins inteiview with SpaceTv. 0ploaueu 1u
Becembei 2uu9. |0nlinej Available fiom:
<http:www.youtube.comwatch.v=pf_WsNSBSa4> |accesseu 26 }uly
2u1uj

Youtube viueo. 2uu9e. Eiic Kiipke at Salute to Supeinatuial LA Convention
2uu7. 0ploaueu 2u Apiil 2uu9. |0nlinej Available fiom:
<http:www.youtube.comwatch.v=nNIu6kmq9_c> |accesseu 26 }uly
2u1uj

Youtube viueo. 2uu9f. Nisha Collins explains his Twittei to the Supeinatuial
Ciew. (7.Su Nins). 0ploaueu 1 Septembei 2uu9. |0nlinej Available fiom:
<http:www.youtube.comwatch.v=LQzqtS1m0Kk> |accesseu 26 }uly
2u1uj

Youtube viueo. 2u1ua. Supeinatuial 1uu

Episoues - Thank You Fans.
0ploaueu 8 Apiil 2u1u. |0nlinej Available fiom:
<http:www.youtube.comwatch.v=jQZp1ZuBLjI> |accesseu 26 }uly 2u1uj

Youtube viueo. 2u1ub. Supeinatuial 1uu
th
Episoue Paity viueo. 0ploaueu 4
Febiuaiy 2u1u. |0nlinej Available fiom:
<http:www.youtube.comwatch.v=_pvgN46bRq8> |accesseu 26 }uly
2u1uj
9u

Youtube viueo. 2u1uc. Nisha Collins explaining slash to Naik Pellegiino at
Asylum Convention, Biimingham 2u1u. 0ploaueu 2S Nay 2u1u. |0nlinej
Available fiom: <http:www.youtube.comwatch.v=qiiLlcFTZuE>
|accesseu 26 }uly 2u1uj

91
Bibliogiaphy
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Ang, I. 198S. :'(910&2 ;'))'.P .-'# -#$%' '&4 (1$ 8$)-4%'8'(09 08'20&'(0-&V
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Bacon-Smith, C. 1992. <&($%#%0.0&2 M-8$&P ($)$I0.0-& J'&4-8 '&4 (1$
9%$'(0-& -J #-#")'% 8F(1. 0SA: 0niveisity of Pennsylvania Piess.

Baithes, R, 1978. The Beath of the Authoi. QB: Richaiu Nillei (tians). Q8'2$@
H".09@ =$?(V New Yoik: Bill anu Wang.

Beiman, N. 2uu7. Tiansciipt of Supeinatuial session at TCA Wintei Piess
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Beinaiuin, N. 2uu9. 2S uieatest Cult Shows Evei. Septembei 2uu9.
<&($%('0&8$&( :$$>)F. |0nlinej Available fiom: <
http:www.ew.comewgalleiyu,,2uSu21S4_2uSu4619_1S,uu.html>
|accesseu 12 August 2u1uj

Bley, R. 2uu9. RL on L}: Fanuom anu the Piesentation of Self in 0nline Life. QB:
Kiiby-Biaz, N (eus). E"JJF '&4 C&2$) 6-&Z"$% (1$ Q&($%&$(P <..'F. -& L&)0&$
A'&4-8V NcFailanu & Co. : 0SA

Boisellino, N. 2uu6. Supei Women: Supeinatuial' Executive Stoiy Euitoi Seia
uamble. 1 Becembei 2uu6. !$Z"$&(0') ='%(V |0nlinej Available fiom:
<http:www.sequentialtait.comaiticle.php.iu=S4S> |accesseu 2S }uly
2u1uj
92

Biookey, R. A. Westeifelhaus, R. 2uu2. Biuing Bomoeioticism in Plain view:
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6-88"&09'(0-&,19 (1), pp21-4S.

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accesseu 1S August 2u1uj

Buiy, R. 2uuS. 6FK$%.#'9$. -J =1$0% LM&P A$8')$ A'&4-8. L&)0&$. New Yoik:
Petei Lang Publishing.

Busse, K. 2uuS. Bigital uet Bown: Postmouein boy banu slash anu the queei
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6")("%$. uuansk 0niveisity Piess.

Busse, K. 2uu6. Ny Life is a WIP on Ny L}: Slashing the Slashei anu the Reality
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NcFailanu

Chang, B. 2uu8. BuuuyTv on the Set of Supeinatuial. 9 Septembei 2uu8.
E"44F=GV |0nlinej Available fiom:
<http:www.buuuytv.comaiticlessupeinatuialbuuuytv-at-the-set-of-
supeinat-22611.aspx> |accesseu 26 }uly 2u1uj

Cochian, C.P. 2uu8. Inteiview: Seia uamble, Piouucei anu Wiitei foi
"Supeinatuial" 1 Naich 2uu8. A0%$J-? B$M.V |0nlinej Available fiom:
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Piouucei-anu-Wiitei-foi-quotSupeinatuialquotPage1.html> |accesseu 2S
}uly 2u1uj
9S

Colebiook, C. 2uu7. Nichel Be Ceiteau: oppositional piactices anu
heteiologies. QBP Colebiook, C (eu). B$M ,0($%'%F /0.(-%0$.P &$M /0.(-%090.8
'&4 6-&($8#-%'%F 6%0(090.8V Nanchestei 0niveisity Piess 0K

Coppa, F. 2uu6. A Biief Bistoiy of Neuia Fanuom. QBP Bellekson,K anu Busse,
K (eus) A'& A09(0-& '&4 A'& 6-88"&0(0$. 0& (1$ C2$ -J (1$ Q&($%&$(. NcFailanu
0S.

Fiske, }. 1989a. Noments of Televison: Neithei the Text noi the Auuience. QB:
Ellen Seitei (eus) 7$8-($ 9-&(%-)P ($)$I0.0-&@ '"40$&9$.@ '&4 9")("%') #-M$%.
0K: T} Piess

Fiske, }. 1989b. 3&4$%.('&40&2 5-#")'% 6")("%$. New Yoik: 0nwin Byman ltu.

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Cambiiuge 0niveisity Piess.

uoiton, K. 2uu9. H$40' C"40$&9$.P =$)$I0.0-&@ H$'&0&2 '&4 <8-(0-&.
Euinbuigh 0niveisity Piess. 0K.

uiay, }. 2uu8. =$)$I0.0-& <&($%('0&8$&(. New Yoik: Routleuge.

uiay, }. 2u1u. !1-M !-)4 !$#'%'($)FP 5%-8-.@ .#-0)$%.@ '&4 -(1$% 8$40'
#'%'($?(.. New Yoik: New Yoik 0niveisity Piess

uiossbeig, L. 2uu6. Is Theie a Fan in the Bouse. The affective sensibility of
fanuom. QB: Naishall, P.B. (eu) 2uu6. =1$ 6$)$K%0(F 6")("%$ 7$'4$%. New Yoik:
Routleuge

94
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QB: }ancovich,m. anu Lyons, }. (eus) ["')0(F 5-#")'% =$)$I0.0-&P 6")( =G@ (1$
Q&4".(%F '&4 A'&.. Lonuon: BFI.

uwenllian-}ones, S. anu Peaison, R.E. 2uu4. 6")( ($)$I0.0-&. Ninnesota:
0niveisity of Ninnesota Piess

Beimes, }. 2uu6. Reauing uossip Nagazines: The imagineu communities of
'gossip' anu 'camp' QB: Naishall, P.B. (eu) =1$ 6$)$K%0(F 6")("%$ 7$'4$%. New
Yoik: Routleuge

Bills, N. 2uu2. A'& 6")("%$.. Lonuon: Routleuge.

Butcheon, L. 198u. B'%90..0.(09 &'%%'(0I$P (1$ 8$('J09(0-&') #'%'4-?. Canaua:
Wilfiiu Lauiiei 0niveisity Piess.

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}enkins, B. 2uu6. 6-&I$%2$&9$ 9")("%$P :1$%$ -)4 '&4 &$M 8$40' 9-))04$. New
Yoik: New Yoik 0niveisity.

}enkins, B. 2uu6. A'&.@ E)-22$%.@ '&4 R'8$%.P <?#)-%0&2 5'%(090#'(-%F
6")("%$. New Yoik: New Yoik 0niveisity Piess.

}enkins, B. 2uu7. =1$ M-M 9)08'?P (%'90&2 (1$ $8-(0-&') 08#'9( -J #-#")'%
9")("%$. New Yoik: New Yoik 0niveisity Piess.

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QB: Lewis, L.A.(eu) =1$ C4-%0&2 C"40$&9$P A'& 6")("%$ '&4 5-#")'% H$40'.
Lonuon: Routleuge.

9S
}ohnson, B. 2uu7. Fan-tagonism: Factions, Institutions, anu Constitutive
Begemonies of Fanuom QB: uiay, }., Sanuvoss, C anu Baiiington, C.L. (eus.).
A'&4-8P Q4$&(0(0$. '&4 6-88"&0(0$. 0& ' H$40'($4 :-%)4V New Yoik: New
Yoik 0niveisity Piess.

}ohnson, B. 2uu7. Inviting Auuiences In: The Spatial Reoiganisation of
piouuction anu Consumption. QBP =GQQQP B$M 7$I0$M -J A0)8 '&4 =$)$I0.0-&V
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Knight, N. 2uu7. !"#$%&'("%')P =1$ LJJ090') 6-8#'&0-& !$'.-& \V Titan books.
Kiisteva, }. 198u. ;$.0%$ 0& ,'&2"'2$P C !$80-(09 C##%-'91 (- ,0($%'("%$ '&4
C%(. 0xfoiu: Basil Blackwell

Lipton, }. 2u1u. "We, the Papaiazzi": Beveloping a Piivacy Paiauigm foi
Bigital viueo. Q-M' ,'M 7$I0$M; Nai2u1u, vol. 9S Issue S, p919-984, 66p

Naishall, P.B. (eu) 2uu6. =1$ 6$)$K%0(F 6")("%$ 7$'4$%V New Yoik: Routleuge

Naishall, P.B. 2uu6. New Neuia - New Self : The Changing powei of celebiity.
QB: Naishall, P.B. (eu) 2uu6. =1$ 6$)$K%0(F 6")("%$ 7$'4$%. New Yoik:
Routleuge.

Penley, C. 1997. BC!CD=%$>P 5-#")'% !90$&9$ '&4 !$? 0& C8$%09'. 0K: veiso.

Pioctei, }. 2uu4. !("'%( /')). Routleuge, Lonuon.Rauway, }. 1984. 7$'40&2 (1$
7-8'&9$. Noith Caiolina: The 0niveisity of Noith Caiolina Piess.

Ross, S.N. 2uu7. E$F-&4 (1$ E-?. 0K: Blackwell Publishing.

Sanuvoss, C. 2uuS. A'&.P =1$ H0%%-% -J 6-&."8#(0-&. 0K: Polity Piess.

96
Sconce, }. 2uu4. What If.: Chaiting Television's New Textual Bounuaiies QB:
Spigel, L. anu 0lsson, }. (eus). =$)$I0.0-& 'J($% =GP $..'F. -& ' 8$40"8 0&
(%'&.0(0-&. Buke 0niveisity Piess.

Stoiey, }. 2uu6. 6")("%') =1$-%F '&4 5-#")'% 6")("%$P C& Q&(%-4"9(0-&@ G-)"8$
^__`@ 5'%( ^V Peaison Euucation Limiteu. 0K

Tapscott, B. 2uu9. R%-M& 3# ;020(')P /-M (1$ B$( R$&$%'(0-& 0. 61'&20&2 a-"%
:-%)4V 0SA: Ncuiaw-Bill 2u1uj

97
Filmogiaphy
Supeinatuial: Season 1, Episoue 1. 50)-(. 2uuS. Wiitten by Eiic Kiipke.
Biiecteu by Baviu Nuttei. The WB. 0SA. 1S Septembei 2uuS.

Supeinatuial: Season 1, Episoue 8. E"2.. 2uuS. Wiitten by Rachel Nave anu
Bill Coakley. Biiecteu by Kim Nanneis. The WB (0SA). 2S 0ctobei 2uuS.

Supeinatuial: Season 1, Episoue 17. /$)) /-".$. 2uu6. Wiitten by Tiey
Callaway. Biiecteu by Chiis Long. The WB (0SA). Su Naich 2uu6.

Supeinatuial: Season 1, Episoue 18. !-8$(10&2 :09>$4. 2uu6. Wiitten by
Baniel Knauf. Biiecteu by Whitney Ransick. The WB (0SA). 6 Apiil 2uu6.

Supeinatuial: Season 2, Episoue 11. 5)'F(10&2.. 2uu7. Wiitten by Natt
Witten. Biiecteu by Chailes Beeson. The CW (0SA). 18 }anuaiy 2uu7.

Supeinatuial: Season 2, Episoue 18. /-))FM--4 E'KF)-&. 2uu7. Wiitten by
Ben Eulunu. Biiecteu by Phil Sgiiccia. The CW (0SA). 19 Apiil 2uu7.

Supeinatuial: Season S, Episoue 8. C G$%F !"#$%&'("%') 61%0.(8'.. 2uu7.
Wiitten by }eiemy Caivei. Biiecteu by }. Nillei Tobin. The CW (0SA). 1S
Becembei 2uu7.

Supeinatuial: Season S, Episoue 1S. R1-.(J'9$%.. 2uu8. Wiitten by Ben
Eulunu. Bieiecteu by Phil Sgiiccia. The CW (0SA). 24 Apiil 2uu8.

Supeinatuial: Season 4, Episoue 1. ,'S'%". 70.0&2. 2uu8. Wiitten by Eiic
Kiipke. Biiecteu by Kim Nanneis. The CW (0SA). 18 Septembei 2uu8.

98
Supeinatuial: Season 4, Episoue 14. !$? '&4 G0-)$&9$. 2uu9. Wiitten by
Cathiyn Bumphiis. Biiecteu by Chailes Beeson. The CW (0SA). S Febiuaiy
2uu9.

Supeinatuial: Season 4, Episoue 17. Q(*. ' =$%%0K)$ ,0J$. 2uu9. Wiitten by Seia
uamble. Biiecteu by }ames L. Conway. The CW (0SA). 26 Naich 2uu9.

Supeinatuial. Season 4, Episoue 18. =1$ H-&.($% '( (1$ <&4 -J =10. E-->.
2uu9. Wiitten by }ulie Siege. Stoiy by Nancy Weinei. Biiecteu by Nike Rohl.
The CW (0SA). 2 Apiil 2uu9.

Supeinatuial: Season 4, Episoue 22. ,"90J$% 70.0&2. 2uu9. Wiitten by Eiic
Kiipke. Biiecteu by Eiic Kiipke. The CW (0SA). 14 Nay 2uu9.

Supeinatuial: Season S, Episoue 1. !F8#'(1F J-% (1$ ;$I0). 2uu9. Wiitten by
Eiic Kiipke. Biiecteu by Robeit Singei. The CW (0SA). 1u Septembei 2uu9.

Supeinatuial: Season S, Episoue 4. =1$ <&4. 2uu9. Wiitten by Ben Eulunu.
Biiecteu by Steve Boyum. The CW (0SA). 1 0ctobei 2uu9.

Supeinatuial: Season S. Episoue 8. 61'&20&2 61'&&$).. 2u1u. Wiitten by
}eiemy Caivei. Biiecteu by Chailes Beeson. The CW (0SA). S Novembei
2uu9.

Supeinatuial: Season S, Episoue 9. =1$ 7$') R1-.(K".($%.. 2uu9. Wiitten by
Eiic Kiipke. Stoiy by Nancy Weinei. Biiecteu by }ames L. Conway. The CW
(0SA). 12 Novembei 2uu9.

Supeinatuial: Season S, Episoue 16. ;'%> !04$ -J (1$ H--&. 2u1u. Wiitten by
Anuiew Babb anu Baniel Loflin. Biiecteu by }eff Woolnough. The CW (0SA).
1 Apiil 2u1u.

99
Supeinatuial: Season S, Episoue 18. 5-0&( -J B- 7$("%&V 2u1u. Wiitten by
}eiemy Caivei. Biiecteu by Phil Sgiiccia. The CW (0SA). 1S Apiil 2u1u.

Supeinatuial: Season S, Episoue 22. !M'& !-&2. 2u1u. Wiitten by Eiic Kiipke.
Stoiy by Eiic 'uiz' uewiitz. Biiecteu by Steve Boyum. The CW (0SA). 1S Nay
2u1u.

!"#$%&'("%')P =1$ 6-8#)$($ A0%.( !$'.-&. 2uuS. |BvBj Biiecteu by vaiious.
0SA: Wainei Bome viueo.
!"#$%&'("%')P =1$ 6-8#)$($ !$9-&4 !$'.-&. 2uu6. |BvBj Biiecteu by vaiious.
0SA: Wainei Bome viueo.
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