Supernatural (American TV series)

Plot

After Mary's unexplainable death, the two brothers Sam and Dean Winchester were brought up as hunters by their father, John, to find the creature that took their mother's life.^[1] The first three seasons of Supernatural center on the road trip life of the brothers,^[2] beginning with their search for their missing father.^[3] Initially, Sam sought a conventional life studying at Stanford University alongside his girlfriend, Jessica. After she was killed in the same manner as his mother, Sam abandoned his studies to join Dean's crusade.^[4][5] Traveling across the United States, they hunt a variety of monsters, ghosts, demons, and other supernatural beings drawn from folklore and urban legends.^[6][7]

Reuniting with his sons in the second season, John trades his life to save Dean.^[8] The brothers discover that the yellow-eyed demon Azazel murdered Mary and Jessica, and had forced Sam to ingest demon blood when he was an infant. Sam is briefly killed, and Dean sells his soul to a crossroads demon in exchange for a one-year reprieve to resurrect him; the brothers subsequently manage to destroy Azazel.^[9] At the end of the third season, Dean is dragged to Hell by hellhounds. The fourth season marks a turning point with the introduction of the angel Castiel, who resurrects Dean.^[10] Driven by empathy, Castiel betrays Heaven to ally with the Winchesters to prevent the Apocalypse.^[11] However, Sam is manipulated by the demon Ruby; by drinking demon blood, he kills Lilith, unwittingly freeing the fallen archangel Lucifer from Hell.^[12]

In the fifth season, Sam and Dean are revealed to be the destined "vessels" for Lucifer and the archangel Michael, respectively, chosen to serve in a world-ending battle.^[13] Defying their destiny, Sam regains control of his body and imprisons both Lucifer and Michael by throwing himself into Lucifer's Cage,^[14] from which he is later rescued by Castiel.^[15] In the sixth season, to prevent the archangel Raphael from restarting the Apocalypse, Castiel allies with the demon Crowley to open Purgatory,^[16] inadvertently releasing ancient monsters known as Leviathans.^[17] Throughout the seventh season, the brothers combat the Leviathan leader, Dick Roman, to thwart his plan to turn humanity into a food source.^[18] After Dean destroys Roman and spends a year trapped in Purgatory,^[19] he returns to join Sam in an attempt to close the Gates of Hell through a series of trials in the eighth season.^[20]

The angel Metatron subsequently betrays Castiel, stripping his grace to cast a spell that expels all angels from Heaven to Earth.^[21] Castiel is rendered mortal, struggling to survive throughout the ninth season.^[22] To save a dying Sam, Dean deceives his brother into allowing an angel to possess him, causing a rift between the brothers, and driving Dean to accept the Mark of Cain to gain the power to destroy the demon Abaddon. The Mark grants immense power but infuses Dean with an insatiable bloodlust, causing his death and resurrection as a demon.^[23] When Sam tries to remove the Mark using the Book of the Damned with the witch Rowena MacLeod's help,^[24] they unintentionally release Amara, God's sister known as the Darkness.^[25]

God reveals himself under the guise of a novelist named Chuck Shurley.^[26] The eleventh season centers on an alliance formed to convince Amara to reconcile with Chuck.^[27] Out of gratitude, Amara resurrects Mary Winchester.^[28] In the twelfth season, Lucifer impregnates a mortal woman, fathering a Nephilim child named Jack Kline.^[29] Despite fears that the child will destroy the world,^[30] Sam and Dean adopt Jack alongside Castiel.^[31] However, Jack opens a dimensional rift to an alternate universe devastated by an Apocalypse,^[29] bringing forth a more vicious alternate version of Michael.^[32] To defeat Lucifer and save Sam and Jack, Dean agrees to become Michael's vessel.^[33] Jack uses his remaining power to defeat Michael,^[34] resulting in the loss of his soul and the accidental death of Mary.^[27]

Chuck reappears and demands that the brothers execute Jack. Realizing that Chuck has manipulated their agonizing lives as entertainment for his own amusement, Sam and Dean defy him, prompting an infuriated Chuck to begin wiping out reality.^[35] The fifteenth and final season follows the Winchesters' ultimate rebellion against God.^[36] In the process, Castiel sacrifices himself to protect Dean from Death, resulting in his banishment to the Empty.^[37] Jack absorbs Chuck's power to become the new God, fully restoring free will to humanity.^[38] The series concludes with Dean's death during a routine hunting mission, while Sam lives a peaceful life into old age; the brothers are ultimately reunited in Heaven.^[39]

Characters

The premise of Supernatural is the quest of two brothers, Sam (Jared Padalecki) and Dean Winchester (Jensen Ackles), to hunt supernatural creatures.^[40] Sam is generally regarded as rebellious, intelligent and independent with an underlying aspiration to have a normal life. Dean is depicted as a protective, fiercely loyal and action-oriented family man ready to devote his entire life to his family's mission.^[41] Despite having diverging outlooks on life, their family bond remains the emotional core of the show.^[42]

The series features an extensive supporting cast of recurring characters.^[43] In the early seasons, the most influential figure for the brothers is their father, John Winchester (Jeffrey Dean Morgan), who trained them to become hunters.^[40] Following John's death, veteran hunter Bobby Singer (Jim Beaver) becomes a surrogate father and the repository of knowledge for the brothers.^[44] The third season is the only season to feature Katie Cassidy (as Ruby) and Lauren Cohan (as the thief Bela Talbot) in the main cast. After Cassidy departed,^[45][46] the role of Ruby was recast with Genevieve Cortese for the fourth season.^[47]

In the fourth season, Misha Collins joined the cast as Castiel, marking a conceptual transition.^[2] Initially depicted as an emotionless angel obedient to God,^[48] Castiel develops empathy for humanity, eventually rebelling against Heaven to ally with Sam and Dean, forming Team Free Will.^[49] Castiel's popularity led to Collins being promoted to series regular,^[50] starring in seasons 5–6 and 9–15.^[51][52] Throughout their journey, the Winchester brothers receive assistance from Ellen (Samantha Ferris) and Jo Harvelle (Alona Tal),^[53] hacker Charlie Bradbury (Felicia Day),^[16] prophet Kevin Tran (Osric Chau),^[54] and Rowena MacLeod (Ruth Connell).^[55] In seasons 13–15, Alexander Calvert joined the main cast as Jack Kline,^[56][57][58] a Nephilim possessing supreme power but an innocent soul, who is adopted and protected by Team Free Will.^[59]

Mark A. Sheppard starred as a series regular playing Crowley in seasons 10–12.^[60][61] Introduced in the fifth season, Crowley is a cunning Crossroads Demon who maneuvers his way into becoming the King of Hell,^[62] frequently shifting allegiances between being an antagonist and forming reluctant alliances with the Winchesters as his interests dictate.^[63] Mark Pellegrino's acclaimed portrayal of the sinister yet humorous and charismatic Lucifer led to his appearance across multiple seasons,^[64] eventually being promoted to the main cast for seasons 12–14.^[65] Antagonists who later became allies to the brothers include the demon Meg Masters (Nicki Aycox and Rachel Miner)^[66] and the archangel Gabriel / The Trickster (Richard Speight Jr.).^[67] Other notable villains include Azazel (Fredric Lehne), Lilith (Katherine Boecher), Dick Roman (James Patrick Stuart), Metatron (Curtis Armstrong), Abaddon (Alaina Huffman), Amara / The Darkness (Emily Swallow), and ultimately, Chuck Shurley / God (Rob Benedict).^[68]

Themes

Supernatural blends the genres of dark fantasy, action-adventure, and melodrama,^[69] with elements of soap opera,^[70] Western,^[71] road movie,^[72] slapstick comedy,^[73] Gothic horror,^[74] splatter, and slasher.^[75] Most of its episodes begin with a weekly case, introducing a supernatural creature as it stalks and kills a random minor character.^[76] This is followed by Sam and Dean traveling across the US in a 1967 Chevrolet Impala,^[77][78] which is considered their "real home".^[79] In this car, they share personal struggles, bicker, or exchange casual banter using the terms 'bitch' and 'jerk'.^[80] The brothers discover supernatural cases by scouring newspapers or websites.^[81] To interrogate witnesses and bypass local police, they resort to lying, using fake IDs, and impersonating local law enforcement or Federal Bureau of Investigation (FBI) agents.^[82] Usually taking on the role of researcher, Sam spends his time searching libraries or surfing the internet.^[83]

A typical hunt involves the brothers discovering a supernatural threat or mysterious deaths. They identify the culprit, then find and destroy it.^[84] Their father's journal is a reference book and deus ex machina that guides them through danger.^[85] They also receive backup from Bobby, Castiel, and Crowley, along with support from their friends and chosen family.^[86] The tools the brothers commonly use to combat supernatural entities include salting (to ward off ghosts or demons) and burning (to destroy human remains); specific objects, folk remedies, or incantations;^[87] and special weapons like the Word of God, the legendary Colt revolver, flasks of holy water, wooden stakes, Ruby's knife, silver blades, and silver bullets.^[88] After completing a case and feeling safe, the brothers travel in the Impala until they discover another event to investigate.^[89]

The brotherly love between Sam and Dean, which is taken to an irrational codependency, is central to the series.^[5][90] They regularly commit immoral and anti-social behaviors,^[91] and even make pacts with demons in order to save one another,^[92] creating a cycle of sacrifice, death, revival, and torture.^[93] The show explores the concept of a chosen family, as illustrated by Bobby's quote: "Family don't end with blood".^[94] It suggests that a family is more about shared acceptance and choices rather than blood. In Team Free Will, for example, the Winchester brothers incorporate non-human allies such as the angel Castiel and the Nephilim Jack into their family.^[95]

The series reflects Americana and the life of the working poor.^[96] Rather than being flawless superhero archetypes,^[13] the Winchester brothers are marginalized figures:^[97] they survive using fake credit cards,^[98] listen to 1970s classic rock,^[99] live a nomadic lifestyle across small towns, and stay in run-down motels.^[100] More than a vehicle or a home, the 1967 Impala represents the masculinity, independence, and freedom that the brothers stand for.^[101] The series depicts the Winchester brothers dealing with transgenerational trauma from being raised as soldiers by their father, John, rather than growing up in a traditional family after their mother's death.^[102] Their near-eagerness for self-sacrifice can be associated with this lack of paternal affection.^[103] For Dean, shouldering the role of caring for his younger brother from an early age makes him develop a guilt complex and an exaggerated sense of responsibility.^[104] The violence and death associated with the hunts psychologically torment the brothers and result in them exhibiting symptoms of post-traumatic stress disorder (PTSD).^[105]

Supernatural plays on Judeo-Christian concepts of the afterlife, such as Heaven, Hell, and Purgatory, though none offer "everlasting comfort".^[106] Heaven is depicted as a place where humans relive their happiest memories,^[107] yet it operates as a dogmatic, bureaucratic organization overseen by angels.^[106] Crowley also views Hell as a bureaucratic and tedious realm.^[108] The overriding conflict of the philosophical theme is the battle of humanity against divine predestination.^[109] When angels and demons force Sam and Dean to follow the apocalyptic script prewritten in the Bible,^[110] the brothers adamantly refuse in order to protect humanity's free will.^[111] The show blurs the ethical binary with cruel angels and kindly demons, a reversal of traditional theology.^[112]

The series regularly breaks the fourth wall, using metafictional episodes for self-referential humor and to expose the creative process.^[113] This is demonstrated through Chuck, a writer who authors a book series titled Supernatural that chronicles Sam and Dean's lives;^[114] the episode "The French Mistake", in which the brothers are sent to the real world where they are actors Padalecki and Ackles;^[115] and the musical "Fan Fiction", which directly honors and comments on fandom and fan fiction.^[116]

Development

Creator Eric Kripke developed the concept for over a decade before Supernatural was picked up by Warner Bros.^[117] Kripke was inspired by a family road trip when he was nine, an experience that gave him a passion for road-trip stories. He was also influenced by John Bellairs's mysterious Gothic novel The House with a Clock in Its Walls (1973), particularly the way it combined elements of mystery, family dynamics, and folklore.^[118] Jack Kerouac's road-trip novel On the Road (1957) was another inspiration for Kripke.^[119]

At first, Kripke pitched an anthology series about a tabloid reporter who investigated supernatural phenomena, similar to Kolchak: The Night Stalker (1974–1975). This format was rejected because it rarely succeeded on primetime television at the time.^[77] Kripke then shifted to the concept of a cross-country American road trip in the vein of Route 66 (1960–1964), which immediately appealed to The WB.^[118] He likened the project to a version of "Star Wars in truck-stop America",^[120] describing it as "pure, stripped down and uniquely American".^[121] Having great faith in Supernatural, UPN president Dawn Ostroff launched an extensive promotional campaign before the premiere, and The WB hired director David Nutter to helm the pilot episode to ensure its success.^[122]

The project was approved shortly after Nutter signed on in January 2005.^[123] Wonderland Sound and Vision took on the production of the pilot episode, with Joseph McGinty "McG" Nichol and Peter Johnson as executive producers. Before filming began, the script underwent major changes regarding the characters' backgrounds: initially, the brothers were raised by their aunt and uncle, and Sam was completely unaware of the supernatural world. Realizing that this storyline was too complicated, Kripke and Johnson decided to alter it so that their father raised them to be hunters.^[124] When the series went into production, Robert Singer was brought on as an executive producer to add experience to the crew. John Shiban, a former writer for The X-Files (1993–2018), was hired as a co-executive producer to help build its mythology.^[125] Originally planned for three seasons, the storyline was later expanded by Kripke to five seasons^[126] with the hope of ending the show on a high note.^[127]

Supernatural went through four different showrunner eras: Kripke (seasons 1–5), Sera Gamble (seasons 6–7), Jeremy Carver (seasons 8–11), and the duo of Andrew Dabb and Singer (seasons 12–15).^[128][129] After stepping down in favor of Gamble for the sixth season, Kripke remained an executive consultant for an additional season before leaving to work on Revolution (2012–2014).^[130] To maintain consistency, the succeeding showrunners were all selected from the existing writing staff, which helped them preserve the framework originally established by Kripke.^[131] Cast members also took turns directing several episodes,^[132] notably Ackles with the sixth-season episode "Weekend at Bobby's" and Collins with the ninth-season episode "Mother's Little Helper".^[133] The executive producers for Supernatural included Phil Sgriccia, Singer, Kripke, McG, Carver, Eugenie Ross-Leming, Brad Buckner, Adam Glass, Gamble, Kim Manners, and Nutter. Alongside Wonderland Sound and Vision, Kripke Enterprises and Warner Bros. Television also co-produced the series.^[134]

Thanks to a loyal global fanbase, the series survived numerous upheavals, such as changes in network leadership, the Writers Guild of America strike (2007–2008), and six timeslot changes.^[135] Although the storyline was originally intended to conclude with the fifth season, a surge in viewership led to the show's renewal in February 2010.^[136] Despite live viewership numbers that could not match the Big Four American television networks, Supernatural was renewed a total of 14 times. This success led The CW president Mark Pedowitz to state that it would continue to be produced as long as ratings remained stable; the decision to end came from the lead actors, rather than the network.^[137] On March 22, 2019, Padalecki, Ackles, and Collins announced that the fifteenth season would be the final.^[134] In March 2020, the crew suspended filming due to the COVID-19 pandemic.^[138]

Casting

The roles of Jim Beaver (top left), Misha Collins (top right), Mark A. Sheppard (bottom left), and Mark Pellegrino (bottom right) were expanded into regular appearances due to positive fan reception.

In February 2005, Padalecki and Ackles joined Supernatural. Both were familiar faces to The WB viewers: Ackles had a recurring role in Dawson's Creek (1998–2003) and Smallville (2001–2011), while Padalecki appeared in Gilmore Girls (2000–2007).^[139] This casting decision reflected the network's practice of building new shows around supporting or minor actors from its previous projects.^[140] Casting the leads reached a stalemate because both Kripke and the network wanted Padalecki and Ackles to play Sam. Ackles noted that he proactively chose Dean, partly because he was drawn to the character's comic and reckless personality.^[42][141] He attributed their casting to the immediate chemistry he and Padalecki shared during their audition.^[142]

Guest stars were promoted to the main cast or recurring roles if they resonated well with audiences, as seen with Beaver, Collins, Sheppard, and Pellegrino. Beaver initially thought his role as Bobby would only last for the first-season finale, and later expressed enthusiasm when his role became recurring in subsequent seasons.^[143] Collins stated that Castiel was originally intended to appear in just a few episodes of the fourth season, but positive fan reception led to a long-term role.^[144] The angel gradually became a core character and was considered a third brother to Sam and Dean.^[145] Sheppard was promoted to the main cast because the crew was impressed by his portrayal of Crowley.^[146] Pellegrino was supposed to play Lucifer for a few episodes in the fifth season, but fans' response toward his character extended his role for multiple seasons.^[147]

Shot in Vancouver, British Columbia, Supernatural shared many Canadian actors with other locally filmed productions like The X-Files and iZombie (2015–2019).^[148] The show featured numerous actors from Joss Whedon's works, such as Buffy the Vampire Slayer (1997–2003) and Angel (1999–2004).^[149] Casting stars from these projects was a deliberate strategy to attract viewers.^[150]

Writing

The writing staff, led by Kripke, operated under a highly collaborative model. Kripke and Singer made the final revisions to ensure a consistent tone.^[7][151] Research into books, academic texts on folklore, urban legends, and websites such as Wikipedia was conducted,^[152] and the crew aimed for highly authentic references, which were intriguing enough to be "Google-worthy" for viewers.^[153]

The two main characters were initially named Sal and Dean (based on On the Road), but Kripke later changed "Sal" to "Sam".^[154] The brothers' surname was originally "Harrison" as a tribute to Harrison Ford. Due to a naming conflict, the crew changed it to "Winchester", inspired by the Winchester Mystery House.^[155] Developed around urban legends and the classic "hero's quest", the series places its elements in everyday suburban settings, blending genuine scares with dark humor.^[156] At first, it was intended to follow a monster-of-the-week format with standalone episodes. Due to the uneven quality of the episodes, this self-contained format was largely abandoned starting from the tenth episode of the first season. Recognizing the excellent chemistry between the two lead actors, the crew shifted the focus entirely to the psychological development and relationship of the Winchester brothers.^[157][158]

Although Kripke once claimed to have mapped out a five-season plan, he later admitted this was a strategy to manage uncertainty surrounding the show's future.^[159] In the early seasons, the writers decided to kill off the father character, John Winchester, early on to prevent the storyline from becoming diluted.^[160] To maintain tension when viewers knew the two male leads were unlikely to die permanently, the crew frequently placed guest characters in mortal danger.^[161] The producers expanded the universe by introducing new recurring characters, including two female antagonists in the third season,^[162] and angels in the fourth season, a direction which Kripke initially opposed but later accepted to balance the forces of good and evil.^[163]

When Kripke stepped down after the fifth season, the new executive producer, Gamble, steered the narrative away from introducing another large-scale villain, realizing it would be difficult for any character to surpass the appeal of Lucifer.^[164] Nearly every season breaks the fourth wall to explore alternate realities, behind-the-scenes production, or generic forebears.^[113] The writing staff's homage to classic rock is evident throughout the series. Songs from the 1960s and 1970s are frequently used as episode titles, and the Winchester brothers often borrow the names of rock legends (such as Led Zeppelin) as aliases during their investigations.^[165]

Production design

Jerry Wanek was the production designer,^[166] responsible for establishing the primary color palette for the cinematographer.^[167] Over the 15-year production up to March 2020, he created 176 distinctively American motel and hotel room sets, all built on soundstages.^[168][169] The similar structure of these rooms was continuously refreshed through set dressing,^[170] reflecting regional characteristics.^[171] These sets functioned as metaphorical transition spaces, evoking an Americana aesthetic to add visual contrast to the dark settings.^[172]

During the early seasons, the reliance on motels forced the crew to constantly construct new sets. Starting in the eighth season, the Men of Letters bunker was introduced as a standing set,^[173] featuring a large library and a strategy room.^[174] This allowed the crew to save time on set construction,^[173] while the bunker becomes the brothers' first true home.^[175] The 1967 Impala was not just a mode of transportation, but considered the "third character".^[176] The car's design was carefully detailed, featuring a hidden weapons cache in the trunk.^[177]

The wardrobe of the Winchester brothers marked a modernization of the Gothic horror genre, replacing Victorian suits with flannel shirts and rugged jeans.^[178] The costume color palette was inspired by 1970s horror films, dominated by dark earth tones and punctuated by Sam's brown jacket^[179] and Dean's style, which evoked Ford's look from Star Wars.^[155] The costuming was a plot device, as it let the brothers impersonate law enforcement and investigate cases.^[180] To depict a supernatural entity in human guise, the angel Castiel was styled as a man in need of a shave, dressed like a "tax accountant", and equipped with a rumpled trench coat reminiscent of the character John Constantine or the actor Humphrey Bogart.^[181][182]

Filming

Aside from the pilot, which was filmed in Los Angeles, Supernatural was primarily produced in Vancouver, Canada, with principal filming taking place at Canadian Motion Picture Park (CMPP).^[168] It maintained a rigorous production schedule, allotting eight days of filming per episode alongside a massive amount of preparation and post-production work. Despite this, the producers quickly agreed to cap workdays at 14 hours to ensure the crew's well-being.^[7][168] The pilot and the first three seasons were shot on 35 mm film before transitioning to digital cameras beginning in the fourth season.^[168][183]

The visual identity was shaped by cinematographer Serge Ladouceur, who served in this role for 320 out of 327 episodes. The other seven were shot by Bradley S. Creasser, Ladouceur's longtime A-camera operator.^[168] The series took The X-Files' expressionist lighting and reworked it into a grungy chiaroscuro,^[184] with a palette of blacks, browns, and dark blues dominating the overall look.^[179] Ladouceur prioritized a naturalistic, source-justified lighting approach. In the early episodes of the first season, the signature gloomy aesthetic was achieved through a digital bleach bypass process in the timing suite to desaturate colors and enhance contrast.^[185] The CW once pressured the crew to increase the brightness or the color of the frame. By the beginning of the fourth season, Kripke had successfully intervened and returned the series to its original dark and gritty tone.^[168][185] He opposed the overuse of slow motion in action sequences to maintain realism and rawness.^[168]

The crew mechanized some of their filming processes by building specialized equipment. An example was a rig dubbed "Highways" by the crew, built for side or profile driving scenes in the Impala. This system consisted of two 20-foot-long devices utilizing conveyor belts that carried battery-powered LED lights past cut-out black material to simulate the car's movement. To create a realistic sense of distance, the wheels on the rig were designed to rotate at different speeds. The crew refreshed their creativity by mixing serialized storytelling with special standalone episodes, such as "Scoobynatural" and "The French Mistake".^[168] "Ghostfacers" extensively used handheld cameras and night-vision goggles to simulate a found footage format,^[186] while "Monster Movie" was filmed entirely in black and white to pay homage to classic Universal Pictures films.^[187]

Visual effects

Ivan Hayden was the visual effects (VFX) supervisor for Supernatural.^[188] Because the show aired on a smaller network like The CW, it faced budget constraints,^[189] and the high costs of VFX and night shoots initially threatened the series' long-term viability.^[190] To deal with this, the team decided to form their own VFX department in the second season to reduce expenses.^[168] The team manipulated the environment directly, such as by controlling artificial smoke,^[191] or wetting down floors to create darker areas and convey a sense of loneliness and coldness.^[192] In Castiel's "Lazarus Rising" introduction, the light bulbs did not explode; instead, the VFX team simply switched them off remotely while triggering hundreds of pre-set sparks to allow for quick resets between takes.^[183]

The visual style focuses on authenticity and realism.^[185] In the early seasons, the depiction of the spiritual world was heavily influenced by Japanese horror films.^[193][194] Instead of using elaborate makeup, higher powers were portrayed as ordinary people in street clothes. The true nature of angels was revealed only through the shadows of their wings or a blinding white light, while demons took human form and were identified by pitch-black eyes and violent plumes of black smoke during possession.^[195] Armageddon was depicted as a confrontation between two ordinary men in rural America as it is implied in the show that Heaven and Hell are present in everyday life.^[196]

Despite its high costs of enhancing night scenes and network censorship, Supernatural pushed TV gore to the limits.^[197] While body horror is more common in storylines involving embodied monsters or hellish torture, haunting episodes often contrast desiccated or skeletonized remains with the fresh, gory bodies of a vengeful ghost's victims, which are occasionally used to provide comic relief.^[85] Responding to the relaxation of censorship on television, the series increased its use of explicit violence, such as decapitations and exploding bodies. In line with the mid-2000s rise of cinematic torture horror, the show incorporated more torture themes into its storyline.^[198]

Music

The series comprises three musical elements: classic rock used for Dean's persona; emotional family themes; and scary horror scores. The latter two are original score tracks composed by Jay Gruska and Christopher Lennertz, which are used to reflect the characters' inner lives and the supernatural entities.^[199] Gruska's "Americana" is an instrumental piece that centers on themes of family and vulnerability.^[200] The show uses silences or non-melodic sounds when the brothers confront death or existential issues, helping to avoid being overly heavy-handed in scenes where these moments occur.^[201] To differentiate the demon-hunting world associated with the Winchester brothers' classic rock music, contemporary music is used for the victims of supernatural forces.^[202]

In contrast to the original score, classic rock is often diegetic sound, which means it emanates from the setting and can be heard by the characters, representing reality and normalcy.^[203] Kripke insisted on using this genre, once threatening to quit the project if forced to use music by contemporary bands, which he argued did not suit the Winchester brothers.^[204] The series features music by classic rock artists such as Kansas, AC/DC, and Def Leppard.^[205] In particular, Kansas's "Carry On Wayward Son" (1976) became the unofficial theme song, playing during the recap at the beginning of every season finale from the second season onward.^[206]

Critical response

Supernatural received mixed to positive reviews. On Rotten Tomatoes, the series holds a 93% approval rating from the aggregated reviews of 163 critics over 15 seasons.^[229] On Metacritic, it has a weighted average score of 60 out of 100 based on 48 critics over 15 seasons, indicating "mixed or average".^[230]

USA Today's Brian Truitt, /Film's Jenn Adams, and Esquire's Gabrielle Bruney credited the show's success and longevity to the casting and chemistry between Padalecki and Ackles.^{[231][232][233]} Truitt praised the actors for infusing their roles with "depth, soul and humor",^[231] while Adams noted their brotherly bond provided an "emotional hook".^[232] Melanie McFarland of Salon.com wrote that the show tapped into the American spirit by depicting underdog battles against corrupt systems,^[234] while Truitt highlighted how the protagonists carved out a place in Americana through their cross-country road trips.^[231] Bruney singled out the first five seasons as the "golden age",^[233] and Adams ranked the fifth season as the absolute peak.^[232]

The series was praised for its tonal versatility and standalone episodes. Mike Hale of The New York Times, Adams, and Bruney commended the producers' creative risks, particularly highlighting self-referential episodes that poked fun at the show, its writing, and its fandom.^{[232][233][235]} Alex McLevy of The A.V. Club and Bruney appreciated the blend of scares, drama, and adventure, with McLevy praising its ongoing commitment to the monster-of-the-week format.^[233][236] Thematically, McFarland praised for redefining family,^[234] while Danielle Turchiano of Variety highlighted its portrayal of a selfless chosen family.^[237] Aja Romano of Vox highlighted the fandom as a key force ushering in a modern era of geek culture through its harmonious relationship with the creative team.^[238]

In less favorable reviews, Hale remarked that the performances lacked polish and the story often felt made up as it went along during its final decade.^[235] While Bruney noted the increasingly "complicated lore",^[233] Adams and McFarland criticized "tired plot contrivance" and the tendency to "recycle the same tensions between Sam and Dean", respectively.^[232][234] Bruney, McFarland, and Romano criticized its lack of diversity and persistent whiteness,^{[233][234][238]} with Romano noting its early regressive, dudebro-centric tendencies that treated female characters as expendable.^[238] Bruney and Romano panned the series for queerbaiting,^[233][238] while Adams and Bruney condemned its use of the bury your gays trope through the sudden death of Castiel following his same-sex confession.^[232][233] Adams cited the untimely deaths of fan-favorite characters as a weak point.^[232]

The series conclusion yielded a divided critical response. Hale described the finale as "an odd, awkward, maudlin [...] exercise",^[235] while Adams labeled it "divisive" and "empty", noting its narrative momentum was hampered by pandemic protocols.^[232] Truitt felt the finale was not the best hour and questioned the writing behind Dean's demise.^[231] Romano found the ending "alienating", citing its failure to include a recurring female character as bizarre yet fitting.^[238] McLevy concluded it ended on a "pretty high note",^[236] and Turchiano wrote that despite narrative complications, the show navigated its darker thematic risks to leave a legacy which is both "hopeful and poetic".^[237]

US television ratings

The series premiere of Supernatural attracted 5.69 million viewers in the US, while the first-season episode "Route 666" achieved the series' highest viewership with 5.82 million viewers. With the exception of four episodes in the final season, every episode drew over one million US viewers.^[239] On streaming platforms, according to Nielsen TV ratings data from 2020 to 2023, the series consistently ranked among the top 10 most-streamed acquired shows in the US, maintaining an annual viewing time of 18 billion to nearly 23 billion minutes.^{[240][241][242][243]}

Awards and nominations

Supernatural has received three Primetime Emmy Award nominations. At the 58th Primetime Emmy Awards, the series was nominated for Outstanding Music Composition for a Series (Original Dramatic Score) and Outstanding Sound Editing for a Series for its "Pilot" episode.^[289] For the 60th Primetime Emmy Awards, it received a nomination for Outstanding Sound Editing for a Series for the third-season episode "Jus in Bello".^[290] The show has won nine People's Choice Awards and four TV Guide Awards.^[291]

Financial dispute

In 2017, Kripke and Warner Bros. became involved in an arbitration dispute after Kripke objected to the studio's financial reporting for Supernatural. Warner Bros. claimed that the series had a deficit of nearly US$23 million after its first eight seasons, despite high revenues. Kripke disputed this figure, pointing out that the studio did not provide sufficient documentation to prove whether streaming licensing fees from partners such as Netflix and Hulu were at fair market rates.^[292] Speaking to Deadline Hollywood in 2023 amidst the WGA strike, Kripke stated that he had received zero streaming residuals from Netflix for the series, contrasting it with the residuals he receives from cable airings. He noted that while he was financially fine, the lack of streaming residuals severely impacts staff writers who rely on that income between jobs.^[293]

SPNFamily and fan conventions

SPNFamily is the name of the Supernatural fan community, coined by Padalecki to describe the close-knit relationship between the cast and the audience.^[294] The quote "family don't end with blood" was embraced by the community and became the fandom's motto.^[295] In its early years, the series was constantly at risk of cancellation, and its survival was largely due to the fans. When Kripke expressed concern about the renewal prospects, audiences immediately bombarded television critics with postcards and messages to rescue the series.^[296] In 2014, when Supernatural was dropped from broadcasting in the UK, fans launched a campaign by posting with the hashtag #UKNeedsSPN on Twitter.^[297] The trend of live-tweeting while watching episodes also provided immediate feedback to the producers and attracted new viewers.^[298]

In addition to average viewership and tie-in merchandise, the show's popularity was reflected in its San Diego Comic-Con panels.^[299] Hall H typically prioritized blockbuster films and rarely scheduled television shows. Thanks to consistently packed panels in prior years, Supernatural secured a spot in this largest hall starting in the seventh season.^[300] Every July until 2019, fans gathered and filled Hall H.^[142][301] Between 2006 and 2020 alone, over 250 conventions took place across dozens of countries.^[80] Starting in 2008, Creation Entertainment in the US and Asylum in the UK began hosting conventions for the series, which occurred as often as once or twice a month, an unprecedented frequency for a television show.^[302] Supernatural conventions were praised for their highly connective nature,^[303] breaking down barriers between the cast and the audience through intimate photo ops and interactive sessions.^[304]

On June 23, 2018, the Mayor of Austin, Texas, Steve Adler, proclaimed "Supernatural Day" to honor lead actors Ackles and Padalecki, who both reside in the area. The ceremony attracted a large crowd of fans and crew members from across the US.^[305] Although the series has concluded, the fandom believes that this is not its ultimate end.^[306]

The internet era and Tumblr

Supernatural and its fandom grew in tandem with the explosion of the internet after premiering in 2005.^[307] The series' emergence coincided with an era in which fans began using blogs like LiveJournal to share thoughts, images, news, and videos. LiveJournal enabled the formation of tightly knit online communities, far more cohesive than the earlier era of message boards, mailing lists, or old Usenet forums. Later, the fandom continued to expand across various other social media platforms such as Archive of Our Own (AO3), Wattpad, Tumblr, Facebook, Twitter (X), and Instagram.^[308]

Tumblr played a role in the fandom's identity, beginning to attract fans in late 2009 alongside the launch of its iPhone app.^[309] The Supernatural fandom actively participated in SuperWhoLock, one of the largest multifandom communities on Tumblr. This portmanteau refers to the three most active communities on the platform: Supernatural, Doctor Who (2005), and Sherlock (2010–2017). There, fans frequently used GIFs to interact and joke between fandoms. On Tumblr, the Supernatural fandom became famous for the trend of asserting they "have a GIF for everything". Fans regularly hijacked unrelated posts by using GIFs from the show and its behind-the-scenes footage to communicate, express emotions, assert their identity, and help promote the series.^[310]

Fan creativity and LGBTQ+

According to academics Lynn Zubernis and Katherine Larsen, the SPNFamily is one of the internet's most dynamic communities, developing alongside the social media boom.^[311] They actively create fansites, write fan fiction, draw fan art, and make videos for YouTube.^[312] In particular, they have a culture of shipping characters, most notably Wincest and Destiel.^[313]

Wincest, a portmanteau of Winchester and incest, is the incestuous pairing of brothers Sam and Dean, accounting for one of the largest volumes of works on AO3 and various other forums.^[5][314] Gamble once joked that the central storyline is "the epic love story of Sam and Dean".^[5] Supernatural became self-reflexive about Wincest by directly incorporating this fan culture into its plot, having the main characters shockingly discover fans who write romantic fiction pairing them.^[315] This movement extended to the two male actors in real life (RPF) under the name J2, a portmanteau of Jared and Jensen.^[316] J2 works are credited with laying the groundwork for the creation of the Omegaverse (ABO) in late 2010, a genre of fiction featuring erotic and male pregnancy elements.^[317]

Since Castiel's introduction in the fourth season, the Destiel pairing (shipping Dean and Castiel) gained immense popularity,^[318] becoming the subject of academic and popular discourse.^[319] Intimate interactions between the two characters, along with suggestive details from the production crew that were never actualized on screen, led to a wave of queerbaiting accusations from LGBTQ+ fans.^[320] The two lead actors had contrasting reactions to Destiel: Ackles dismissed the existence of this relationship to protect his character's traditional masculinity,^[321] whereas Collins actively interacted with and supported fans, acting as a voice for the LGBTQ+ community.^[322] In the eighteenth episode "Despair" of the final season, the decision to kill off Castiel immediately after he confessed his love to Dean sparked fan outrage, accusing the show of utilizing bury your gays.^[323] Collins later confirmed that Castiel's confession was indeed romantic in nature.^[324] His support for Destiel and LGBTQ+ representation developed a culture of acceptance within the fandom,^[325] helping fans learn to accept themselves.^[326]

Philanthropy and political activism

Padalecki has opened up about his own struggles with depression and anxiety disorders, which led him to launch the Always Keep Fighting T-shirt campaign to raise funds for those struggling with their mental health.^[296] Collins, along with Padalecki and Ackles, co-founded the SPNFamily Crisis Support Network to help fans and the community with mental health issues.^[327] Collins used his influence from Supernatural to connect fans with community service opportunities.^[328] In 2010, he co-founded and served as board president of the non-profit organization Random Acts,^[329] carrying out practical projects such as constructing an orphanage in Haiti and a high school in Nicaragua.^[328]

In 2011, Collins created GISHWHES (the Greatest International Scavenger Hunt the World Has Ever Seen) to channel fan creativity toward good causes globally.^[330] His initiatives motivated Supernatural fans to become more proactive in political and social issues.^[331] Collins and the fandom fostered a civic culture that emphasizes empathy, transparency, and respect for differences.^[332] On December 8, 2020, the cast and Kripke reunited in a virtual fundraiser with politician Stacey Abrams for Fair Fight Action to protect voting rights and prevent voter suppression.^[296]

The influence of Supernatural inspired fans to independently organize relief and health care initiatives. For instance, a fan named Karla Truxall founded the non-profit SPN Survivors (Suicide Prevention Network), while the group SPN Rescue emerged on Twitter to monitor SOS messages and connect victims of Hurricane Harvey (2017) with rescue services.^[333] Following the series finale, a group of fans channeled their disappointment into major fundraising campaigns: the Castiel Project supporting The Trevor Project, a suicide prevention hotline for LGBTQ+ youth; the Sam Winchester Project providing emergency funds for students; and the Dean Winchester Is Love campaign donating to the National Alliance on Mental Illness (NAMI).^[334]

Merchandising and tie-ins

The complete 15-season set of Supernatural, titled The Complete Series, was released by Warner Bros. Home Entertainment on DVD and Blu-ray on May 25, 2021.^[335] During its broadcast run, the series featured real-world tie-ins. For example, Dean's cell number (1–866–907–3235) was a real, active phone number during the early seasons. Callers would hear a voicemail recorded by Ackles.^[312] The domains hellhoundslair.com (featured in the first-season episode "Hell House") and ghostfacers.com (featured in the fourth-season episode "It's a Terrible Life") were both accessible prior to 2013.^[336]

The franchise has produced a diverse range of merchandise, including toys, apparel, jewelry, and memorabilia.^[299] A tabletop role-playing game, the Supernatural Role Playing Game, designed by Jamie Chambers, was published by Margaret Weis Productions in 2009.^[337] On September 10, 2010, WaterTower Music released the soundtrack album Supernatural: Original Television Soundtrack – Seasons 1–5, featuring 18 original tracks composed by Lennertz and Gruska.^[338]

From 2007 to 2014, Titan Books published seven The Official Companion books covering the first seven seasons, along with The Essential guide, all authored by Nicholas Knight.^[339] The premiere issue of Supernatural: Official Magazine was published on November 27, 2007.^[340] HarperCollins has published supplementary tie-in books such as The Supernatural Book of Monsters, Spirits, Demons, and Ghouls (2007) and John Winchester's Journal (2009) by Alex Irvine,^[341][342] as well as Bobby Singer's Guide to Hunting (2011) by David Reed.^[343] Entertainment Weekly and TV Guide have both released special behind-the-scenes collector's editions dedicated to the series.^[344][345]

Comic adaptations

Comic book series based on the show have been published by WildStorm, DC Comics, and Dynamite Entertainment:

Novel adaptations

Novels based on the series have been published by HarperEntertainment and Titan Books:

Rewatch podcast

A rewatch podcast titled Supernatural: Then and Now premiered on January 24, 2022, hosted by Benedict and Speight. Ackles and Padalecki appeared as guests in the first two episodes.^[354]

Spin-offs

Between April and May 2010, a comedy web series titled Ghostfacers premiered with 10 short episodes. It centered on the amateur ghost-hunting duo Ed Zeddmore and Harry Spangler, who were introduced in the main series' first season.^[355][356] In 2011, Japanese studio Madhouse, Inc. produced Supernatural: The Animation (スーパーナチュラル・ザ・アニメーション), making Supernatural the first live-action foreign television series to receive an anime adaptation.^[357] The 22-episode series re-imagined the plot of the original show's first two seasons while introducing new storylines exploring the Winchester brothers' childhood.^[358]

The CW explored potential spin-offs through backdoor pilot episodes integrated into the main series. Supernatural: Bloodlines (2014) was intended to explore the underground monster factions of Chicago, while Wayward Sisters (2017) focused on Sheriff Jody Mills. Neither project was ordered to series by the network.^[359][360] During the production of the third season, Kripke conceived a Wild West prequel series centered on the legendary hunter Samuel Colt, but the concept never entered production.^[152]

The Winchesters (2022–2023) was the only spin-off project successfully greenlit by The CW. A prequel, the series focused on the early lives of Sam and Dean's parents, John and Mary Winchester. It was executive produced by Ackles, who reprised his role as the narrator, and his wife Danneel. The series was canceled after a single season.^[361][362] According to academic and author Erin Giannini, the core reason behind the failure of attempts to expand the universe through spin-offs was that the franchise's appeal relied too heavily on the dynamic between the main characters: Sam, Dean, and their shared journey.^[363]