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The CW’s long-running horror-drama series Supernatural (2005–) has been accused of undoing progressive advances for women made by Buffy the Vampire Slayer (1996–2003). While it’s hard to deny the truth in that claim, Supernatural also problematizes conventional gender roles from a very different approach, one that plays with perceptions of masculinity and social class.

Buffy Summers may initially seem to have more in common with Supernatural’s Sam Winchester, a chosen one with special powers who wants a normal life away from the supernatural. However, Buffy shares more in common with Dean Winchester. Embodying popular gendered stereotypes in their introductions, it’s gradually revealed that there is more complexity to each. Both form alliances with Others; both recognize elements of the Other in themselves. Both transgress conventional gender boundaries, complicating the notion of a binary gender system. Both series introduce the seemingly familiar only to alter it into the uncanny. See the little cute blonde virginal cheerleader? She can kick your ass. See the stupid cocky womanizing jock? All he wants is family and a home. This chapter explores the increasingly gender-blended, social-class-crossing behaviours of Supernatural’s Dean Winchester as an heir to Buffy the Vampire Slayer.

Consumers often use various cues such as health stars and nutrition claims on product packaging to draw inferences regarding healthfulness. However, much less is known regarding the role of brand names in consumer decisions around healthfulness. The purpose of this study is to introduce angelic branding as a brand naming strategy that may act as a supernatural agent benevolence (i.e. loving, kind and merciful) prime that leads consumers to perceive that the brand’s products are healthful.

Study 1 examines the effect of angelic brand names on brand healthfulness perceptions. Study 2 investigates the mediating role of brand virtuousness perceptions on the relationship between angelic branding and brand healthfulness perceptions and the downstream consequences on purchase intention. Study 3 explores the moderating role of authoritarian supernatural agent belief (i.e. angry, vindictive and punishing) on the relationship between angelic branding and brand virtuousness perceptions, and subsequent brand healthfulness perceptions and purchase intention.

The results of this study demonstrate that angelic branding results in healthfulness perceptions for a healthy product (i.e. vitamins; Study 1a), an unhealthy product (i.e. cookies; Study 1b; eliminating perceptual fluency as a potential alternative explanation for the phenomenon) and across different product categories (i.e. surface spray; Study 1c). The results from Study 2 find that angelic brand names prime brand healthfulness perceptions because of the activation of brand virtuousness perceptions (not brand quality perceptions; eliminating a general halo effect as a potential alternative explanation for the phenomenon). The results of Study 3 show that strong belief in authoritarian supernatural agents attenuates the angelic brand name–brand healthfulness priming effect.

This research is limited, as it only considers angelic brand naming and not any other benevolence cues in brand logos, such as halos and angel wings. This research is also limited in that it only considers healthfulness perceptions drawn from English angelic brand name cues and from participants within the USA and the UK.

This study has important implications for brand managers in the development of new brand names. Angelic brand naming is suggested as a strategy for brand managers to prime perceptions of brand virtuousness and brand healthfulness and to influence consumer behavior. However, brand managers are cautioned against the use of this brand naming strategy if it is intended to mislead or deceive consumers, resulting in detrimental effects on their health.

This research makes a unique and novel contribution to the literature in brand names on consumer decision-making. Angelic branding is introduced as a brand naming strategy that can act as a supernatural agent religious prime to influence perceptions of brand virtuousness, brand healthfulness and consumer behavioral intentions (i.e. purchase intention).

As Lorna Jowett and Stacey Abbott have pointed out, the US TV serial Supernatural owes much of its success to the way it combines horror with family drama, strengthening the affective involvement of viewers in the lives of its protagonists, the monster-hunting Winchester brothers. The notion of home – presented variously as a domestic, feminine space from which the Winchesters and their compatriots are excluded; a mobile and contingent space of masculine bonding; and a hybrid space which allows for self-expression outside prescribed gender norms, but which also holds the potential for danger – is central.

Heather L. Duda has pointed to the ways monster hunters are excluded from the normative institutions of their societies, and this is certainly true of the Winchesters, who live in their family car and are unable to maintain ‘normal’ homes. Later seasons give them a home in the form of an underground bunker, not designed as a domestic space, but nonetheless a place where their hypermasculine behaviours can be relaxed. This chapter examines the tensions that emerge in this apparent move from a traditional narrative of the home as feminine space under threat to something more ambivalent, where masculine identity itself may be in danger.

David Punter and Glennis Byron note how the Gothic novel has been divided into two categories: the ‘Male’ and ‘Female’ Gothic. Where the former emphasizes violence and ghosts, the latter focuses on female representation and the disavowal of the supernatural. The Hollywood Gothic films of the 1940s can be said to translate this aspect of the Female Gothic onto the cinema screen: Rebecca (1940), Gaslight (1944) and Secret Beyond the Door (1947) all feature narratives stressing the haunting nature of domestic spaces but there are no actual ghosts present. Robert Zemeckis’s What Lies Beneath (2000) breaks this convention. The film clearly draws on the Female Gothic lineage, situating Claire as a Gothic heroine, and yet there is an important difference: the supernatural is now an integral – and acknowledged – part of the story. This chapter explores this twenty-first century change, arguing that whilst the inclusion of the supernatural can be said to break with previous definitions of the Female Gothic, What Lies Beneath’s depiction of a ghost actually re-imagines and re-emphasizes the concerns at the centre of this tradition: the dramatization of marital and domestic experiences; an interrogation of feminine perception; and the reality of male violence against women.

Schizophrenia is a devastating illness with a chronic and relapsing course. While Western countries may endorse, biological and psychosocial causes more commonly than supernatural causes, non-western cultures like Nigeria in contrast, tend to endorse supernatural causes. Belief in supernatural causes has been reported to have consequences for treatment seeking behavior. This study aimed to examine the causes of schizophrenia reported by family members of outpatients with schizophrenia in a neuropsychiatric hospital in Midwestern Nigeria. In this study, we recruited a convenient sample of 200 consecutive caregivers of patients visiting the outpatient department of the Psychiatric Hospital, Benin City, Nigeria. These primary caregivers were unpaid relatives who provided support to patients. The patients were service users who fulfilled the diagnostic criteria of the International Classification of Disease [ICD-10; World Health Organization 1993] for schizophrenia and had been on treatment for at least two years. Majority (72.0%) of caregivers endorsed supernatural causes as most important in the etiology of schizophrenia, while 28.0% endorsed natural causes. Every participant without formal education endorsed supernatural attribution. In our study, it was evident that participants embraced multiple causal attributions for schizophrenia.

Traditional visions of masculinity are inextricably linked to some tropes believed as ‘essential’ in men such as valour or strength. If a man fails in comply with these ‘essences’, then he fits into a form of deviant masculinity that transforms him into an Other.

Now, what happens with the issues of ageing in masculinity? The ageing man slowly but naturally loses all the aspects that made him ‘manly’ enough, becoming instead a double of himself. Men are doomed to fail as their bodies start to malfunction.

Two horror films highlight ageing and failed masculinity as a way to engage with these new concerns. Bubba Ho-Tep (Don Coscarelli, 2012) and Late Phases (Adrián García Bogliano, 2014) revolves around two aged heroes (Elvis Presley in the former, an ageing war veteran in the latter) who live within retirement communities. There, in the last years of their life, both men must face supernatural menaces: a walking mummy and a werewolf respectively. Facing supernatural horror, the ageing heroes must compensate their failing masculinity – a body that does not work as well as it used to do – with new forms of empathy and manliness.

Uniting film studies with investigations on masculinity and ageing, we propose to read these two films to point the ways in which both stories engage with the cultural politics of ageing masculinity.

The first season of HBO's Lovecraft Country is based on Matt Ruff's 2016 novel and explores the horrifying world of H.P. Lovecraft and the very real Jim Crow-era racism that plagued the United States in the 1950s. The series, developed by Misha Green and produced by Jordan Peele, places Black protagonists at the centre of a Lovecraftian horror story. The Black characters have to face shoggoths, grand wizards and magic but they also have to deal with and escape very realistic horror, in the form of racist police violence and white supremacy. By bringing the Black characters into the centre – often the metaphorical villains of Lovecraft's stories – the series allows for a new layer of meaning to Lovecraft's fear of the other. Atticus, Leticia, Uncle George, Hippolyta and the rest of the cast are struggling to escape the everyday real and supernatural manifestations of racism. Their struggle can be seen as a reflection of the actual struggle of the Black communities today, who are trying to liberate themselves from the shackles of oppression and systemic racism once and for all, so all people regardless of the colour of their skin, gender, race and ethnicity can finally be free. Lovecraft Country can be read as a symbolic yet crucial contemporary representation of this struggle for freedom. The series was created before George Floyd's and Breonna Taylor's murders, but it came after the deaths of Trayvon Martin, Philando Castile and Sandra Bland. Once the viewers search deeper and look past the dark mansions, the wicked wizards and the shoggoth monsters, they can understand that the supernatural and fictional land of Lovecraft Country is not a distant place after all.

Through an analysis of data from depth interviews with modern American consumers, we examine whether and how individuals quest for life's meaning through consumption. Our analysis identifies three worldviews that are differently related to the experience of transcendence through consumption. A rationalist worldview is revealed as being unrelated to such a pursuit. It contrasts two magical worldviews held by most informants in which consumption objects are infused with supernatural and metaphysical beliefs that animate life's meaning for them. Our discussion highlights how recognition of magical worldviews contributes to consumer theory, methods, and concepts of investigation.

Because belief in a supernatural agent with extraordinary power is rooted in psychology, Veblen's instinct psychology was the essential basis for his evolutionary economics of religion. The innate behavioral traits that Veblen called instincts in human nature are now recognized in evolutionary psychology as domain-specific mechanism that evolved as adaptations to enable human survival and reproduction. The authors aim to explain how the modern evolutionary psychology of religion provides a modern psychological basis for Veblen's evolutionary economics of religion.

First, the authors review how Veblen's theory of an evolved human nature of instincts was applied to explain the origins of religion in primitive societies and remained a resilient force despite evolutionary erosion of institutional religion as science advanced. Second, the authors note how evolutionary psychology explains the origins of religion in terms of the functioning of domain-specific psychological mechanisms that evolved as adaptations for purposes other than religion.

The similarities between Veblen's instinct psychology and the explanation of religion as by-products of domain-specific psychological mechanisms are sufficient to allow the conclusion that the evolutionary psychology of religion provides a modern psychological basis for Veblen's evolutionary economics of religion.

An evolutionary economics of religion has a great social value if it provides credible explanations of both the origins of religious belief and innate tendency for religious belief to continue even as science refutes elements of religious doctrines. With a modern psychological basis, Veblen's evolutionary economics of religion accomplishes that purpose.