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Photo: Robert Falconer & Cristian Cretu/The CW

In celebration of the end of SUPERNATURAL, we’re taking a look back at various set visits to the show throughout the years. Earlier this week, we posted a behind the scenes look at props, wardrobe and the show’s signature car. Now, we’re going to take a look back at some of the show’s famous sets.

The original TVAddict visited the set all the way back in 2007, seeing the cemetary where they filmed the season finale “All Hell Breaks Loose”. Years later, I first visited the set in 2011, seeing the chapel where Becky and Sam got married in season 7 and Rufus’ cabin. After that, once the Men of Letters bunker set was built, we visited the art deco inspired space for many years, seeing various rooms and hallways that were added throughout the years.

The week of the finale, we’ll take a look back at outtakes over the years with stars Jensen Ackles and Jared Padalecki.

SUPERNATURAL airs on Thursdays at 8:00 p.m. ET/PT on The CW.

2007 (Season 2). During the original TVAddict’s vision to set all the way back when they were filming the season 2 finale, “All Hell Breaks Loose”, he spotted the crypt which served as the Devil’s Gate in the episode.

2007 (Season 2). This cemetary sat in the middle of the giant Devil’s Trap that Samuel Colt had constructed and served as the final battle scene for season 2.

2007 (Season 2). More of the cemetary that held the Devil’s Gate.

2007 (Season 2). John Winchester’s grave stone. John’s sons gave him a hunter’s funeral so he never got a grave stone, but this one is from the season 2 episode “What Is and What Should Never Be”.

2007 (Season 2). Grave stones that went into the cemetary for “All Hell Breaks Loose”.

2007 (Season 2). Ellen and Jo’s roadhouse, which was introduced in season 2.

2007 (Season 2). This devil’s trap was on the ceiling of Bobby’s house. We first saw its power in the season 1 episode “Devil’s Trap”, when Bobby and the Winchesters trapped the original Meg.

2007 (Season 2). Jared and Jensen’s chairs on set.

2011 (Season 7). We arrived on set around the time of filming for the episode “Season 7, Time for a Wedding” and we got to tour the empty chapel that had been created in the studio for Sam and Becky’s wedding.

2011 (Season 7). During our visit, the set wasn’t “dressed”. While the construction crew had built the set itself, others come in to add furniture and props for filming.

2011 (Season 7). More of the hallway leading to the chapel.

2011 (Season 7). The pretty fresco painting in the “Chapel of Everlasting Love”.

2011 (Season 7). The SUPERNATURAL crew hung banners from the rafters representing their awards wins. There’s also one in memory of Kim Manners, a producer on the earlier years of the show who passed away.

2012 (Season 8). Rufus’ cabin first appeared in the season 7 episode “The Girl Next Store”, when Bobby, Sam and Dead headed there after Bobby’s house burnt down. It made several appearances during seasons 7 and 8.

2012 (Season 8). The kitchen area of Rufus’ cabin.

2012 (Season 8). This gives you a sense of the behind the scenes area of sets. Studios are giant warehouses, filled with filming equipment. Sets will grow up in spaces dotted throughout the open areas. Ceilings are not finished so that the crew can light the scene from above. Fake trees are placed outside windows and no one ever built a wall behind the fireplace. For filming, a board would be placed behind the open area in the fireplace that will make the whole thing look like a finished, self-contained room.

2013 (Season 9). While the Men of Letters bunker was first introduced in season 8, it wasn’t until our season 9 set visit that we got an opportunity to tour it. Jerry Wanek, the show’s production designer, said that there were a lot of people involved in putting it together. Often, the scripts themselves won’t give much direction on how to build sets. With the bunker, “the only description in the script was ‘a concrete bunker’. Because of the breadth of knowledge that the Men of Letters had at their disposal and these are all learned people and what we sort of glommed from all that was they were well-versed in astrology, astronomy, biology, chemistry, whatever the sciences are. Plus mythology. Therefore we have this great library. To put [a set] into a [plain] concrete bunker, after 2 or 3 episodes, you get bored. Because even though concrete walls are very cool and you get that it’s all reinforced, I wanted to do something else. I wanted to do something more.”

The entire main standing set of the bunker, which included this library area and the map table room, took 3 weeks to build.

2013 (Season 9). “I love art deco, but you’ve got to be really judicious when you’re doing art deco because it’s such a strong a design period and presence that you can easily overdo it,” Wanek said. “The thought process was that [the Men of Letters] needed a place that had a strong power supply. They shut it down in the 1950’s, so we backtracked. It was open for roughly 20 years, so we just kind of made up our own storyline. We thought ‘okay, during the WPA (Work Projects Administration) movement, they built all of these wonderful art deco power stations throughout the United States. So why not have these guys be in the basement or adjacent to this great power source and then we can take all of these wonderful properties of the art deco that were a part of that WPA period and put it into our set. And that’s really how we came about this.”

2013 (Season 9). 

2013 (Season 9). Many of the books you see on set will be fake, especially if characters don’t open them up. But books that are featured on the show will originally start as real older books and then the crew added their own covers and built in certain pages that were relevant to the script.

2016 (Season 12). Almost everything structural in the bunker was made of foam, including the walls, so they could be easily moved to accommodate the shots needed. All of the bookcases were on wheels and moved as well so the cameras could get behind them, especially for long shots. That is “something you have to think of when you’re [building sets] because every director wants to shoot [the bunker] in a way that nobody else has shot it. That just goes with the territory of being a director.”

2016 (Season 12). A closer look at the card catalogue.

2016 (Season 12).

2013 (Season 9). Looking down on the lit map table from the balcony.

2013 (Season 9).

2013 (Season 9).

2013 (Season 9).

2016 (Season 12). The space above the bunker’s “command centre” had plenty of room to rig lights for particular scenes.

2013 (Season 9). “I insisted on putting a telescope underground,” Wanek said. “When you see the first reveal of the Men of Letters bunker, we start high on this power station and we come down this hillside and then we find the doorway. So my whole theory was that’s the side of the hill, so the plates would open up and the telescope would project out from the side of the hill. You’re still underground, but you’re built into a hill. So that was my rationale and 99% of the producers liked it.” It wasn’t until season 15 that we learned that the telescope is actually an interdimensional geoscope, thanks to Mrs. Butters in the episode “Last Holiday”.

2013 (Season 9). A lot of little details went into building the set, Wanek explained. “The freezes – that wonderful little detail that goes around the perimeter  – there’s a bunch of little sigils and warning symbols built into that art deco motif. Right above the book cases you’ll find one of our Enochian symbols or one of our sigils. Along the threshold of the doorway, same thing. So we have all the exits and entries covered. So either if somebody’s trapped in here or we don’t want them to get in, we always have safeguards. All of that was part of our lore, obviously, and we built from that.”

2017 (Season 13). Sam and Dean carved their initials on a bunker table.

2017 (Season 13).

2016 (Season 12).

2016 (Season 12). “[We] had some elements laying around [from previous sets]. The staircase leading to the bunker balcony came from Crowley’s torture basement or whatever we had in year 4 or 5,” Wanek said.

2017 (Season 13).

2013 (Season 9). Wanek’s theory was “in order to power this [bunker], we needed to have a power source. So the first time we introduced this there was a CGI of a art deco power station up on the hill and the door into this place was down below. So that’s why there’s power.”

2013 (Season 9).

2013 (Season 9). There’s always so much detail that goes into props that there’s a chance the audience might see, including hand-written pages of paper.

2013 (Season 9).

2013 (Season 9). Looking down from the balcony in the bunker.

2013 (Season 9).

2015 (Season 11).

2016 (Season 12).

2016 (Season 12). Originally this piece was made of real circuit boards, but as they kept the set they decided to build their own version so they didn’t have to keep renting the real one.

2015 (Season 11). The map on the wall is “not really of the United States,” SUPERNATURAL’s art director John Marcynuk explained. “It’s really a map of all the reservations in the United States. So there’s this kind of First People’s symbology hidden in here.”

2015 (Season 11). According to Marcynuk, “We got the call about a month before [the bunker was set to appear on air]. Maybe a month and a half. We had a very limited amount of time.”

2015 (Season 11). While this hasn’t really been utilized on the show, Marcynuk once mentioned that they anticipated that secret passages might one day be found in the bunker. “We designed it for such. We have space behind [some of the] bookshelves if they wanted to put in a secret panel. We’ve prepared for that [even though they haven’t written it yet].”

2015 (Season 11).

2015 (Season 11). An example of the fake books on the bunker’s bookshelves. While most of the books are fake, Wanek said that a lot of work has gone into making sure they’re all very distinctive-looking.

2015 (Season 11). “The symbols, which you rarely see, [all have meaning]”. Marcynuk explained that one is spell-based, one is God-based, one is geography-based, etc.

2015 (Season 11).

2013 (Season 9).

2015 (Season 11). They don’t show actual brands on the show, so the crew have created custom labels for everything, including the beer bottles.

2015 (Season 11). A modern touch that Sam and Dean brought into the bunker.

2015 (Season 11).

2015 (Season 11). According to Marcynuk, “Sam’s room and Dean’s room is the same set. We just redress it.”

2015 (Season 11). Sam’s bedroom.

2017 (Season 13). Sam’s bed again, a few years later. He’d gotten neater over time!

2015 (Season 11). Sam’s bedroom. The bunker was meant to have “dorm-style” bedrooms and that utilitarian look remains, although the brothers have occasionally added their own touch to their rooms.

2017 (Season 13). The table in Sam’s bedroom.

2017 (Season 13). The desk in Sam’s bedroom.

2015 (Season 11). Another modern touch in Sam’s bedroom.

2016 (Season 12). Dean’s bedroom.

2016 (Season 12). Dean’s bedroom. Broken mirror….a lot of bad luck.

2016 (Season 12). Beer bottles littered almost every surface of Dean’s bedroom, from the little corner table to the shelf over his bed to the desk.

2016 (Season 12). The desk in Dean’s bedroom.

2016 (Season 12). Dean’s bedroom.

2015 (Season 11). One of the permanent hallway sets built for the bunker. The sets were usually designed for expansion, including things like the hallways. “You never know what they’re going to write,” Marcynuk said.

2016 (Season 12). Room 23 is the bunker’s kitchen.

2016 (Season 12). A look inside the kitchen.

2016 (Season 12). 

2016 (Season 12). 

2016 (Season 12). 

2016 (Season 12). 

2015 (Season 11).

2016 (Season 12). The back of the fridge in the bunker kitchen came off, which allowed the crew to film from the inside of the fridge outwards. They used this technique in a lot of different episodes, including looking out from the inside of medicine cabinets, for example.

2015 (Season 11). The dungeon set in the bunker.

2017 (Season 13). The Del Ray Motel set appeared in a season 13 episode of SUPERNATURAL. For this motel room they wanted to do a design that was “mid-century. Then we started looking for things [that fit the motif],” Wanek explained. They started looking through wallpaper books and settled on the paper here, and settled on a graphic print for the floors.

2017 (Season 13).

2017 (Season 13). Wanek had built well over 150 motel sets in the earlier years of the show before the bunker was introduced because SUPERNATURAL was really a “road show”.

2017 (Season 13). They make the rooms a bit bigger than normal motel rooms to allow for the cameras and also for fight sequences.

2017 (Season 13).

2017 (Season 13).

2017 (Season 13). These cells were in Asmodeus’ lair and are where Lucifer and Castiel were being held captive in season 13.

2017 (Season 13). These spikes were seen sticking out of the ground in the alternate dimension that Mary and Lucifer were trapped in at the beginning of season 13. Wanek told us that they were modeled to look like the a familiar weapon on the show. “They’re the same exact shape and dimension as an angel blade.” Some of the ones on location were even 20 feet tall.

2017 (Season 13). This set was created as a damaged church in the alternate universe. It first appeared in the season 13 episode “War of the Worlds” and then was seen in a few other episodes. Wanek said that this church was originally “written as just another concrete bunker and I hate that, so it gives me the sort of creative license to take the story a little further and that’s what we did.”

2017 (Season 13). Wanek enjoyed creating a large church steeple where the Iron Maiden took the place of a bell, because “there’s some swing to it”. It was originally just written as a “cage off the ground and this is what we came up with.” The size of the Iron Maiden device is also “adjustable”, depending on the size of the actor inside it. At one point, we saw Mary Winchester inside while she was held captive in the alternate universe.

There’s a lot of space between the boards of the various walls in the church, but when you add in atmosphere and light you get really cool shafts of light, called “God rays”. All of this was purposeful when the crew was designing the place.

2017 (Season 13). This shot shows the level of detail that goes into the sets, from the coloring of the alter to burning the wax of the candles to make the scenes look more authentic. Wanek explained that they’re lucky on SUPERNATURAL because the production crew has a lot of freedom “to take [the sets] to a place where we think is appropriate, as opposed to just being dictated [to].”

2017 (Season 13). A fresco painting near the altar of the church in the alternate universe.

2017 (Season 13). A door on the inside of the church leads to a room off to the side of the building.

2016 (Season 12). Production had a book with blueprints of a lot of old sets (and the new ones), including Bobby’s house, in case they ever needed to bring old sets back.

2016 (Season 12). The crew also had a reference book of symbols and sigils used throughout the show, detailing the look, dimensions, color and placement on floors, walls or ceilings when used.

2016 (Season 12).

2016 (Season 12).

2018 (Season 14). In November 28, just prior to the 300th episode celebrations, there was a plaque dedication at Canadian Motion Picture Park (CMPP), which is the large lot containing the SUPERNATURAL sound stages (along with other show’s stages). The show’s production office building were officially dedicated as “The Supernatural Stages”.

Photo by Phillip Chin/Getty Images for Warner Bros. Entertainment Inc.

In 2011, I took my first ever trip to the set of SUPERNATURAL in Vancouver. It was during the filming of season 7 and we toured the studios, interviewed various members of the production crew, and then headed out on location to speak to stars Jared Padalecki and Jensen Ackles. Many years before that, the original TV Addict, Daniel, visited the set of SUPERNATURAL while they were filming the season 2 finale in 2007.

I was lucky enough to go back to Vancouver seven more times after 2011, often visiting the SUPERNATURAL set (along with other Warner Bros. shows filming in the city), speaking to the crew, touring the sets, visiting the props room, and even doing red carpet interviews before the show’s 200th and then 300th episodes.

To celebrate the final three episodes of the show, we’re taking a look back through our archive of set visits. First up is a look at props, wardrobe, the production offices and the show’s most famous object: the Chevy Impala. What follows are behind the scenes photos and tidbits about some of SUPERNATURAL’s most recognizable objects and clothes. We also have a look at the show’s iconic sets and then (the week of the finale) a look at outtakes from our interviews with the show’s stars over the years.

SUPERNATURAL airs on Thursdays at 8:00 p.m. ET/PT on The CW.

2011 (Season 7). Hand-made puppets of Sam and Dean.

2011 (Season 7). We get a peak at some photos of John and Mary Winchester.

2016 (Season 12).

2016 (Season 12). A photo of Mary and young Dean.

2011 (Season 7). The props room is full of wild and wacky items, including a blow-up doll. Stacked floor to ceiling, the boxes contain all sorts of items from throughout the years.

2016 (Season 12).

2016 (Season 12).

2015 (Season 11). A box full of fake IDs for the Winchesters, along with earlier season cell phones.

2015 (Season 11). The bullets for the Colt are all numbered and have the name “Winchester” on them.

2016 (Season 12). Angel blades.

2016 (Season 12). The props department created clean and “bloody” versions of the First Blade, as well as a version that allows them to “stab” someone.

2015 (Season 11). Multiple versions of the weapon that Dean used in Purgatory.

2007 (Season 2). A props department’s person is painting Dean’s gun.

2015 (Season 11). 

2016 (Season 12).

2016 (Season 12). The tightest timeline they’ve had for a prop was the angel killing sword in terms of reading the script, coming up with the design and having it built by their sword maker. Prop master Christopher Cooper basically hand created it from scratch.

2016 (Season 12). This flogger was used by Magda in the season 12 episode “American Nightmare”.

2016 (Season 12).

2016 (Season 12).

2015 (Season 11). 

2015 (Season 11). 

2016 (Season 12). You can never have too may bibles on SUPERNATURAL.

2015 (Season 11). You can also never have too much salt when you’re hunting ghosts.

2016 (Season 12).

2016 (Season 12).

2015 (Season 11). In the season 5 finale “Swan Song”, SUPERNATURAL shared the history of the show’s beloved Impala and we saw a glimpse of the younger Winchesters playing with army figurines in the car.

2015 (Season 11). A glowing angel grace necklace.

2015 (Season 11). According to SUPERNATURAL’s prop master Chris Cooper, John’s journal was created for the pilot and then brought to the Vancouver props department as it was. Throughout the years they have simply maintained it, added more pages as called for by the scripts and updated it. But otherwise, it’s exactly as it was in the pilot.

2015 (Season 11).

2015 (Season 11).

2016 (Season 12). Creepy dolls are the worst. This one was used in the season 12 episode “The Foundry”.

2016 (Season 12).

2016 (Season 12).

2016 (Season 12).

2015 (Season 11). Back in season 5 in the episode “I Believe the Children Are Our Future”, SUPERNATURAL introduced Jesse, a child that Castiel called the Antichrist. At one point during the episode he had briefly turned Castiel into a doll.

2015 (Season 11).

2015 (Season 11). There are variations of Ruby’s knife, including a version that retracts so that people can be “stabbed” with it.

2007 (Season 2). The dollhouse from the season 2 episode “Playthings”.

2011 (Season 7). The first time I saw the Impala in person. There have always been multiple versions of the Impalas throughout the years . By 2017 they had three “hero” cars (two of which went to stars Jared Padalecki and Jensen Ackles once filming on the show was wrapped), three stunt cars, a few versions that are wrecked, a cut-up car, and one car that was used for parks.

SUPERNATURAL’s picture car coordinator Jeff Budnick said that the cut-up car was used in the episode “Baby”and  had a roof that comes off so they could film down and into the car. “Exact same car [as the other Impalas], but the roof comes off, the front comes off, the back comes off and all of the doors come off. It’s a cutaway car so we can get different camera angles. The floor comes out so we can get a shot up the leg.”

2015 (Season 11). Three of the cars have the rearview mirrors on magnets so they can easily come off for shooting. Some of the windshields are also clear, while others have a blue-tinted band to them. They try to use the clear windshields for the “PMP shots” (more on that later). Some cars also have tinted glass and those are primarily used when they have a double driving the car at night so that the identity of the driver is less noticeable.

2015 (Season 11). Budnick said that all of the cars have air conditioning vents in them, but this car is the only one that actually has running A/C, so the vents are all fake in the other cars.

A behind the scenes tidbit: apparently “Jared [Padalecki]’s hit a few things over the years” when driving the car.

2015 (Season 11). Budnick said that as the years passed, it became more expensive to get parts for the cars they had on hand because the show had made this car so popular. At one point you could get a whole car for $500, but in 2015 people wanted wanted $5,000 or more for it (even if it was in rough shape) because they know about the car’s popularity. By the time 2017 rolled around, people were asking for $10,000 for a rusted out version of the car. He’s spoken with fans who have been restoring their own Impalas and given them tips.

2015 (Season 11). The trunk of the Impala, with the sigil painted on. The weapons aren’t kept in the trunk unless needed as they’re usually stored in the props room.

Another reason they picked the Impala (other than creator Eric Kripke’s oft-quoted desire for a cool car with a big trunk), is the fact that the cameras in the earlier years used to be very big. And so production wanted a big “four-door sedan to get in and out of.” Now they have smaller HD cameras and don’t need such a large car, and yet the car has become iconic.

2015 (Season 11). “Hero #1” Impala has a 502 big block engine with 550 horsepower, while the rest of them have “small block” motors. For example, Hero #3 is not a high-performance car, but it runs fine.

2016 (Season 12). This is the Impala inside the studio where they typically film many “drive and talk” scenes with the brothers (more on that in the next slide). They bought this main car in season 4 with 12,000 miles and now it only has about 17,000 miles. It used to be blue with blue interior, but they painted it all black.

2017 (Season 13). “When you see our guys driving down the road at night, they’re right here. Every single time. This is called the ‘Poor Man’s Process’,” Wanek said. “Our director of photograph Serge [Ladouceur] has developed this system along with our grips and our lighting [crew] to make these lights flash and pass [the car]. They rock the car and spray a little mist on the wind-screen depending on what the weather was like outside when they shot. This is called the PMP and we use it all the time. I think we do it better than anybody, because I watch the show [and] I know it’s right here and I still buy into it that we’re on the road.”

While the PMP technique works well for night-shoots, the show doesn’t really utilize it for daytime scenes. Some shows do a rear-screen projection technique, where they go out with a van that has cameras all around it, and it shoots a 360 degree view going down a highway, for example. Then they put up screens all around the car and then all the scenes are pieced together on the screen. But Wanek claims that the technique isn’t as effective and doesn’t look as real, so they tend to stay away from doing that. Instead, SUPERNATURAL uses a car with an arm and a camera on it that follows or drives around the Impala, which allows the crew to shoot close-ups and distance shots.

SUPERNATURAL films very few scenes of the car driving down the road for each episode. Wanek said “we had a unit that went out and shot a bunch of [scenes] for like a week. And Phil Sgriccia, one of our producers/directors, took a separate unit and went on all these back roads and did a bunch of stuff with the car passing, at night [and] day, pulling into seedy motels, all this other stuff. So now that is our stock footage. So we implement that every time we can. Because it takes a lot to set up a car driving shot. So by building up this library, we use it until people get sick of it and [then] we do another unit [of shooting].”

2016 (Season 12).

2016 (Season 12). Even Baby has to hit her mark.

2012 (Season 8). The wardrobe department is constantly shopping. Most of the clothes that characters wear can be found in stores and need a few modifications. Sometimes costumes are built from the ground up. A lot of the costumes in the warehouse are used on background and day players and those can get reused. Sometimes the background actors will wear their own clothes, but other times they will pull clothes to put on them.

Shows like SUPERNATURAL that have been on for a long time will have a large collection of clothing that it stores, both at the studio and in off-site warehouses. In the warehouse off-site, they store a lot of the uniforms or children’s clothes or the types of clothes they don’t use on a continual basis — like any period costumes.

2015 (Season 11). The clothes buyers got a lot of the flannel shirts at Levi’s or Mark’s Work Warehouse. They dressed Dean in more solid colors and strive not to have the brothers wear the same types of patterns. Sam, meanwhile, wore more cowboy type shirts. The buyers would purchase about 7-9 of the same shirt in a few different sizes when they went shopping. They often found the perfect shirt but couldn’t buy multiple pieces as they may not be available. There are a few shirts where they had only 1-2 copies, so they would appear in quick little scenes where they were less likely to be damaged in some way.

2015 (Season 11).

2015 (Season 11).

2015 (Season 11). This is one of my favourite photos from the wardrobe department – a box of nun’s shoes up top of hooker’s shoes. Only in SUPERNATURAL.

2016 (Season 12).

2016 (Season 12).

2016 (Season 12). The wardrobe department kept all of Sam’s and Dean’s clothes up in the front by their offices because they accessed them the most. A few of the brothers’ clothes from past episodes/seasons are considered outdated or retired after a suitable period of time. Every year they “tended to try and get the brothers a new batch of jackets and shirts and things like that. And updated jeans just because they start off with 8 or 9 of one thing and then there’s only 3 left”, costume designer Kerry Weinrauch  said. They had to retire those clothes in the future as well if they run through them because they needed multiples of each piece of clothing for all of the stunts.

2007 (Season 2). Costume sketches in the wardrobe department offices.

2007 (Season 2). Multiples of Sam’s jackets hanging in the wardrobe department.

2007 (Season 2). Jared Padalecki was on set for the filming of the two part season 2 finale “All Hell Breaks Loose”. You can see the “stab wound” in his shirt where Jake stabbed him in the back and killed him.

2012 (Season 8). Castiel’s coat in season 8. While you may think that this character has worn the same outfit since his inception on the show, there’s been subtle differences between his coat over the years.

2012 (Season 8). Sam’s flower shirt has appearances in several episodes, including season 2’s “Children Shouldn’t Play With Dead Things” and “Croatoan”, season 3’s “A Very Supernatural Christmas”, and even several years later in season 7’s “Death’s Door”. All told, it appeared in about 15 episodes of the show.

2012 (Season 8).  Bobby’s weathered jacket and hat.

2007 (Season 2). The script for the season 2 finale, which was being filmed while TheTVAddict was on set.

2007 (Season 2). The crew put “mood boards” on the walls for each episode, giving a sense of the overall aesthetic of the episode.

2007 (Season 2). More mood boards.

2012 (Season 8). Back in the earlier years of the show, SUPERNATURAL had a lot of motel sets. To give the rooms personality, the crew would design a lot of elaborate room dividers. Production designer Jerry Wanek also said that he screens are also “a great way to introduce something because you can shoot through them. So it’s a great way to establish what the room looks like.”

Once they used them for filming, a lot of the dividers found their way into the art department’s production office.

2012 (Season 8). A room divider in the production office featuring beer bottles.

2007 (Season 2). Some “paper dolls” of Sam and Dean behind the scenes in the production offices.

2012 (Season 8). An old poster of Jared and Jensen decorating the walls of the SUPERNATURAL production offices.

2012 (Season 8). The SUPERNATURAL crew had received thousands of postcards from fans over the years and they hung them on the wall of the production offices.

2007 (Season 2). A fan had sent in a series of postcards called “PlasticWinchester Theater”.

2012 (Season 8). A fan designed an absolutely gorgeous chess set for the SUPERNATURAL cast and crew and it was placed in a conference room in the production offices.

Photos: Bettina Strauss & Cristian Cretu/The CW

Photos: Colin Bentley & Katie Yu/The CW

Photos: Jeff Weddell & Michael Courtney/The CW

Photos: Colin Bentley & Bettina Strauss/The CW

Photo: Colin Bentley/The CW 

Photo: Katie Yu/The CW