supernatural strategies

Breadsticks Exit Strategy

Have a date on friday. I’m building a checklist


  • do you consider yourself a feminist?
  • What are some problems/solutions in today feminist goals?
  • favorite feminist movie star/singer


  • views on Steve Rogers/Peggy Carter’s sexuality
  • Winter Soldier: good, better, or best movie ever?
  • do you prefer the Daredevil movie or TV series (there is only one right answer)

TV Shows (Supernatural, Community, Daredevil, etc)

  • Have you seen [show]?
  • If not, why are we not watching [show] right now?
  • If you can’t handle me forcing you to marathon a TV show, we probably shouldn’t be together

Any more suggestions from the peanut gallery? (please reblog rather than answer it as a question post)

anonymous asked:

favorite books??

STOKED someone asked about books for once. Jeez louise…here is everything ive read from last year to this week and i recommend them all:

I Dreamed I was a very clean tramp
-Richard Hell

In youth is pleasure
-Denton Welch

Shock value
role models
car sick
-John Waters

The stranger
the adulterous woman
-Albert Camus

Ballad of the sad cafe
-Carson McCullers

Venus in furs
-Leopold Von Sachet-Masoch

A spy in the house of love
-Anaiis Nin

Brian Jones truth about the rolling stones
-Paul Trynka

Other rooms, other voices
-Truman Capote

Supernatural strategies for making a rock and roll group
-Ian F Svenonius (FASCINATING)

Nico - songs they never play on the radio
-James Young

The Wild Palms
-William Faulkner

The Subterraneans
-Jack Kerouac

I also read a great book of short stories by DH Lawrence and got into EE Cummings. For ages Nine Stories by JD Salinger was my favorite.



Invitation to a beheading, Lolita 

-vladimir nabokov 

This is how you lose her

-junot diaz 

[Supernatural’s] use of comedy might, of course, be seen as a means of undermining the horror for mainstream television. I would argue, however, that it actually facilitates a more extreme representation of Sam and Dean as abject. Hills and Williams suggest that in TV horror, substitutes are often found to stand in for the graphic images of abjection that are characteristic of cinematic horror. Comic exaggeration is, therefore, used as a “symbolic translation of full-blooded representations of abjection” difficult to present on prime-time television (208). Here comedy is used to express the full horrors of the horror genre, for it is through the comic performances of Jared Padalecki and Jensen Ackles, breaking from their well-established characterizations, that the show is able to convey the extent of Sam and Dean’s abject transformation. In “Bad Day at Black Rock” and “Yellow Fever,” Padalecki and Ackles each deliver extreme performances that undermine their characters’ traditional personas and transform their behavior, mannerisms, and physicality.

As Sam’s bad luck takes hold in “Bad Day at Black Rock,” he becomes clumsy and hapless, spilling his coffee, knocking over a waitress’ tray in a restaurant, and, in a bravura pratfall, falling to the ground as he and Dean chase a suspect from the restaurant, skinning his knees in the process. Sam is reduced to the kid brother image that he has been so keen to escape. This child-like persona is reinforced by the episode’s composition as he is repeatedly framed in the background while Dean dominates the foreground. Any attempts to move forward and play a more assertive role in the action result in further mayhem as he trips over an electrical cord and falls to the ground, steps in gum and ends up losing his shoe down the sewer, or catches fire. Padalecki’s physical performance further emphasizes Sam’s transformation from fearless hunter to dejected child as he slumps his shoulders, casts his eyes downward, and generally sulks when Dean leaves him behind in a motel.

While Padalecki’s comic performance is all about restraining Sam and reducing his hulking image to that of a child, Ackles’ performance in “Yellow Fever” is larger than life. Initially, the symptoms of the virus present themselves subtly. Dean becomes increasingly cautious, crossing the street to avoid a group of teenagers, observing the speed limit, and not making a left-hand turn into oncoming traffic. He is unsettled by an interviewee’s predilection for pet lizards and snakes, conveying his anxiety with nervous twitches and wide eye movements. As the virus progresses, however, Ackles’ performance becomes more exaggerated and increasingly comedic. As they search for the ghost that generated the virus, Dean cowers behind Sam, jumps at every noise, and screams hysterically when startled by a cat. This scream is humorous not only because it is atypical of Dean, but because of the extremity of the performance. In an interview for the CW, Ackles explained that he was instructed to scream for as long as he could and he gave it his all (Ackles, Supernatural 4). This over-the-top performance culminates in Dean running hysterically from a small Yorkshire Terrier that is wearing a pink bow, telling a homeless man along the way, “Run. It’ll kill you.”

In both episodes, comedy is generated by the contrast between our expectations of Sam and Dean and their uncharacteristic behavior. This contrast is made possible by the seriality of television, where we are made intensely familiar with these characters only to have that familiarity undermined for comic effect. As a result the comedy conveys the violating transformation of the boys from heroes to hapless victims, unable to defend themselves and confronted by dark and dangerous forces. As a result, these episodes appear to be light in tone, but they have a dark undercurrent. Furthermore, the extremity of Padalecki’s and Ackles’ performances drives home the level to which Sam and Dean have been made abject. While Zachariah gives Dean stage-four stomach cancer and removes Sam’s lungs, and Castiel carves an Enochian Sigil into their ribs (“Sympathy for the Devil”), these violent and internalized attacks upon their bodies are implied rather than made visible. What is made visible are Sam and Dean, their hapless bodies devoid of control, scratching, twitching, running, falling, jumping, and screaming with increasingly hysterical abandon. The comic strategies of Supernatural, therefore, do not sanitize TV horror but convey in graphic detail the abject horror of Sam and Dean, their bodies and their souls presented in “profuse disarray.”

Excerpted from:
Abbott, Stacey. “Rabbits Feet and Spleen Juice: The Comic Strategies of TV Horror.” TV Goes to Hell: The Unofficial Road Map of Supernatural. Eds. Stacey Abbott and David Lavery. ECW Press, 2011. Kindle File.