Paper short abstract:

Despite the disenchanting theme of the triumph of rationalism over belief, the original Scooby-Doo series has been read as texts that leave the door open to the possibility of the supernatural. As queer readings reinterpret heteronormative texts, I suggest an analogous 'queer' reading for belief.

Paper long abstract:

The original episodes of "Scooby-Doo, Where Are You!" (1969-1970) presented belief in the supernatural as the preserve of the rural, the antiquated, the marginalized and, on occasion, the racialized other. Even among the show's protagonists enchantment was for the more emotional, reactive, and befogged members. Whatever supernatural occurrences were reported and investigated, they were inevitably discovered to be false ostensive practices (Dégh & Vázsonyi; Ellis), bad actors using local legend and the purported gullibility of a population to distract from a property crime, and all sensory experiences that were once interpreted as encounters with the numinous were, after persistent scrutiny, subsequently explained as manipulations. Such a break with the past aligned almost perfectly with the final years of what has been called 'The Golden Age of Capitalism' (Perelman), the unbroken streak of technological advancement, financial growth, and faith in institutions since the end of the Second World War that was being thought of as a new normal. However, these texts need not be read as the producers intended them, and as proven in interviews and online fan criticism they clearly have allowed for alternate interpretations. Particularly in the hegemonic framework of mid-20th century American children's television, I suggest that an approach to disenchantment texts can include a reading similar to Bonnie Zimmerman's 'perverse' readings of heteronormative ones: a reader reclaims enchantment for themselves and on behalf of the protagonists. This paper builds on my work on the intersection of folk and popular culture, legend and contemporary legend, and children's television.