“As soon as you give them what they want, they're irritated that they're getting what they want, immediately after there's a burst of comments like 'fans controlling the show.' The reality of this business is this is serialized drama. I have the story I'm telling, what all the plotting and conspiracy is leading up to, and I've never deviated from that story, it's been right on since the pilot and that's what matters to me. That's the story I'm telling. Now over the seasons, subplots developed, and some of them work and some of them don't...and if there's a subplot that everybody hates, and even the writers themselves can pick out the flaws, I have no problem dropping it. I think it'd be foolish to hold onto it through vanity and pride. If it's not the main storyline, it's fair game. The fans don't have much power as they think they do, but we will listen, and if it's unanimous and true hatred, not just suspense you love to hate, then if it's a subplot, it's completely negotiable. You pay attention to what people are saying, but you can't have any loud and vocal minority influencing any creative decisions on the show, you just have to pay attention to what's going on and who's saying what.”
—Eric Kripke, interview in Fandom at the Crossroads: Celebration, Shame and Fan/Producer Relationships, by Lynn Zubernis and Katherine Larsen, pp. 179-180.