TMCC22 - The Car is the Star [CONCLUDED]

Link to the previous TMCC21

UPDATE: Deadline extended to 30/10/2022, 23:59 AOE (anywhere-on-earth)

Disclaimer first: I have no connection to the film industry and am not the greatest movie buff either, so feel free to propose other inspirations that I can add, or point out where is room for improvement for the non car-related facet of the challenge as well.

TL;DR: You are tasked with developing a car and a pitch for an early 1980 Hollywood TV series with the car as (one of) the main acting protagonist(s) of the series.


Monday, February 13th, 1978
Executive Office, Eidolon Productions, Melrose Avenue, Los Angeles, CA

“Alex, I have the new Nielsen ratings for our two new series that launched last year.” Angella Fontana, one of the Senior Executive Producers for Eidolon Productions waved with two typewritten sheets of paper as she stood in the doorway of the studio’s CEO, Alexander Taylor.

With anticipation, Alexander looked up from the script he was reading. “And?”

“Not good, honestly.” She moved closer to Alexander’s desk, sat down and handed Alexander one of the sheets of the paper. “The Ten Million Dollar Man slipped three places further down, and The Harford Files two places. If ratings do not improve soon, we might see one or both series cancelled.”

Alexander sighed. “Not again. Do we know why?”

“Preliminary results from our focus groups indicate two reasons. Some viewers think that our series are too similar to others, while others find the main protagonists increasingly unsympathetic.”

“So, in the worst case, D-A-S-H will be again our only established series for 1979 to help keep the lights on?”

Angella nodded. “Although we have a few good proposals with the major stations for 1979 awaiting responses. For the mid-term future, maybe we should think more out of the box for our series development?”

“What do you mean?”

“There were some major box office hits over the 1970s across various genres where cars played a prominent role and these were very appealing to audiences. For our next series, we could maybe go one step further?”

“Something like a main protagonist with an iconic companion car? Detective Harford has his Bricksley Grand Warden, and this doesn’t seem to have affected ratings much.”

“Not quite.” Angella’s expression visibly lighted up. “Make the car the star… or co-star at least! Cars as cast members, so to speak, have been good movie antagonists - think Christine or The Duel truck. How about we have one as a sympathetic protagonist for a TV series?”

Alexander pondered the suggestion for a minute. “Like, that striped Bug in those movies…? What was the name? Herbie?”

“As one example, yes. The more I thought about it, the more I wondered why noone has really tried the underlying concept for a TV series yet. There are many people who treat their cars almost as family members, so why not try expanding the idea to our casts?”

Alexander hesitated for a moment and walked to the big windows of his office which overlooked the parking lot of Archway Studios where his company Eidolon Productions had their offices.

(Image source)

For the first time, he considered the wide range of different shapes and ‘faces’ of the various employee and company cars parked there. He imagined the parking lot being a crowded waiting room for aspiring actors going through a casting process for a new Eidolon-produced series. What character profile might each car have? Of course, this would also have substantial implications for the writing and the production of a series that does not rely on a solely human cast…

He turned around. “Alright, Angela, then prepare a brief to send out to our pool of freelance writers - let’s see whether one of them can come up with a convincing pitch for a series and its protagonist car that we can develop further. With a good idea, maybe we can work out something for a series to start in 1980.”

(Bricksley Grand Warden name-drop with approval from @Madrias)

So, in a nutshell, there needs to be a convincing protagonist car as the cornerstone of a series pitch, and that’s what you are asked to submit for this challenge. The series pitch goes into the forum post whereas the protagonist CAR file is to be submitted to me as Discourse PM.

There can, of course, be one or more human co-protagonist(s) and a supporting cast, but the series should not be able to work without the protagonist car. In any case, the protagonist car needs to be able to act on its own in some form (have agency, so to speak). This can come about through, for instance, magic / supernatural causes (think Christine), but also through 1970s/ early 1980s computers (think KITT), can be the result of a lab experiment (**), or it can be left vague or unclear (think Herbie) initially or throughout the entire series.

The series can be conceptualised as a regular TV series with yearly seasons until cancelled or as a mini-series with several longer episodes. Feel free to incorporate aspects of TV series styles and plots in your pitch which are very much ahead of the times in 1978 - the studio execs are not looking to play it safe but are open for innovation (otherwise they wouldn’t have invited a car-focused pitch in the first place). The series needs to be a full live-action series, however - so no animated parts or characters etc. CGI hadn’t existed at all back then, but regular special effects can work a lot of magic as well.

The series’ premise can be anything, and the setting can be anywhere on Earth - and it will be the producers’ job later on to make sure that this turns out to be believable. However, at least part of the filming will take place in the US or Canada (so left-hand drive settings). The time period for the series can be anything after 1950.

Otherwise, the sky is the limit for your creativity… but guided along by the priorities as detailed below.

** To give credit, this is inspired by what happened in the recent 2022 Shitbox Rally challenge, but you don't have to read the posts scattered about that thread; the premise is all that matters for this challenge. If there is a film where a car became sentient through a lab experiment, let me know and I'll add this to the inspirations.


starstarstar Top priority:

  • Protagonist car - Character: The sustained attractiveness of a TV series rises and falls with the character of the main protagonist - the car in this instance. Our protagonist car needs to be able to act on its (his? her?) own and to interact and communicate with the rest of the cast (or the world) as well as the viewer in some form. A reasonably well fleshed out character of the protagonist car fitting to the series’ premise is therefore crucial for our studio execs to know what they would eventually greenlight.

  • Protagonist car - Visual fit: Visually, the submitted car should fit its outlined character as well as the premise and setting of the proposed series. For the challenge, this mainly applies to exterior design. A basic interior is most appreciated (if only to make the photo shots look more realistic). If you go for gadgets or a sentient computer, however, then more interior detail is required to make clear to the execs how this will be operated and look on film. You don’t have to include how any special effects would be generated, that’s for the FX people to figure out later on.

  • Protagonist car - Engineering realism: Likewise, the engineering for the protagonist car need to be realistic and fit its character and its appearance. Whether you submit a small quirky 1960s import, a 1970s US-domestic sports coupe, a highly advanced futuristic supercar, or anything else, the engineering choices should reflect that. Techpool is allowed so ‘futuristic’ supercars can be made with a 1978 MY. Techpool can also reflect what the car manufacturer is particularly good (or bad) at, if that matters. Race parts are allowed, too, if the main protagonist is going to be (or was) a race car. However, any car that is going to be driven on public roads needs to be street legal for the period the series is set in (I won’t be super strict on the details here, there are too many cases to cover and some oddities or ‘violations’ may even make sense in the context of the series.) If you cannot fit certain features into the Automation engineering choices (e.g., an advanced computer system), add it to your Discourse post and/or the description field in Automation on the Testing tab [was this ever used before in a challenge?]. If you are going to submit an 18-wheeler truck through 3D magic, engineer it in a way so that you get roughly appropriate stats for an 18-wheeler.

  • Series - Potential audience appeal: After all, the TV business is a business so the planned series and its protagonists should appeal to a certain not too small audience. Whether you choose mainstream or more niche is up to you (and back then, letter writing campaigns by a small but enthusiastic fanbase could work wonders to keep a series alive…). Audience appeal is more than the sum of the parts of the series, so this will be a holistic judgment.

starstar Medium priority:

  • Protagonist car - practicality: In-car scenes and special effects will require some space in the car for the equipment not to get in the way of the actors and the filming. Ideally, there would also be relative ease of access for the camera operators and technicians.

  • Protagonist car - reliability: Frequent breakdowns may be part of the story (or a running gag) in the series but these should be staged, not natural. (+quality can help ofc, but stay within believable realism)

  • Protagonist car - loudness: The submitted car should not be overly loud on set (even if it is/was a race car). Special engine effects can be edited in afterwards.

  • Series - Supporting cast: A protagonist is nothing without a supporting cast (and perhaps an antagonist if the series’ premise requires one). A supporting case may also have potential breakout characters, adding to the series’ appeal. The studio therefore wants to know who else will be part of an eventual series. You can write short character outlines, provide drawings / sketches, images generated from other games’ character editors or AI-generated images of people.

  • Series - Other details: Your pitch should give our studio execs a good idea about the series, its general style and plots, if there are going to be story arcs etc. As Eidolon has their own staff writers to change things or flesh things out later in production, this part of pitch does not have to be overly detailed. Unlike the car, all settings or plot-related details in the eventual scripts can be changed with the stroke of a pen, after all.

  • Series - Ease of production: It’s easy to imagine the fanciest settings and effects, but at some point even the loftiest goals have to meet the hard reality of TV series production. Eidolon works with a well established studio with a large repository of sets, props and costumes and also has good ties to established special effects companies. They can also assign a respectable budget to building new sets, props and costumes for the proposed series once greenlit, and a series that stands out from the mainstream through production quality can contribute to the series’ appeal. However, there will be limitations to what Eidolon will be willing and able to invest, depending on anticipated audience appeal and their own financial means.

star Low priority:

  • Protagonist car - purchase / service / fuel cost: A TV series production is an expensive endeavour and the same may apply to hiring a convincing protagonist, car or otherwise. However, the less spent on acquiring (cost) and maintaining (service cost, fuel consumption) a small fleet of the protagonist car, the more money can be spent on other aspects of the production. Note that a higher price or ET may not necessarily affect cost for the purpose of this challenge, if the same result can be achieved via movie props, special effects or cheap car body modifications for filming. The same applies for crash or wrecking scenes, as long as similar cars from the junkyard are available. This factor becomes of medium importance if more than just a few cars are needed for a season due to frequent stunt work / crashes (which may be a unique aspect of that series, so don’t shy away from such an idea on principle).

  • Protagonist car - drivability: Even with potential self-driving abilities, the car will have to be driven by regular actors on the set, and they should be able to concentrating on acting, not on driving. You also can assume that all the actors can drive stick.

  • Protagonist car - comfort: As there will be most probably many scenes filmed in the car, the actors need to have a certain level of comfort. The car also needs to be reasonably stable for filming when driving over regular roads.

  • Protagonist car - safety: Even though filming will take place in controlled settings, and there will be stunt drivers available, the actors’ insurances will nevertheless require a certain level of reasonable safety for driving in regular scenes.

  • Automation version: 4.2 open-beta (latest build)

  • Model, trim, family, variant year: 1978 or earlier (do not have to match, but have to make sense; realism is a top priority after all. Use MY 1978 with techpool for ‘futuristic’ cars.)

  • No V16s, no car bodies from the legacy mod (I don’t have the DLC and won’t install that mod)

  • All other components and mods available on Steam allowed (again, things need to make sense, see ‘Top Priorities’ above, and consider the general need for a car to be street legal in most cases)

  • Advanced trim settings: anything goes (but need to make sense… you get it)

  • Quality sliders & tech pool: anything goes (but need to… you know. The higher or lower the quality the better the obvious rationale needs to be for extreme settings to make sense!)

  • Price, ET, PU: anything goes (but… and see the priorities above)


Supernatural / magic

(is the evil antagonist in the book / film, so just take the supernatural nature for inspiration)


(as shown in the film, the Cannonball Subaru does technically not fit here, but I think is suitable as an inspiration nonetheless for 70s style computer tech in cars)


(the truck is an antagonist again - but the mystery aspect counts. Technically also had a driver iirc, but is never revealed and wouldn’t have needed one for the film to work imho. )


Submit the CAR file for your protagonist car via Discourse PM to me and make a post with your pitch for the series and at least one photo of the car within the deadline.

Naming convention (vehicle model / trim): TMCC22 - Username / Vehicle name
Naming convention (engine family / variant): TMCC22 - Username / Engine name
Submissions open: Fri 07 Oct 2022, 23:59pm AOE (anywhere-on-earth)
Submissions close: Sun 30 Oct 2022, 23:59pm AOE (anywhere-on-earth)

In case of stat-changing game updates, one resubmission per participant and game update will be allowed.


Well, consider me interested.

I’ve been tinkering around with a highly-computerized Bricksley Futura that may be the result of some Alien Technology being involved… Just have to make it a bit more sensible and wild at the same time.


Sounds like great fun actually! The question is, with a more complex brief than usual, and a lot of challenges going on at the moment, if the deadline will be enough? Just a reflection, I can’t give an answer there.

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I suspect the reason you won’t allow any bodies from that mod is because they were rendered obsolete by the latest major game update.

Also, although you listed KITT from Knight Rider as inspiration, the picture in the OP shows its Super Pursuit Mode, which was not added until the fourth and final season (1985-86) - but I will accept that seeing as it fits in with the theme of a computer-controlled sentient vehicle.

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It was probably used only as an example since there was no third gen F-bodies until 1982 anyway…

What I can always do is put up a poll a few days before the original deadline if there are hardly any submissions by then or too much overlap with other challenges. Otherwise, I like to think the current deadline aids to keep a bit of focus. :wink:

And because some bodies are genuinely broken…

I chose that pic to give inspiration for the possibility of (limited) self-transformation (or think Jekyll /Hyde - just positive). Somewhat expensive FX, but could be worth it to make the series stand out. So, no Transformers, please.

I found it quite hard to come up with any inspirations esp. from the time period - so feel free to use the inspirations more laterally than literally. :grinning:

Any final thoughts or comments on the rules before submissions open in a number of hours?


Things look okay to me. I’m slowly struggling my way through a wildcard design while working on a few other things at the same time.

Excellent, looking forward to what you come up with. :smiley:

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If we wanna get historical Westworld had CGI in 1973, and Star Wars did it in '77, but those were all high budget movies and not TV serieses
(what’s the plural of series idfk)

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Series Pitch:

Set in an alternate, semi-future timeline in a “crime ridden city” similar in design to Las Vegas, “PIT Vipers” stars two freelance bounty hunters and their trusty AI-controlled minivan in a desperate battle to clean up the streets of Proudmore City.

Main Characters:


Caitlyn Martin, a freelance bounty hunter. Recently fired from the police department after one too many arguments with her boss. Having lost her job as Proudmore City’s first female detective, she’s down on her luck at first, until an old friend of hers brings her a bit of interesting news… And a few cases to track down. She’s not afraid to get up-close-and-personal with the bad guys, and when she’s really in trouble, or she’s getting Michael out of the trouble he found, she breaks out her trusty Colt Python to save the day.

Michael Wardley, Caitlyn’s long-time friend. He’s a huge computer geek, having built his own minicomputer in the basement of his house because his Tandy TRS-80 was just too damn slow. When he hears that Caitlyn got fired from the police department, he puts his brain to work trying to design something to help her out. After all, the city is drowning in crimes going unpunished. He has a tendency to rush into situations without thinking them through, usually resulting in him needing Caitlyn’s help to rescue him. Both he and Caitlyn know his gambling addiction is a big problem, and he’s really trying to get it under control, but his debts cause a lot of issues in early episodes.

SARA, the Semi-Autonomous Reconnaissance Assistant. This high-tech computer system, weighing nearly 1,100 pounds, was assembled by Michael. Through a combination of clever code and stolen top-secret government documents, SARA has a personality and a certain degree of sentience. However, she’s not just an immovable supercomputer. She’s a supercomputer assembled into the back of a 1978 Minerva Traveller minivan. SARA becomes Caitlyn and Michael’s mobile office, and when the going gets tough, she can take her own wheel and drive. Just keep out of her way because she’s a terrible driver.

The Minivan in question:


Main Antagonist:

Bobby “The Buzzsaw” Boskerr, the crime-lord in charge of Proudmore’s Underground. Known to have others working for him selling drugs, operating casinos, smuggling in weapons, making moonshine, and generally being a nuisance. Never seen until the end of Season 1, where he’s revealed to be the one pulling all the strings. Season 2, the protagonists’ attempts to take him down end up uncovering dirty cops in Caitlyn’s former police department, leading to them cleaning up the police force. Season 3 ends in his arrest in the last episode, but Season 4 starts with him escaping the prison transport bus and setting a bunch of other highly dangerous inmates free. Season 4 ends with Caitlyn, in a moment of rage, ready to shoot the unarmed crime lord, only to be spared by Michael… And humorously ended by a blundering SARA trying to find a parking space.

Secondary Antagonists:

Bobby’s Henchmen and Enforcers. These bad guys in black combat uniforms don’t like it when Bobby’s businesses get disrupted. Thankfully, for all the bullets they spray out with their machine pistols held Gangster Style, they couldn’t hit the broad side of a barn from the inside. More comic relief than any actual threat.

Ronan Devlin, the Loan Shark. Michael owes this particularly dangerous fellow a lot of money. Rarely ever seen without a huge chrome hand-cannon of a revolver, and the quiet sort of villain who takes his time and waits for opportunity to be in his favor. Becomes a non-issue at the end of Season 1, after Michael pays his debts. Becomes a major antagonist in Season 4 when Michael racks up a huge debt behind Caitlyn’s back… but ends up forgiving the debt once he realizes Michael was trying to save his sick mother. One of the few antagonists with a good side.

Chief of Police John Haskill. Season 2’s big antagonist, leader of the dirty cops and the person who was responsible for Caitlyn’s firing.

The Meter Maid. This agent of actual justice happens to always be in the right place at the worst time to stick a parking ticket under SARA’s windshield wiper. She’s usually polite, but is often the cause of many late rescues. Often threatens Caitlyn and Michael that, “If you park that hunk of junk here, I will call a tow truck,” but never actually does. In Season 2, it’s revealed that SARA is actually blocking the calls for the tow truck, and in Season 3, replicates the meter maid’s voice to have her patrol car towed instead.

Random roadside hazards. While they’re not an issue for Caitlyn or Michael, SARA seems to have trouble with road signs, mailboxes, and garbage cans. If there’s one on the side of the road, she’s going to hit it. If there’s a line of them, it’s bowling time. Often made more hilarious if The Rookie is involved.

The Rookie. This officer-in-training often spots a brown Minerva Traveler minivan weaving all over the road like there’s a drunk driver behind the wheel. Often spends a lot of time chasing the wayward minivan, which inexplicably drives better the faster it goes. His crappy patrol car can’t keep up with the turbocharged minivan with a super-computer driving it, but he’s determined to catch it one of these days. By season 3, he’s figured out how to keep up enough to realize there’s no driver in the van, which often leads to him humorously having to take another drug test.

After Season 4, the only antagonists left are the minor one-per-episode lesser bad guys, unless someone has a good idea.

Timeframe: Roughly 1980, depicting a bleak, hopeless future with lots of crime, police hiring bounty hunters to get the worst offenders off the streets. Think of it as “Alternate 1985” from Back to the Future 2.

Major Arcs:

Ongoing/Never Resolves: The Rookie vs. SARA. He’s always going to be after the “maniac in a minivan” and the “mailbox assassin” no matter what.

Ongoing/Never Resolves: The Meter Maid vs. SARA. She’s bound and determined that this “Minivan with an attitude” is getting a ticket one of these days.

Season 1

Season 1: Caitlyn, Meet SARA. Caitlyn learns that her “partner in fighting crime,” Michael, has built her a rolling office… With a twist. This turbocharged terror of a minivan contains a supercomputer named SARA, the Semi-Autonomous Reconnaissance Assistant. Between learning what the van can do, and SARA discovering the joys of offensive driving techniques, the trio bonds over their shared duty to clean up the crime in Proudmore City.

Season 1: A Debt Owed… Ronan captures Michael and gives him an ultimatum: He has 72 hours to pay up half of his debt or he’s going to start losing fingers. Caitlyn rescues him, but she’s not happy about how much this has cost her.

Season 1: Fighting Our Way to the Top. The terrific trio pick off minor baddies, starting at the street level and eventually making their way up to the big bosses. Eventually they see “The Buzzsaw” making a getaway just about at the same time that the police show up to arrest them for trespassing.

Season 2

Season 2: A Cleaner Shade of Blue. After a narrow escape thanks to SARA’s “Pursuit Evasion” mode, it becomes obvious that they have to remove the few dirty cops from the department before they can ever get the city cleaned up.

Season 2: Protect and Serve. When the Chief of Police is found to be corrupt, SARA is the one who thinks outside the box to get him arrested.

Season 3

Season 3: Buzz off, Buzzsaw! With their distraction done with, the trio return to their original task of trying to take down the big crime lord. His henchmen are annoying as hell, but they’re making progress.

Season 3: Silent SARA. When Michael visits Ronan behind Caitlyn’s back, he orders SARA to be quiet about this. SARA protests by refusing to speak to Michael or Caitlyn. Michael tells SARA that he didn’t order her to be silent… And SARA immediately points out that he issued a conflicting order, that he didn’t want her telling Caitlyn where he was, and that Caitlyn is to always know where Michael is, just in case he needs help. This caused a logic error that could only be cleared if one of the orders was removed or given a lower priority. Caitlyn yells at Michael for visiting the loan shark again.

Season 4

Season 4: Buzzsaw Busted. With Bobby Boskerr in jail, things seem to be looking up. Unfortunately, that peace lasts for about two weeks. Have a minor episode or two where not much happens beyond Caitlyn, Michael, and SARA doing odd-jobs such as retrieving cats from trees, clearing road debris… And attempting to teach a semi-sentient minivan that no, she’s not allowed to charge across the field to try playing soccer with the kids.

Season 4: …A Debt Forgiven. Ronan finds out that Michael’s latest loan was done in a desperate attempt to get his sick mother to a cancer specialist who has an expensive, radical, and experimental procedure that could give her a few more years. He lets Michael know that “This one’s for free, but now we’re even.” SARA learns how to play Tic-Tac-Toe. Michael teaches SARA how to do burnouts. The Meter Maid is less than impressed by the feeble smoke-screen and leaves them another parking ticket.

Season 4: Jailbreak! Most of the season is spent rounding up the high-profile escaped felons and routing them back into the prison system.

Season 4: For the Greater Good. Bobby Boskerr gets cornered at last in a parking garage. Caitlyn wants to put a bullet in his brain-pan to solve Proudmore’s problems once and for all. Michael talks her out of it because “If you do that, you’re just as bad as he is.” SARA accidentally reverses over him while searching for a suitable spot in the 5 story tall parking garage.

Season 5

Season 5: Same Crap, New City! After being told by Proudmore City Police Department that either SARA needed to be dismantled, or they needed to leave, Caitlyn, Michael, and SARA travel east, out of the desert and over to the sunny coastline. Turns out that Paradise City is a real shithole full of crime, and while bounty hunters are everywhere, so are the criminals. SARA masterminds a grand plan: If criminals can travel in gangs to cause trouble, why can’t bounty hunters travel in coordinated hunting packs? With SARA making phone calls thanks to her integrated communications system, the trio works wonders to make Paradise City a real paradise alongside the other hunters.


Your customized Minerva Traveler follows the KITT ethos of being an ordinary car empowered with a vast arsenal of advanced technology (AI and all), but in the more unassuming form of a mini-van. It even has a Pursuit Evasion mode, much like KITT had Super Pursuit Mode.



A spaceship from the planet Belax heading to the planet Urghus accidentally takes a turn into the wrong galaxy. Even more worrying, they crash on the planet Tellus. More precisely, Gardena, California. But what they discover is new to them. On Belax, the saying is that there is no evidence of intelligent life in the Milky Way, but it appears like Tellus actually is housing such. Through the trees, they discover a bunch of vanners having a party on the beach, and since the inhabitants of Belax are shape shifters, the crew of the ship (Vaencrans and Panaquhea) decides to shape shift into something looking like them, 21 year old Rick and his 19 year old girlfriend Susie.

They become quite interesting in seeing that the youngsters are “making those land bound cargo shuttles into rolling living rooms” and sees that as a great way of incorporating technology from their crashed space ship in something that won’t even be noticed. “Rick” tells them that he has one too, which means that a solution has to be found quickly.

At a car dealer, they find this 1969 VCV Dur-A-Van, which quickly is transformed into this.

Meet “Ultra Violet”, the star of the show with the same name. But it hides a secret.

At a push of the button, the typical shag-rug-waterbed interior turns into this. Featuring a device to beam inhabitants and stuff from Belax to Tellus, a super computer with technology that aren’t seen on earth, and a bed where it is possible to examine and do analysises of the inhabitants on earth after giving them some good “moonshine” at vanning parties (rather a serum from Belax of course), which provides important information to the government on Belax that has no knowledge about Tellus. The Belaxians are peaceful, though. They have absolutely no interest in hurting mankind in any way, it is pure information gathering and nothing dangerous.

Other technology the van features is of course self-driving capabilities, windows that instantly will tint into pitch black and an anti-damage force field (more about that later). The classic Vaughn V8 is converted so it can run both on gasoline and Orbitum 3000 (the fuel that powered their space ship). Running on Orbitum 3000 is like running constantly with a nitrous oxide system, the drawback is that they were almost out of Orbitum 3000, and you can’t beam Orbitum 3000 since that will blow up the beaming device, so it has to be used sparsely.

“Rick” and “Susie” aren’t the only alien characters featured, because they are beaming inhabitants to Tellus all the time, which shapeshifts into their “friends” that they seem to have lots of. That means that Ultra Violet kind of is the star. Everyone is always using the van as their “workplace” and in many episodes neither “Rick” or “Susie” is the most featured Belaxian character.

Is there any challenges? You bet. It would be disastrous if the truth was discovered which is their constant threat. One of the things is that inhabitants of Belax are hermaphrodites. That won’t change by shapeshifting. So, it is absolutely top priority that nobody is going to see them naked, which…eh…might be a challenge with youngsters partying all the time. Another thing they have to be very careful to not do is crashing. If they were injuried in a crash the truth would of course be discovered quite quickly. But the force field?

Yes, it works. As soon as they test drive the finished van, they manage to bump into a Hakaru Carica on a parking lot at low speed, with the force field turned on. Seeing it completely dissolve from the face of earth, they realize that they must be careful with the crashing.

To sum it up, a sci-fi comedy aimed mainly at teenagers and young adults, that still has kind of important messages hidden into all the hilarious fun.

(Note: Seems like @Madrias came up with the same idea as me, van with a supercomputer. He even wrote an almost identical storyline to my original one, but better. Since it is not fun as either participant or host with such little diversity, I had to come up with a new idea, but I don’t regret it since I like this one better than my original one, tbh. But just so you know, this is not an attempt of copying since the same idea popped up for the both of us at the same time, without each other knowing about it)


A Car Named Monroe

Series Pitch: “This car must’ve seen some serious sh*t. What if it could talk?”

Location: California, 1980

Genre: Drama, comedy, mystery, buddy cop.

Premise: Kenneth Tolman, a down on his luck private detective purchase a 1962 BKOO Monroe, an old forgotten compact that he used to have. This car turns out to be possessed by a dead journalist previous owner James L. “Jimmer” Monroe, who somehow can see and hear everything that happens near the car and can communicate via the in car radio. Together they embark on a journey to solve the overarching mystery surrounding the car.

Length: 12-16 episodes, 45-60 minutes per episode. With possibility of plot extension after the main arc.

The protagonist:

BKOO Monroe is a compact sedan manufactured between 1962 and 1967. It was a respond to the compact boom of the late 50’s, but a late introduction and relative lack of flair meant it was the unpopular choice.

Available with various engine sizes, this particular one of the 220 cubic inch inline 6-cylinder which is good for about 100 gross horsepower. By all means, this is a very basic compact car.

It is equipped with a standard type AM radio which is going to be use as a means of communication between the two protagonists.

The “protagonist” car does have limited ability to move some bits by itself. Only for the accessories such as the seat, the windows and the doors though. It cannot drive by itself. It can certainly open it’s trunk to hit the baddies but that’s pretty much it.

The Plot

In 1963, James L. “Jimmer” Monroe was an aspiring journalist with the local newspaper. A hot headed figure with particularly sharp and wicked tongue. Not many of his colleagues liked him, except for the chief editor who liked his brazen style. James recently purchased a last year model BKOO Monroe as it was the only thing he could afford. Noting the irony in driving a car with the same name as himself. During this time, he was doing an investigative journalism on a local crime kingpin who’s in cahoot with many of the government officials and even chief of police. This wound up getting him murdered.

The body was put in the trunk of the BKOO Monroe, which was then driven up to northern California to dispose of in a shallow grave. It was then set up so that it appears Jimmer killed himself because of gambling debt.

During this time, Kenneth Tolman was a detective within the LAPD, and was the one investigating the case. Which was covered up just well enough to not lead to anything but left a mark on Kenneth’s mind. The cream color Monroe caught his eyes as Tolman also had one during this time.

The BKOO Monroe was then sold on via police auction to a car dealer, who then sold it on to unsuspecting owner. Who then sold it on to another 3 unsuspecting owners.

Fast forward to today, Kenneth Tolman by then had long quit the police due to disillusionment and became a private detective, and not a successful one. His last beater car finally stopped and so he was on a hunt for another beater. It was at this point he saw the same BKOO Monroe sitting in a rundown dealer’s lot. This reminds him of the event many years ago so he went and have a look.

Apparently this BKOO Monroe, despite being absolutely mint for it’s age, was problematic and no one wants it. Tolman bought it for 50$ and found it to be perfectly fine. Right up until he heard something from a radio, which he didn’t turn on. The voice of Jim Monroe appears randomly one night which left Tolman startled. The man is the same sharp tongue journalist he once was. It’s just a shame he can only talk via the radio.

Despite some mishaps as Tolman wants rid of this car immediately, at one time by nearly driving in into the sea, both eventually got along and went on a journey that would solve various mystery surrounding this car. It seems that James L. Monroe in the guise of BKOO Monroe could see and hear everything that’s happening around the car the entire time he becomes one with it, both sweet and sour.

After solving the mystery of all the previous owners, which ranging from typical things like extramarital affairs to stolen heirloom and to some ridiculous things such as the hoax aliens crop circle. The first season ends with both Tolman and Monroe going up against the crime kingpin, and hopefully allowing Monroe to pass on peacefully.

Or, alternatively, getting exploded to pieces by one of the goons.


“It is a perfectly engineered piece of junk.” - Kenneth Tolman

“Tolman is inside me, that sounds very wrong. Tolman is riding me, that also sounds wrong.” - James L. Monroe as BKOO Monroe

“Do not forget to tell them to grease my left nipple.” - Monroe telling Tolman on the way to a garage for suspension and steering maintenance.

Monroe trying to dictate a statement to Tolman who has a typewriter.
Monroe: Jesus can’t you type any faster?
Tolman: Didn’t you say you can see? There’s no room in here. Why don’t you become something with a table in it?


A bit less than four (4) days to go.

So far I have three entries (car and post) from @Madrias , @Knugcab and @conan

Since there are quite a few other things going on at the moment, is there anyone here who would like more time to submit?

  • Yes, I have an idea or two, and some more days would be nice
  • No, it’s not really my cup of tea, let’s get on with it as planned

0 voters

If you vote yes, feel free to post how many extra days you would like (a week or less). I’ll then post an update over the weekend.


Just making a note for full transparency here, I put in a vote for more time. After all, I’d love to see more possible competition in this one.

Give it a week, as I said, many challenges ending this weekend as well as many people being busy with ODC etc. - that might have been a bit tight for such an “advanced” TMCC as I feared, I guess. Yeah, I am done myself but I would like some more competition, hence the vote.


Alright, since the poll shows 75% in favour of extra time, the submission deadline is extended by a week!


Aww yeah, count me in!