I think the theme for season 12 is really for us in the same way as season four was, and season eight was, and six was it? It’s a little bit more of a soft reset, a little bit back to basics. The really important thing to us is making the conflicts and the stakes personal to Sam and Dean, because as you go big, and certainly last year we went real big, I think sometimes the idea of saving the world looks really great on paper, but sometimes it can be a little nebulous in the telling of the story. So for us this season as we iris the lens in on Sam and Dean and their relationships a little bit more it’s important for us to keep the stakes and the danger and the excitement in little bit more of a contained way and a little bit more family focused. With Sam and Dean in the last few years we’ve built out their family in a lot of interesting different ways. Yes there’s Crowley and Castiel but there’s also Jody as she’s evolved into a nice character for us, some other characters as well, now Mom is back, that’s a whole other wrinkle. So it’s really about putting the focus on back family and building off that.
— Andrew Dabb on Season 12

Andrew Dabb is a co-executive producer and writer for the series Supernatural. He started writing along with Daniel Loflin as a writing team/supervising producer who joined Supernatural in Season 4. In Season 8, Dabb and Loflin began writing episodes separately. Beginning with Season 12, Dabb took over as co-showrunner with Robert Singer, following the departure of Jeremy Carver.

I get that people may not have been as into that as we were, they’re certainly fair, but I do believe that, you know, sometimes you try things and you hope they work and that one…yeah. It didn’t necessarily work for everyone, I’m certainly aware of that, but at the same time if you start doing things only you know that people are going to like, and people are like “Oh my God I love it,” that limits you storytelling wise. At this point in the show, those stories are easy to do. It’s easy to tick three boxes and know on Twitter the fans are going to go crazy for it. It just is. We all know what those three boxes are but I think the question is, if those are only the types of stories you’re telling and those are only the type of episodes you’re telling, then are you really allowing the show to grow creatively? It becomes a nostalgia cycle. You know what I mean? And we’ve certainly been on 12 years. We have our share of nostalgia and certainly have gone to that well but if that’s all you’re going for, that’s all you’re doing is repeating, then it becomes a real problem and it puts a clock on things. I think we have with the guys and these relationships we have places to go that are really interesting, I don’t ever want to get to the point where I’m like, “We’re not going to do this because Twitter’s not going to like it.” I just don’t think that’s a good way ever to run a story, or run a show, and I also think truth of the matter is, the thing people like the most is that they want it but they didn’t know they wanted it.
— Andrew Dabb on the controversial ending of Season 11 [1]


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  1. Lets discuss the showrunners vision

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