Night of Days 

This is no way to be
Man ought to be free
That man should be me
Talk to the walls
Echoes down the halls
Dream of dreams
An allusion freedom seems
Write thoughts on paper by reams

Toilet flushes
Water gushes
Makes such a noise
Lack of privacy annoys
Nightime [sic] sounds
Jailer makes rounds
No freedom abounds
Prisoners are clowns

So the night slowly passes
No wine of wine glasses
No girls to make passes
Just us caged asses
Cards are alright
I play them all night

Sleep comes on slowly
Read the words of the wholly
The scriptures bring peace
They talk of release
They bring you to god
I’m here that seems odd
But His gift is so clear
I find that He’s near
Mercy and redemption
Without an exception
He puts me at ease
Jailer, do what you please
No harm can befall me
When the Savior does call me

I look back on this day
And what can I say
More of my life wasted
No freedom I’ve tasted
7:30 it’s chow time
At that hour who feels fine
Milk, mush, and toast
Not much of to boast

Sweep the floors
Talk of whores
Hear the thunder of prison doors
Do your chores
Listen to bores
How guys made scores
Or escaped distant shores

I wrote a letter
That made me feel better
Words to the outside
That’s how I keep my pride
I write words of hope
It’s really no soap
I mean what I say
Where there’s hope there’s a way
I’ll be free someday

I sleep quite a lot
Escape though it’s not
In sleep I don’t care
I forget the night mare
The bars and the screams
Are not in my dreams
I don’t smoke cigarettes
Or have sad regrets
This sleep liberation
Is tranquil salvation

- A poem by Ted Bundy sent to his friend and true crime writer Ann Rule.


The Zodiac arrives in WCW
[July 15th, 1995]

The 90s were weird as fuck. In this video, the former Brutus “The Barber” Beefcake debuts in WCW as a gift to Kevin Sullivan from The Master (also known as King Curtis Iaukea) to rule in The Dungeon Of Doom. Beefcake’s character in WCW is known as The Zodiac, the fourth name that Ed Leslie would be known as in WCW, but the second pairing he’d have with Kevin Sullivan (the previous being one third of The 3 Faces Of Fear). I love how WCW knew exactly what they were doing with Beefcake by giving him the little dialogue they did, and boy did he knock it out of the park. Soon after The Zodiac debuted, he turned on The Dungeon Of Doom, being revealed by Hulk Hogan as being a mole to help aide Hogan in his feud with Sullivan. Afterward, Leslie became known as The Booty Man.

*Sigh* Did someone in WCW hate him, or?

Also, King Curtis Iaukea is no relation to The Artist Formerly Known As Prince Iaukea.


Artists (and Writers) in Action!

Say hello to Kevin Sullivan, a writer on our upcoming show The Loud House

We met up with him in his office in between script meetings to talk about his love of junk food, the advice he’d give to aspiring writers, and his history in the Nickelodeon family. We are such huge fans of his sharp sense of humor and undeniable persistence in searching for the hidden answers that make scenes work. 

He’s got great things to say so read on!


1) How did you get your start?

I interviewed to be script coordinator on two productions: FOP/Danny Phantom and Fatherhood. I was hired on Fatherhood. A few months later they promoted the script coordinator on FOP/Danny Phantom to writer and gave me those shows as well. I had the chance to pitch ideas for FOP and they let me write several freelance scripts. Being in the room with the writers and the execs gave me a clear understanding of how they told their stories and what they were looking for, so that made it super easy. Then I started freelancing on Danny Phantom, too. Eventually they promoted me to staff writer. The script  coordinator job is seen as a stepping stone to writer, so getting that was my way in. 

2) Did you go to school for what you’re currently working in?

I did - sort of. I studied the very vague “Communication Arts” and minored in English. My university didn’t have a TV writing program when I attended. But having the career I do now is as much about “who I know” as it is “what I know”; it was another graduate from my school who told me about the script coordinator job openings at Nick in the first place. Without her info, I never would have known to look here. So I always tell people to make sure you foster those connections…you never know when one will pay off.

3) What do your day-to-day tasks look like?

We write The Loud House as a group. Each writer generates their scripts on their own but we put them up on a screen and revise them collectively. We also break stories as a team. It all depends on what’s on the calendar any given day. Today, for example, we revised a script from a freelance writer in the morning, and reviewed an outline from a staff writer and gave him notes so he could revise it before we submit it to our executives. In the afternoon, we examined the 2nd draft of a script I wrote, incorporating not only the notes from our network executives but the notes from Chris Savino, who created The Loud House. Then I had some questions about an outline I’m working on so I threw that out to the group for some brainstorming. That’s kind of our schedule every day; the only thing that changes are what episodes we’re working on and where they are in development (premise, outline, first or second draft script).

4) Favorite parts of the job?

I love pitching a joke that makes everyone in the room laugh. That is my favorite part of the job, hands down. When we’re struggling with a problem and we can’t seem to figure out how to make a scene work, and it seems hopeless…but then we hit upon the answer and it solves everything - that’s also a wonderful moment. I hate the struggling part, but the moment you have the clarity and figure out your issue is awesome.

5) Advice you’d give to aspiring artists in the industry?

If you’re an aspiring writer, then keep writing. When my job on FOP ended I had no new spec scripts or pilot scripts to use as samples. I thought being a staff writer on FOP for a decade would open all sorts of doors for me…and I was stunned to find this wasn’t the case. Story editors and show runners wanted to read new and more current scripts from me, not just old FOP scripts. I had none and was completely unprepared. I can be a procrastinator and be flat out lazy when it comes to writing on my own time, so it’s kind of hypocritical for me to say “always be writing,” but, you know, you should always be writing. Also, have a varied portfolio of scripts. You never know what kind of job you might be up for - sitcom, drama, animation…make sure you’ve got spec scripts of current series as well as a pilot or two of your own making. That way you’re ready or anything.

6) What tools have helped you get to where you are?

I guess my sense of humor has helped the most. Not only in pitching jokes in the writer’s room, but in interviews and meetings with story editors when I’m looking for work. That and feeling confident that I can do this. Believe me, the confidence thing takes a lot of work every single day. Most writers seem to be struggling with this, or at least I’ve met a bunch who are. So finding the strength to kind of “fake it till you make it” was a big step for me.

7) What inspires you?

I love TV - I’m a big TV junkie. I love any show that surprises me in its storytelling. I joke that if a show has me screaming back at the TV in utter shock, or jumping off the couch with my jaw on the floor, then that’s great. That’s what inspires me. Seeing a show and thinking I want to tell stories the way that show does, or hearing dialogue and just wishing I could be that concise and lyrical and clever - those things motivate me. Meeting people who watch Nick is always an inspiration, too. I recently had parents and their little kids interrupt me at lunch one day because they heard me say I used to write for FOP. Seeing kids excited by that is really a cool reminder of how great it is to be able to do what I do.

8) Where would you go in a time machine?

I’d be selfish and want to revisit days of my life where I remember being so happy I thought I might burst. I know I’m supposed to go back and stop JFK’s assassination or do something for the greater good, and sure I’d do that too… but first I’d go back to great times in my life and enjoy them all over again. Life goes by so fast and I’d want to get a few moments back again and revel in them.

9) Choice of superpower/ability?

I’m terrified of heights, so flying is out. And reading minds would only lead to disaster if I learned someone hated my shoes or was mocking the way I danced or something. So I’m going with teleporting. That not only eliminates a ten hour flight to Paris, but it gets rid of having to go to the airport, too. I’m all for that.

10) What are some of your favorite hobbies?

I like to eat. A lot. I’m a junk food junkie (the writer’s room for the Loud House has at least four different kinds of Oreos in it at any time). Therefore, exercise is a big hobby. I like to swim. Beyond that, I’m a huge car nerd. If I wasn’t a writer I’d want to design cars. I love traveling to different auto shows. And I love baseball, too - I’m a Mets and Dodgers fan, so I am still coming down off the high of this past season.


A prim, almost teenage “reporter” named Trudy Herd is kidnapped and brainwashed into becoming Luna Vachon, the snarling, mohawked she-demon of Kevin Sullivan’s Army of Darkness. These screenshots are from a long segment that aired on Florida Championship Wrestling in 1985, where Nancy “Fallen Angel” Sullivan shaved half of Vachon’s head, formerly initiating her into the stable.

This was uncomfortably strong stuff at the time, and is almost unimaginably seedy by today’s standards. It’s all the more powerful for relying on suggestion rather than explicit display: whatever you imagine about that room, with the Snakemen crawling on the floor, Mark Lewin holding up a knife as his eyes roll back in his head, some anonymous punkette just barely in frame fondling a serpent, and Fallen Angel standing around in her BDSM gear, is worse than anything they chould have shown on television. It’s like some kind of Reagan-era Floridian version of Huysmans’ “La-Bas.” 

This dialed into a lot of then-current social panics and folk devils - punk rockers, satanism, kids being torn from their families by cults - in a sleazy, sensationalist way that still manages to remain a more vivid document of the era than a hundred scholarly monographs referencing Stanley Cohen’s theories.

Like a lot of wrestling stories, this one gets darker the more you think about it. Of the two women at the center of this tableau, neither would see 50: Nancy Sullivan, who broke into the business as a teenager in “apartment wrestling” pictorials, was murdered by her husband, Chris Benoit, in 2007. Three years later, Vachon died of an overdose of prescription painkillers.