Monday, February 29, 2016



Nilbio Torres is an actor who appeared in the Oscar nominated film Embrace the Serpent.

He can sodomize me any day. A hundred times a day. Wow.









George Kennedy, rest in peace.


Lt. Frank Drebin [running a squealing hand-held metal detector]: Excuse me, ma'am, security....
[Woman shrieks as it beeps over her ass.]
Man: What's the meaning of this?
Lt. Frank Drebin: Relax! Nothing will happen.
[Drebin frisks the man while Lt. Ed Hocken stands behind him.]
Man: I didn't do anything!
[Drebin reaches too far back, pulls out Hocken's gun.]
Lt. Frank Drebin: Yeah? What about this?
Lt. Hocken: You think we were born yesterday? You didn't do anything, huh?
Man: I got rights!
[Drebin reaches back again, pulls out Hocken's wallet, opens it.]
Lt. Drebin: Ed, he's got a picture of your wife!
Lt. Hocken: Ethel!
[Hocken slugs the man, knocking him out. Drebin lets him fall to the floor.]
Lt. Drebin: All right, anyone else here seeing his wife?
Lt. Hocken: Th-th-that's all right, Frank. Let's get in the hall....


I don't know who he is.  He's dreamy.  That wavy brunette hair.  Those dark brown eyes.  That pudgy nose.  That full mouth.  The broad, broad shoulders.  The fantastic lats.  The sweet, small, erect nipples.  The slight body hair.


An eagle makes friends with a bunny rabbit...


I refuse to post these to the front page of Wikipedia any more. But I will post them here. The article I wrote or assisted with is in bold.
Did You Know ... that Vincent Price was cast as the lead in the 1940 Gothic horror film The House of the Seven Gables just 24 hours before principal photography was to begin?

Sunday, February 28, 2016





I think it's an ingenious answer to having a home library. Now, me, I have books all over my house. I have so many books, I don't have enough shelves for them all. I have books in the living room, books in the kitchen, books in the bedroom, books in the bathroom. My home office is groaning with books, so many you'd think the floor would give way. I don't need a library.

What I like about this library is now it utilizes an otherwise unusable corner to create a two-story space that has some great features. It's eye-catching for sure, but it also creates a "safe space" where one could read, locked away and isolated. And yet, the windows create an open space, not a warren/den or hideaway. Notice how the "jail" works? A time-out space for thoughtfulness and sealing away from the world.
Fashion is what? Correct answer, model boy.


There is something strange and off-putting about his face.  Turn your head and look at him.  His eyebrows are too straight and plucked, his eyes are so wide as to be several inches apart, and his eyes have such inflected lids as to make him look plastic or deformed.  And yet, there's something very appealing about him. 

And no, it's not his well-developed pectorals.




Sad day.............. Humbert Allen Astredo, Jr., who famously portrayed the warlock Nicholas Blair on the 1960s gothic soap opera Dark Shadows, has merged with the infinite. He was 87.






But owls can't read! LOL


Saturday, February 27, 2016



Martha Wells says The Edge of Worlds -- a new Raksura novel -- will be out on April 5!!!! YAY!!!!!!!!!!





Made me laugh.


How do I love thee?

That black hair.  That upturned, pudgy nose.  That full lower lip.  The translucent ski.  The fleshy, soft, full pectorals.  The broad, powerful shoulders.  The small, painfully erect nipples. The shyness in the face.  The willingness to be naked and exposed in front of others.



Key Building and Huntington Bank Building - Cleveland - 2015-08-22 I have been editing a lot of photos taken this summer. I got lazy, and didn't get them processed and now I've got six months of photos to work on.

The group I've been working on have been images taken from the top of Terminal Tower downtown. These show varioius downtown building, the Cuyahoga River, and many of the river's bridges. Since I know little about any of this, I've been using Google Maps to try to identify the buildings I photographed.

Google Maps hasn't been very helpful, however, and it's been taking a long time to figure out what building names are (not just their address).

Bridges are even worse. One of the things I'm learning about Cleveland is just how fucked up history is around here. Cleveland's history goes back a long ways: The city was founded on July 22, 1796; became a village on December 23, 1814; and became a city on March 6, 1836. For much of its existence, Cleveland's history was not well maintained. Basic things like the existence of bridge, and where they were located; street names, and when they were changed; buildings and where they were constructed -- knowledge about these and many other things simply were not retained. About 1867, the Western Reserve Historical Society was founded to help Cleveland with its memory. But the Society is a jealous guardian of its knowledge. It publishes no history magazine, and as far as I can tell does little to distribute or solicit scholarship (amateur or professional) on Cleveland's history. The Ohio Historical Society -- sorry, we have to be pop-culture about it now. The Ohio History Connection (you're supposed to say that like you're cheering or whooping it up because cake has just arrived) publishes TIMELINE magazine four times a year. It's good, forcusing on history, archaeology, and natural history. But it's only been around since 1984, and the tone of its articles is a bit more popular history than I prefer.

Scranton Flats - Irishtown Bend - Cuyahoga Viaduct 02 - Cleveland OhioThere are other sources. Cleveland State University has put much of its visual archives online at the Cleveland Memory Project. While there are a vast number of images, most remain copyrighted and there is little in the way of information to accompany them. In the 1970s, Case Western Reserve University published the Encyclopedia of Cleveland History, and they put the encyclopedia online in the late 1990s. These remain small articles, however, and almost none have been updated since they initially went online.

Bridges, you'd think, would have been much more carefully documented. After all, the history of Cleveland is the history of its river, the Cuyahoga. For decades, the Cuyahoga's vast, wide flats provided the space for vast, graet industries like iron, steel, oil refining, automobile manufacturing, salt mining, iron mining, and lumber. But the very existence of the Flats, created two Clevelands -- east and west. It was the bridging of the Cuyahoga that occupied Cleveland's civic leaders in its early decades, and which brought about so much distruption in the city's life.

But as I began to look for information just on the existing bridges over the Cuyahoga, I found an incredible lack of easily accessible history. All I was really looking for was the location of a bridge, the year it was completed, the bridge's name, and the year it was demolished (if it no longer exists). Cleveland Memory Project (CMP) has a lot of images of bridges, but there is almost no accompanying information. One page on the Memory Project documents (in a few scant paragraphs) eight or ten of the most historic bridges, but the information is sometimes inaccurate and most of the still-extant bridges (many of which are just about 100 years old) are not covered. The Encyclopedia of Cleveland History (ECH) suffers from similar defects: Information about the bridges is sometimes inaccurate, many bridges are not named, and the exact location of bridges is rarely stated.

As a last resort, I went to Wikipedia. And yes, Wikipedia has a list of the current and former crossings of the Cuyahoga. Indeed, this list covers crossings all the way to the river's headwaters.

And it was a little incomplete (although not nearly as incomplete as CMP or ECH), woefully undercited, and sometimes wildly inaccurate. Oddly, the list often was more about what type of bridge existed (rolling, bascule, swing, fixed, etc.) than it was the name of the bridge, where it was located, and the dates it existed. It's almost as if someone wanted to write articles about these bridges, but was too lazy to do so and so therefore just loaded up this page with the information they have. None of which was cited.

This aggravates me.

I began to fill in the blanks. It took me 14 hours to do so. Nonstop work. By midnight on Friday, I was brain-dead. But all the current and former crossings of the Cuyahoga River in Cleveland are now complete, with citations, and accurately named, located, and dated.

The length of time it took me to find the information shows, I think, just how inaccessible Cleveland's history is to its people. I'm a solid, no -- fucking awesome researcher. And it took me two full days of work.

Thursday, February 25, 2016




As most Star Trek fans know, the Smithsonian Air & Space Museum has been restoring the model of the Starship Enterprise for the past year. This is the shooting model of the Enterprise, which was used during the original run of Star Trek from 1966 to 1969.

Walter "Matt" Jefferies was the Art Director on Star Trek, and he designed the USS Enterprise. Once a design had been approved by Gene Roddenbery and producer Herbert Solow, Jeffries made a rough four-inch-long balsa and cardboard prototype to show Desilue Production and NBC executives. A three-foot-long "pilot model" was then commissioned in August 1964 from the Howard Anderson Company -- a Hollywood firm that built models for motion pictures, television shows, industrial and training films, and the military. The Howard Anderson Company subcontracted the model to model-maker Richard C. Datin. This model was built completely out of wood. Because Datin lacked a wood lathe big enough to handle the model, he sub-contracted the saucer, secondary hull, and nacelles out to a local woodworker. The wood was kiln-dried sugar pine, which was free of knots and had a very fine grain that finished well and took paint well. Datin then assembled, painted, and detailed the model. The lettering and the stripes on this model consisted of commercially-produced decals, but other details were all hand-painted by Datin. A commercially-bought Plexiglass dome was used for the bridge. Datin manufactured the deflector dish and "cover" element behind it from rolled strips of brass which were then silver-soldered together and sprayed with a gold lacquer. Datin began work on the model on November 4, 1964, and it was complete on November 15. Roddenberry reviewed the model, and Datin made some minor alterations (probably adding exterior windows). The model was delivered to Desilu on December 14, 1964. It cost $600 ($4,578 in 2016 dollars). This model was used for filming the first pilot, "The Cage". It was later used for forced perspective shots in the episodes "Where No Man Has Gone Before", "Tomorrow is Yesterday", and "By Any Other Name", and as a desktop model in the episode "Requiem for Methuselah". During filming, the model was damaged, losing its hangar deck clamshell door and the "intercoolers" on the rear top of the nacelles. This damage is quite visible in "Requiem for Methuselah". Additionally, as changes were made to the "production model" in August 1965 and April 1966, revisions were made to "pilot model" as well.

While the "pilot" model was being constructed, Jeffries spent six weeks refining the design (in particular, ensuring that the hull was completely smooth on the outside) and choosing another color scheme. After these changes were approved, Jefferies produced a detailed set of orthographic views of the ship. The date on which the "production model" was ordered is unclear, but most historians say it was December 8, 1964 (although one model builder remembers it as November 29). Once more, the Howard Anderson Company was asked to build the mode, and once more construction was contracted out to Ricahrd Datin. Datin, in turn contracted out the model to Production Model Shop -- another Hollwyood model-making firm. Datin supervised the construction (which was done by Production Model's Mel Keys and Vern Sion), but did all the detail work himself.

The saucer section of the "production model" was manufactured from 1/8th inch thick Royalite plastic sheeting, vacuum-formed over plaster molds. There was a top half and bottom half, and they were held together and reinforced with plywood ribs radiating from the center. The dorsal (or "neck") was made of solid wood. Extra ribbing was added inside the saucer section to reinforce the area where the pylon entered. Just two screws were used to connect the pylon to the saucer. These were drilled in from the top, and the hidden from view by a small plastic rib (glued to the saucer). The bridge was made of wood, with the center drilled out to allow for installation of the Plexiglas bridge dome. A second Plexiglas dome was attached to the bottom of the saucer section. The nacelles were built around a frame of plywood ribs that tapered toward the rear. Heavy pre-rolled sheet metal was then attached to the frame. A cut-out on each inward-facing portion of the sheet metal was made, and a flate wooden piece inserted from within. Solid wood rings were inserted at the front and rear of the tubes to help the ribbing maintain its shape. The aft nacelle covers were made of corrugated Plexiglass, with a shaped smooth piece of Plexiglass covering them. The forward nacelle domes were made of solid semi-hard wood (probably ash), and the antennae coming out of them hand-crafted of wood by Datin. The nacelle support pylons were made of a single piece of hardwood (either oak or walnut).

The secondary hull was contracted out, but it's not clear to whom. The subcontractor essentially built a barrel, creating the round secondary hull out of long staves of wood. These were glued together. Two solid wood circles and some extra internal staves just behind sensor array provided space for the electronics and for the pylong attachment. A single screw held each pylon in place. A solid wooden circle was inserted just behind the hangar doors to help reinforce the rear of the hull.

The intercoolers on the nacelles (made of metal) were also subcontracted out, but once again it's not clear to whom. All exterior logos, colors, and lettering were hand-painted.

The model was constructed with hooks embedded in the saucer section and the nacelles, so it could be suspended from above. The model was filmed only once this way. Afterward, the interior lighting was added and the model was too heavy to suspend. Instead, the production model was mounted on a stand, the stand serving as guide for the power cables. The port side of the model had no decals, lettering, details, or lights -- as the model was intended to be filmed only from the starboard side.

The model was delivered to the Howard Anderson Company on December 29, 1964.



* * * * * * *



When NBC requested a second pilot for Star Trek, Roddenberry decided that the production model should be lit from the inside. Richard Datin made the revisions, which began on August 27 and were completed on September 8, 1965. Changes included: Removing painted windows on the bridge and adding cut-out, lit windows fore and aft; adding blinking starboard and port navigation lights to the top and bottom of the saucer; painting black stripes at the top and bottom edges of the saucer; cutting out "panels of light" fore and aft on the starboard side (painted panels were added fore and aft on the port side); removing the center window on the saucer bow and replacing it with a navigation light; adding rear-lit windows to saucer rim; adding a blinking navigation light port and starboard to the underside of the saucer at the 10 o'clock and 2 o'clock positions; painting over the black impulse engine exhaust area and painting eight small black dots there instead; adding a blinking navigation light to the underside of the aft secondary hull; removing the single round porthole near the starboard hangar doors and replacing it with two rectangular ones; painting a series of black lines and dots on the aft nacelle end caps; and removing the painted registry markings and replacing them with decals (enabling different names to be applied to the same ship more easily).

Once the first season got under way and it was clear Star Trek would be renewed for a second, Roddenberry demanded even more changes to the production model. These included: Lowering the height of the bridge (achieved by chopping half off the larger wooden base of the bridge); removing the painted-on panels from each side of the bridge; added a red "beacon light" to each side of the bridge; adding interior-lit portholes all around the bridge; removing the bands added to the saucer in August 1964; adding a rib to the cover over the screws, and painting it a darker gray; adding more lit portholes to the saucer rim; removing the bow navigation light and replacing it with a painted panel; moving the saucer underside navigation lights to the 9 o'clock and 3 o'clock positions; adding lit portholes to the undeside of the saucer; adding a nipple to the saucer underside Plexiglass dome; painting the impulse engines a darker gray; restoring the original rectangular vents to the impulse engine exhausts; smoothing the port and starboard sides of the impulse engines into a rounded shape; repainting the dorsal from the earlier bluish-gray to the same gray as the rest of the ship (only the leading edge would retain the original color); adding lit portholes and windows to the dorsal; moving portholes and windows on the dorsal; adding a red navigational light to the top of the secondary hull; adding a green porthole to the top of the secondary hull; lit adding windows and portholes to the secondary hull; reducing the size of the deflector dish, and repainting it a lighter copper-gold; adding a Plexiglass observation blister beneath the hangar doors; adding a grill in front of the Starfleet pennant on the secondary hull; removing the smooth inside-facing inserts in the nacelles and replacing them with a grill-patterned insert with lengthwise ribs, painted dark gray; replacing the smooth aft nacelle caps with semi-circular balls; replacing the solid fore nacelle covers with frosted Plexiglass domes lit from within; adding brass grills the indent on each nacelle; changing the typeface for the decals (the number "I" changed to "1"); and weathering the decals.

The now-glowing nacelles were the most important change. Each of the Plexiglass domes was painted orange on the inside. A circular panel consisting of vanes and colored shards of mirror was placed inside the dome. Behind the panel were ten Christmas light bulbs (red, blue, yellow, and green). A fan motor made the panel spin. The starboard nacelle panel rotated clockwise, the port nacelle panel rotated counter-clockwise.

Work on the second revisions began on April 8, 1966, and were complete on May 17. The cost of these revisions was $6,000 ($43,760 in 2016 dollars). The revised revised production model was first used in August 1967 for the filming of the 15th second season episode "The Trouble With Tribbles". Filming of the production model ended with the second season. By this time, enough stock footage had been created that no more filming of the model was needed during the third season.

Much, much, much more and boatloads of pics behind here!!!!

He looks like the actor Justin Long, doesn't he?

And he's exactly my type: Black hair, big eyes, pudgy nose, full mouth, slender, slightly toned, erect nipples, hairless (except for a full, dense, thick bush of pubes), mega-sexy, and shy.



Godzilla haiku

Wednesday, February 24, 2016

There is a reason why I like the Baltimore band Sun Club. They keep getting naked on me.





I swear to god: The 2012 Charger Pursuit police cruiser's rear lights look JUST LIKE a Cylon!!!!!





I had THE biggest crush on singer Bob Seger when I was in my early teens. "Night Moves" had just come out, and I was a budding young homosexual. Like a lot of young kids, I was completely and utterly mainstream. I had no desire to stand out in the crowd. My lust for other boys only made me extremely self-conscious, and the high level of homophobia in my town in Montana left me frightened and lonely.

Anyone with long hair, or with a beard, was not someone whom I, with my intense desire to be completely mainstream and "fitting in", found attractive. I knew boys with long-ish hair, and found them intensely attractive. But anyone with hair down past his shoulders was not part of my "world of boys I self-abuse over". And beards? Those were for truckers, guys who didn't wash, guys who were poor or drunk, guys who did drugs. A beard was out of the question.

And for some reason, Seger crashed into my perfectly sealed world, and made me moan his for nights on end, stifling my cries of sexual ecstasy with my pillow and hoping no one heard me beg to be fucked by him.

Those dark, soulful eyes. That slender body. That talent.





Dance, gecko dance!


Nothing short of spectacular. Short, young, brunette, with wide shoulders, nicely toned pectorals, large and chewy nipples, a full mouth, a stubby and flesh nose, good hair, and a sweet package.


Tuesday, February 23, 2016



La dee dah dee dah... here we are in Cleveland... lah dee dah... Oh, hey, as you approach the city from Lake Erie, you see the New River Channel, created by the Army Corps of Engineers in 1931. Oh, and there is "Whiskey Island" -- not an island at all, but a peninsula. And just behind it, the Old River Channel.

Lah dee dah... Oh, and as you head upstream, there's a big turn in the river. That's Irishtown Bend, named for the former workers' shanty-town that existed between Detroit Avenue and Franklin Avenue. WHOOPS! Another sharp turn, that's Columbus Bend -- named for Columbus Road. The peninsula formed by the two bends is the Columbus Peninsula...

Uh oh, another sharp bend! That's Collision Bend, where so many ships collided with one another or the levees protecting the shoreline. This forms another peninsula, Scranton Flats.

WHOA! Another bend. But no one seems to have named it.

That creates another peninsula. But no one seems to have named it.

Whoops, another big bend, this one the Wheeling Bend.

I just can't believe that this peninsula and this bend have no names.... Every goddamned rock, tree, and bush around here has a name!!

Monday, February 22, 2016

Kit Harrington can have me any day, any where.


I refuse to post these to the front page of Wikipedia any more. But I will post them here. The article I wrote or assisted with is in bold.
Did You Know ... that the press was alarmed to find headstones lining a creek bed during the Arlington National Cemetery mismanagement controversy -- but that these broken, damaged tombstones had been put there nearly 30 years earlier and were not a sign of mismanagement at all?

Sunday, February 21, 2016




Teen Titans was an American anime TV series based on the DC Comics characters of the same name. It premiered on Cartoon Network on July 19, 2003, and was scheduled to last just four seasons. The popularity of the series led to a fifth season, and the show ended its run on January 16, 2006. Fan demand for more TT led to a two-hour feature film, Teen Titans: Trouble in Tokyo, that premiered on Cartoon Network on September 15, 2006.

Teen Titans was created by Glen Murakami, a wanna-be comic book artist who got a job drawing backgrounds on Batman: The Animated Series in 1992. Over time, he became producer Bruce Timm's right-hand man, and he left the show in 1995 to become Art Director on Superman: The Animated Series. His tenure there lasted to 1999. He was also Art Director for The New Batman/Superman Adventures, taking on those duties in 1997 and leaving in 2000. Murakami was named producer of Batman Beyond in 1999, and won an Emmy in 2001 for his work on the series. He also wrote the story for the 2000 animated feature film, Batman Beyond: Return of the Joker.

In 2001, Sam Register was named as Senior Vice President for series development at Cartoon Network. Register liked the Teen Titans comic book property, and had several different people developing it. Register also approached Murakami, and it was his take on the property that was close to what Register wanted.

CN already had several superhero shows which were hitting the 9-to-14 year old demographic. He wanted a series that would skew younger, more 6-to-8 year olds. Register also wanted something very different from the "Dark Deco" style that had been created by Bruce Timm and Eric Radomski for Batman: The Animated Series and which had been successfully used in Superman and later Justice League (although considerably lightened up, palette-wise).

Murakami developed a visual style for the show which has since been called "Murakanime".

Murakami went into the development phase without preconceived notions of what the show should look like. He did know that it couldn't be a typical superhero show, which meant Teen Titans would need to focus heavily on character. Murakami had just seen the Japanese anime series FLCL (known in the U.S. as Fooly Cooly) and Kikaida. Both became a major influence on Teen Titans. Murakami had also worked with the Japanese animation studio TMS when working on Batman: The Animated Series and Superman: The Animated Series, and was impressed with the anime work they were doing for Japanese studios. Murakami had also grown up watching Super Sentai -- a genre of Japanese anime featuring children organized into military units and wearing mecha-suits. He'd also seen Shotaro Ishinomori's live-action TV show Himitsu Sentai Gorenger (The Go Rangers or The Five Rangers, later updated as Mighty Morphin' Power Rangers) and Ishinomori's animated movie Cyborg 009: Legend of the Super Vortex. Murakami had also seen what inventive things anime had accomplished since reaching a mainstream American audience in the late 1980s, and he thought an anime-like approach was an opportunity to tell stories in a different, very stylistic way.

An anime-like style also emerged from the way Murakami was thinking about story lines. Artist Nick Cardy and writer Bob Haney had created the Teen Titans for The Brave and the Bold #60 (July 1965), and the two continued to draw and write the super-team until the comic book's cancellation in Teen Titans #43 (February 1973). A resurrection in 1976 (written by Bob Rozakis and pencilled by a number of artists) failed after just 11 issues. DC Comics Presents #26 (October 1980) introduced a new Titans, written by Marv Wolfman and pencilled by George Pérez, and a new comic book, The New Teen Titans #1 (November 1980). (They both quit in March 1985.) Murakami loved the goofy and extremely colorful Haney/Cardy Titans, but Register wanted the show to use the stories by Marv Wolfman and George Pérez. Murakami agreed, as he'd grown up reading those stories. An anime-like style fit this mixture very well.

Murakami didn't want to slavishly imitate Japanese anime, however. Japanese anime aesthetics did creep in, however, when characters became more emotional. In anime, the distortion of facial features or character due to extreme emotion is called "Super D". Teen Titans was a show about teenagers, and teenagers are emotional. So when the characters became extremely emotional (laughing, moping, disappointed, etc.), "Super D" visuals would be used to depict this. Eyes would pop; embarrassment would make a character a third of their normal size; shock would make a character's mouth super-wide and geometric.

When choosing the characters to feature in Teen Titans, Murakami decided early on that there should only be four or five. Each character had to be radically different from the others, to pass what Register called the "squint test" (e.g., if you squint, you can still tell them apart). Robin was automatically part of the group, as Robin led the Teen Titans in the comic books. But there were other factors, too. Some of the comic book characters were just too old. Others had powers which would be too difficult to animate. And Murakami wanted to say away from characters that were too muscular, since this was a show aimed at kids. (Relatability was a major consideration.) Donna Troy/Wonder Girl and Wally West/Kid Flash didn't make the cut because Murakami thought they were too much like characters that had been seen before on other Cartoon Network superhero shows.

Relatability became the show's watchword. The idea was that kids could identify with at least one character on the show. Some might look at Beast Boy and realize "I'm Beast Boy", while others might see Raven and think "I'm just like Raven".

Robin turned out to be a problematic character. Murakami felt Robin had been depicted too old in the previous two Batman TV series (in his mid to late 20s). There was serious pushback from Cartoon Network execs, who felt Robin was boring. Murakami and David Slack (assistant, script coordinator, and art coordinator on Men in Black: The Series [1998-1999]; writer, Jackie Chan Adventures [2000-2003]; writer, Big Guy and Rusty the Boy Robot [2001]; story editor, Stuart Little [2003]), who helped develop the characters, decided to make Robin like Bruce Lee with a chip on his shoulder. Since Batman is essentially Robin's dad, they reasoned Robin will be serious and picky like his father, but also have a desperate need to have something to prove. That led them to make Robin a bit of a daredevil, a bit of a skateboard kid, a little punk rock. This latter element led to some visual design, such as Robin's steel-toed Doc Marten boots and spiky anime hair. They also gave him some Burt Ward mannerisms (especially punching his fist into his hand).

Beast Boy was another character Murakami struggled with. The decision was made to make Beast Boy the youngest character, so younger kids could have someone to relate to. This also added more comedy to the show. In the comics, Beast Boy (later known as Changeling) was originally part of the super-team known as the Doom Patrol. Murakami decided to abandon Beast Boy's red-and-white costume in favor of one based on Mento's costume from the Doom Patrol comics. (A season five episode established that Beast Boy is indeed wearing his old Doom Patrol costume.) Originally, the character arc for Beast Boy was supposed to have him be all serious like Robin, only to lighten up later. Instead, Murakami and Slack decided that Beast Boy should be more like a military brat -- someone who moved around a lot, who doesn't have friends, who doesn't have a home, and who gets by on not bonding and humor. His character arc would have him bonding tightly with the Titans, and not wanting to break the team up in season five. (His relationship with Robin, originally like that of an older and younger brother, would see a rupture as Beast Boy comes to see Robin turning into a Mento-like disciplinarian and obsessive.)

According to Murakami, the character of Cyborg never really jelled. Murakami read the comic book character as far too one-note-Johnny, constantly complaining that he's a cyborg. Later, the character evolved into a metaphor for puberty: Cyborg was a young teenager who who suddenly got a man’s body (e.g., mega-powerful implants). But his "change" happened overnight, so he didn't know how his body worked or how to deal with it, emotionally. But that metaphor was one that they couldn't use on the show. Murakami then hit on the idea of making Cyborg a nerd, someone who (like a Micronaut) would build himself anew over time, or who had interchangeable, snap-on parts. This not only made Cyborg too powerful but also required a lot of time. With just 13 episodes a season, that couldn't be shown. Eventually, Slack came up with the idea of "bigness". Everything Cyborg does is emotionally big. When he gets mad, he gets infuriated. When he's happy, he's ecstatic. When he's sad, he becomes mega-depressed. It didn't allow for much character development, though. By the time Slack's concept of Cyborg came out, it was late in the second season. The Terra story arc had been emotionally fraught, and the writing staff was not up to the task of creating another emotionally involved story arc (the Brother Blood arc) for the show. So Cyborg never really got stories as good as those developed for Robin, Terra, or Raven.

Season-long character arcs were NOT talked about during the run of Teen Titans. The staff talked several times about doing a two-part Starfire story, but it never came together. For one thing, Starfire's comics character is far too adult (she is a sexual libertine and foul-mouthed). Much of her backstory (rape, sexual and physical abuse, torture, etc.) simply couldn't be shown on Cartoon Network. When staff did identify "Starfire moments", they weren't big enough to base a story around. Instead, these would get absorbed into another story. Additionally, Murakami was very much opposed to allowing the Teen Titans to spend an extended amount of time in outer space. He felt these stories were boring, and that the Titans worked best as earth-bound teenagers. At one point, writer Rob Hoegee suggested that Starfire should go alone back to her home planet. She would realize that she never fit in, and return to Earth. But during staff conferences, the writers realized that ALL the Teen Titans are misfits who've found a true home in the Titans. Focusing just on Starfire's misfit-ness didn't seem to work.

Story development originally portrayed the Teen Titans more like 'tweens than teens, and plots were generally lighter in tone. This was in keeping with Register's concept that the show should be aimed at children, not teens. This allowed the writers to use or jettison as much of the comci book characterizations as they wanted, since the target audience had never heard of the Teen Titans. This also gave the writers greater freedom to do characterization, because it had to be built from the ground up. (This also led the show to get rid of secret identities.) Most story conferences were built around a simple metaphor ("Robin fights his brother" or "Cyborg fights himself"), and the story built around that emotional theme. Continuity with the comics, and backstory, were largely ignored by the show's writers. The writing staff felt that if they started thinking too hard about "how Red X came to be", they stopped telling an interesting story.

Characterization was key to the series. One episode depicted Raven having to enter Robin's mind. That allowed her to have a bond with Robin far different than anyone else, and Robin understood Raven differently. Beast Boy and Cyborg would be like brothers who are similar in age; Robin and Cyborg would have more of an older brother/young brother relationship. One thing the show refused to do, however, was to allow dating. Dating tended to define characters by their relationship, not by themselves. That meant there would be no Starfire/Robin pairing on the series.

Various characters from the show were drawn from the comics, but Sam Register pushed for the creation of new characters who might fit in with the TV show's style and tenor better. Register also liked the "Titans East/Titans West" story line in the comics, but Murakami resisted that because he wanted the focus of the show to be on the five main characters. (The story was used, but only in two episodes.)

Although each season, in retrospect, focuses on a different character (Robin in season one, Terra in season two, Cyborg in season three, Raven in season four, and Beast Boy in season five), that was not the intention when writing the show. Season five was always seen as the capstone for the series, as it was becoming harder to write good episodes that took the characters in any direction. After defeating the powerful demon Trigon at the end of season four, they "proved" themselves as superheroes. Season five would be seen as the Titans moving into the "big bad world", rather than isolated from it as they had been. This also allowed for splitting up the team into smaller groups, more comic-book adventures, and more continuity-based stories.

One of the reasons for the focus on Robin in season one was the decision to focus on a supervillain. Originally, Register wanted the writers to keep villains in the background, uninvolved in the story. But when the writers reworked the villain Deathstroke into the Teen Titans villain Slade, they realized they needed a motivation for him to keep attacking the Titans. They wanted to avoid giving Slade a backstory, because explaining villains often ends up making the villain sympathetic. The Teen Titans writers say their job as making their main characters (e.g., Robin) more sympathetic, not the villains. So another motivation for Slade was needed, and it became his decision to turn Robin into a villain. (In many ways, Slade became the anti-Batman. If Batman is Robin's father-figure, Slade became Robin's evil father-figure. If Robin is a son looking for a father, Slade is the villain looking for a son.) Originally, the first season stories with Slade were written with Robin needing to get his revenge on Slade. This forced the writers to create a Slade backstory. When the problems this revealed were discovered, the writers went back and rewrote Robin to be a coming-of-age story instead. This forced the writers to come up with motivation for Slade (wanting a son) but not having to come up with a backstory for him (which would make Slade sympathetic).

Because of the decision to focus on the Wolfman/Pérez stories, it was clear that the villain Terra needed to be incorporated into the show, and that occurred in the second season. But (a) Terra was depicted as purely evil in the comics, which seemed too trite for the show; (b) much of the Terra story arc (her sexual exploits, her backstory, her abusive relationship with Beast Boy) could not be depicted in a children's show; and (c) much of the Terra story occurred out-of-costume, which Teen Titans refused to depict. So Terra had to be much different than the comic book version. Terra was shown wearing street clothes (not a costume), and more conflicted internally.

The success of the Slade story line led the writers to want to focus on another "big bad", and the decision was made to use Brother Blood. This led the third season to focus on Cyborg, but by accident. Once more, Brother Blood as depicted in the comics was too adult, too extreme, and too comic booky for the show. This required Brother Blood to be a new character with the same themes, which meant someone flamboyant and craving the spotlight. Slack pointed out that this meant he could not be like Slade (who stayed in the shadows and had short, scary dialogue), but someone who had to be involved in a lot of episodes.

Murakami also wanted to do the Brotherhood of Evil, the Doom Patrol's greatest nemesis. In part, this was because they were quite different from the villains the series had used before, serious but also comic booky. They were almost evil versions of the Titans, and their existence helped drive many episodes of the fifth season.

The series' final episode was "Things Change". There had been a growing concern over the previous season that some of the show's fans, particularly its older, teenaged and college fans, were taking the show way to seriously. The producers were receiving an immense amount of email and chat-room comment attacking the series for lack of continuity, lack of continuity with the comic books, and not providing enough "happy endings". The writers felt that fans were now projecting too much onto the characters. And since everyone wants themselves to be happy, they wanted the superheroes to be happy (and not dramatic, thereby). All season long, the Teen Titans flirted with breaking up, "graduating" if you will. In story conferences prior to the fifth season, Murakami and Story Editor Amy Wolfram decided to revisit the show's most emotional moment, the Terra story. But they didn't want Terra to be resurrected, and they didn't want to show to be too open-ended. (They suspected Cartoon Network was on the verge of cancelling the series.) Giving the Titans a story that doesn't turn out "the way it should" was a means of giving the show's fans -- who had grown up watching the series -- a more mature way of seeing the world. Not everyone is cut out to be a superhero. Everyone doesn't have to like everyone else. Not every character has to be dating. You don’t always get everything you want. Murakami had a fondness for "X and Y stories", in which different characters see the same events much differently. This drove the series finale's juxtaposition of a massive action story vs. a small personal story.

According to Murakami, the series' best episodes are Season One's "Sisters" (in which Blackfire comes to Earth and steals the Titans' hearts away from Starfire) and Season One's "Mad Mod" (in which a British "mod" from the 1960s traps the Titans and forces them to run a series of traps and illusions).

Teen Titans became one of Cartoon Network's most critically acclaimed series.

A "chibi" sequel series, Teen Titans Go!, premiered on April 23, 2013. This series uses the same voice cast and same character design. But it is in the "chibi" anime style (big heads, huge eyes, and tiny bodies), and is intended to be completely silly and humorous rather than a superhero show. Murakami has had nothing to do with this bland sequel/spin-off, which has been strongly criticized for its lack of ingenuity, its terrible Flash animation, and its blatant sucking at the teat of an existing show for its minimal popularity (rather than building its own following).





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Below are some early character drafts.