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The TV show Supernatural (2005–2020) features itinerant brothers Sam and Dean Winchester battling pagan gods from ancient Greco-Roman mythology who pose a threat to the present-day American way of life. The show utilizes two key concepts to define perils to American culture and values: the frontier myth and the myth of American exceptionalism. In a remote town in Alaska (i.e., the frontier), the brothers encounter the Roman goddess Fortuna, who reveals to the Winchesters how they can protect America. Fortuna's appearance signifies a shift in how the show's heroes, Sam and Dean, see themselves: they are forced to experience the despair everyday Americans feel when their luck runs out. A critical analysis of several key episodes will demonstrate that as the series advances, the focus on the brothers' erasure of pagan threats to America is replaced by a critique of monotheistic religion, a reexamination of the myth of American exceptionalism, and social commentary on the problems with a culture based on consumerism. [ABSTRACT FROM AUTHOR]

For years Supernatural (CW, 2005-) has gained the status of a cult series as well as one of the most passionate and devoted fandoms that has ever emerged. Even though the main concept of the series indicates that Supernatural should appeal predominantly to young male viewers, in fact, the fandom is dominated by young women who are the target audience of the CW network. My research is couched in fan studies and audience studies methodological perspectives as it is impossible to understand the phenomenon of Supernatural without referring to its fandom and fan practices. However, it focuses on the series' structure in order to explain how this structure enables Supernatural's viewers to challenge and revise prevailing gender roles. Supernatural combines elements of divergent TV genres, traditionally associated with either male or female audiences. It opens up to gender hybridity through genre hybridity: by interweaving melodrama with horror and other "masculine" genres the show provides a fascinating example of Gothic television which questions any simplistic gender identifications. [ABSTRACT FROM AUTHOR]

The article focuses on adoption of interdisciplinary methodology for administration of research in horror genre. Topics discussed include deployment of an interdisciplinary approaches in assessment of horror scholarships; proposal of Noël Carroll over representation of horror stories with geographic depiction of monsters origin; and argument of Christina Klein over an impact of globalization over proliferation of horror texts such as the "Supernatural" television series.

The article talks about the development of the fandom or fan base of the U.S. fantasy-horror television series "Supernatural." Topics include a description of a fandom according to an article from "Project Muse," a comparison of the Nielsen ratings of Supernatural with shows with higher audience number, and the role of fans in the success of the television series. Also mentioned are the characteristics of Supernatural fandom.

In an examination of how fans end their relationships with the objects of their fandom and related fan communities, I use my own experiences with the television series Supernatural (WB/CW, 2005–) to demonstrate how breaking up with a fandom is emotionally and technologically complicated. Becoming an ex-fan is different from antifandom and is worthy of greater investigation in fan studies. [ABSTRACT FROM AUTHOR]