at the beginning of the production run, but in later seasons they were written at the end and aired at the beginning of the next season as holdovers, giving the animators more time to work. Part of the difficulty for the animators is that the episodes always involve many complex backgrounds, new characters and new designs. They are difficult for the writers because they must produce three stories, an opening and, in the early episodes, a wraparound. They would have to try to fit all of this into a 20–22 minute episode. The episodes often go through many last minute changes, with rewrites requiring new lines to be recorded. "Treehouse of Horror III" in particular underwent somewhere between 80 and 100 line changes in the six-week period between the arrival of the animation from Korea and the airing of the episode. By the fourth season, executive producers Al Jean and Mike Reiss were less enamored of Treehouse of Horror episodes and considered dropping them, but the other writers insisted that they be kept. Part of the attraction for the writers is that they are able to break the rules and include violence that would not make a regular episode. In some cases, the writers will have an idea that is too violent and far-fetched or too short for a normal episode, but can be used as a segment in the seasonal special. Several of the writers, former executive producer Mirkin among them, believe that the episodes should be scary and not just funny. Treehouse of Horror V has been described by Mirkin as being one of "the most intense, disturbing Halloween show ever" as it was filled with violence and gore in response to new censorship rules. Earlier installments began with Marge issuing a disclaimer that "if you have sensitive children, maybe you should tuck them into bed early tonight instead of writing us angry letters tomorrow." However, these episodes seem mild compared to the carnage that followed in later episodes, according to Jean, who calls it "a societal thing". He points out that his 10-year-old daughter loves films like Coraline, and that, "[in] the age of scary stories [...] appropriateness has gotten lower." Although gruesome for the most part, some segments, such as "Citizen Kang" in Treehouse of Horror VII, satirize political issues. The opening segment of Treehouse of Horror XIX featured Homer attempting to vote for Barack Obama