Date: June 19, 2002
Company: NWA-TNA
Show: NWA-TNA Weekly PPV #1
Rules: Royal Rumble where upon there being two survivors, a singles match breaks out
Stipulation: Winner becomes NWA Champion
Roster (20): Apolo, Bruce, Buff Bagwell, Steve Corino, Scott Hall, Chris Harris, Jeff Jarrett, Justice, K-Krush, Konnan, Brian Lawler, Lash LeRoux, Malice, Del Rios, Rick Steiner, Ken Shamrock, Slash, Norman Smiley, Devon Storm and Vampire Warrior

I’m going to level with you. I know tremendously little about the first couple years of TNA. I practically know enough to fill a short paragraph. When coming up with the list for this battle royal series, I was told about how the very first TNA show had a Royal Rumble variation called the Gauntlet for the Gold, meant to crown the new champion. Without doing a single piece of research, I watched this match for the very first time last night.

TNA (which I’ll just say instead of NWA-TNA) is the unofficial sequel to WCW. About a year after WCW folded and got bought into WWF as their biggest instance of a ball being dropped, Jeff Jarrett and pals came together to create a new promotion where the shows would be weekly 2-hour PPVs. A radical idea with enough gas to get them off the ground. Dixie Carter’s money didn’t hurt either.

This match is absolutely surreal to watch as someone who didn’t follow TNA back then. Every entrant is a complete surprise to me outside of Jeff Jarrett. Being forced at #1, I’ve heard many stories about his dominance of the product despite the fact that nobody cared. He was like a mix between Cena and Triple H without the charm. Just a mid-carder insisting on being the dominant top guy out of spite for all the top guys who insisted that he’d never be more than a mid-carder.

I’m getting away from my point. Memories of WWE in mid-2002 can be hazy and what we have here is a roster made up of guys who weren’t in WWE at the time. A lot of them are WCW and ECW veterans that WWE had no taste for. Some of them are recent castoffs from WWE, especially because of substance abuse. Looking at Jeff Hardy, it’s good to see that some things never change. Then you have a couple instances of wrestlers who are familiar in hindsight as they’ll go on to become well-known.

Jeff Jarrett is at #1 and #2 is Buff Bagwell. Bagwell lasts almost as long as he did in WWF and he’s gone in about a minute. Jarrett proceeds to take apart Lash LeRoux and Norman Smiley one at a time, dominating the ring. At this point, I’m 80% sure that he’ll at least make the finals. 70% sure he’ll win.

Apolo finally stops the momentum. I’ve never heard of Apolo, but a look at his history shows he had a decent enough career in TNA and a cup of coffee in WWE developmental. He’s attacked by the following entrant, K-Krush, otherwise known as K-Kwik and currently R-Truth. He represents one of the more noticeable patterns of the commentary. Well, other than Ed Ferrera (or is it Don West? I can’t tell) constantly using the term “chucking” to an annoying degree when discussing eliminations.

A lot of the more famous wrestlers get their old promotions namedropped, something WWE has almost always refused to do. When Norman Smiley comes out, they bring up his WCW career. When K-Krush is out there, they mention that he was K-Kwik in the WWF. When Vampire Warrior is there, it’s mentioned that he used to wrestle in WWF as Gangrel. Same with Brian Lawler being Brian Christopher and Devon Storm as Crowbar. Yet at the same time, there are guys who they try to play off as new and refuse to discuss their past. Like at one point, ECW’s Joel Gertner shows up as the manager of a stable that includes Lodi and Lenny Lane, who are fresh off their rather over Ambiguously Gay Duo gimmick from WCW, as well as “Bruce”. Bruce is most obviously Kwee Wee from WCW and yet the commentary team acts like this is some mysterious, brand new guy they’ve never seen before.

The same happens for a couple guys who aren’t as noticeable. They have a guy named Del Rios, whose gimmick is that he’s a Scott Steiner knockoff in a company that doesn’t have Scott, but does have his brother Rick. I didn’t find out until afterwards that this guy was also Phantasio, the Wrestlecrap/Are You Serious staple gimmick who lasted one match in WWF in the 90’s. More interesting is when a guy named Malice shows up at #13. Chokeslams all over the place!

The guy looks very new to me and it surprises me because while he isn’t great, he’s kind of good for a big guy. He’s played up as a pretty big deal throughout the match as a monster heel. I didn’t find out until after the match that he’s WCW’s the Wall after losing a ton of weight! Whoa!

The match goes on and on and while there are eliminations here and there, nothing is too memorable. It is kind of crazy when a really in-shape guy named Justice starts going to town on everybody and after looking at him closely and seeing him perform a Black Hole Slam do I realize that this is the man who will one day be Abyss and Abyss’ doofy brother Joseph Park.

Things pick up with Scott Hall, fresh off of being fired from WWE for being his usual drunken self. He beats up the tired Jarrett and drops him with the Outsider’s Edge.

I should note that most of the time, they’d show the 90 second countdown in the bottom corner. I like that touch. Makes things come off as more legit. To go against the “more legit” claim, Hall sees who’s coming out next and welcomes him with open arms. It’s none other than unintentional parody of America himself, Toby Keith! Yes, the country star played a live performance earlier that was interrupted by Jarrett. He gets his revenge with a little suplex action.

Jarrett is out and I’m relieved. Hall adds a lot of charisma to the proceedings, like when he sits on the top rope and takes a breather, watching everyone else go at it. A few names down the line, we get Ken Shamrock and I do a double-take. Ken Shamrock! I forgot you even existed! I thought he was like Jenny Sparks from the Authority. Once the 20th century ended, he ceased to exist! I remember for years hoping that he’d return to the WWE so we’d get the feud with Kurt Angle that would have written itself. Alas…

Shamrock’s house of fire entry is snuffed out by Malice catching him and doing a powerbomb variation. A nice piece of foreshadowing. Brian Lawler is the last guy in there, although the guy in charge of the countdown clock doesn’t realize this for a few moments and prepares for the nonexistent #21. Whoops.

Our last five are Lawler, Malice, Shamrock, Hall and Apolo. Malice chokeslams Lawler and the other three begin to corner him. Malice demands they bring it on, but Shamrock decides that it would be better to simply toss Lawler while he’s half-dead. As Shamrock hangs back, Malice fights off both Apolo and Hall. First he backdrops Apolo to the outside. Then Hall does that stupid-ass spot that takes me out of every one of his matches.

He’s done this since his days as Razor Ramon. He sets up the Outsider’s Edge right in front of the ropes, as if he’d do the move in a way that would cripple or kill 99% of its victims. It never, ever hits and always leads to the same output: Hall gets backdropped over the top rope. Here is no different. We’re down to Shamrock vs. Malice and Ricky Steamboat comes in as the referee.

The brief match isn’t so bad, all things considered, outside of a moment where the two are so blatantly calling spots in front of the camera. It’s Malice’s size, resilience and heel manager interference vs. Shamrock’s relative freshness and submission skill. Shamrock can’t get him to tap with an armbar or ankle lock, but a belly-to-belly suplex out of nowhere catches the big man with a three-count. Shamrock is the champ. Malice looks strong here and it’s even more unfortunate that he’d pass on a year and a half later.

And what better way to end this very first TNA show that crowns its champ than cutting to Jeff Jarrett and Toby Keith being separated by security? God…

Tomorrow, we finally return to the WWE. To describe the next update in two words and a bunch of ellipses: “………………….is cooking.”

Date: October 18, 2000
Company: WCW
Show: Thunder
Rules: Royal Rumble with 30 second intervals
Stipulation: Winner gets a title shot the Nitro after Halloween Havoc
Roster (29): Brian Adams, “That 70’s Guy” Mike Awesome, Big Vito, Booker T, Bryan Clark, Crowbar, Disqo, “Hacksaw” Jim Duggan, David Flair, “Lieutenant Loco” Chavo Guerrero, Don Harris, Ron Harris, Jeff Jarrett, Mark Jindrak, Billy Kidman, Konnan, Kwee Wee, “Corporal Cajun” Lash LeRoux, Ernest “the Cat” Miller, Rey Mysterio Jr., “Coach” Kevin Nash, Sean O’Haire, Chuck Palumbo, “Above Average” Mike Sanders, Shawn Stasiak, Scott Steiner, Sting, Lance Storm, Alex Wright

I think during WCW’s final months, the quality was getting almost as good as when everything started to go wrong a couple years earlier. It wasn’t all bad, but it wasn’t all good either. It wasn’t outside the realm of possibility that with a little effort, WCW could have been turned around to being halfway successful before a Turner higher-up decided to pull the plug.

Take the Countdown to Armageddon, for instance. The main event of a Thunder in late 2000, only five months before the company would become McMahon’s new set of action figures, is head and shoulders above that guerrilla warfare idea from yesterday’s update and is almost well-booked at times. Almost.

The Royal Rumble knockoff is a 29-man battle royal for a shot at the champ the night after Halloween Havoc. Goldberg isn’t allowed to be in it, I think because his storyline is that he needs to equal his old winning streak before being allowed another title shot. The match has 30-second intervals, meaning the whole thing blazes through.

Unfortunately, whoever booked it must have been in a real rush because the “random draw” barely even pretends to exist. Our first two entrants are “Above Average” Mike Sanders and the Cat, two wrestlers who happen to be feuding over full rights as Commissioner of WCW. Having these two start it off isn’t too weird, right?

The next two are Shawn Stasiak and Chuck Palumbo. They and Sanders are all members of the Natural Born Thrillers and work on the Cat, though Stasiak – “the black sheep” – has some problems coexisting with Palumbo. Again, it isn’t too off. That stable has a lot of wrestlers.

Then Disqo (a renamed Disco Inferno) comes out, followed 30 seconds after by his partner Alex Wright. Shortly after, Ron and Don Harris come out consecutively. Even the commentators can’t make sense of this. It’s briefly suggested that maybe one of the co-commissioners created the order, but why would they be the first two, then?

Speaking of commentary, it’s the best of times and the worst of times. Joining Tony Schiavone are Stevie Ray and Mark Madden. Stevie is so bad he’s great while Madden is so bad he’s terrible. There’s something so weird about both guys from Harlem Heat being the two most awesomely bad commentators in wrestling history.

Canada-loving turncoat “Hacksaw” Jim Duggan enters the fray. Just want to remind everyone that this was a thing.

With 11 in the ring and no eliminations yet, the Natural Born Thrillers’ leader “Coach” Kevin Nash is out at #12. They go right to commercial and time seemingly freezes. Once they’re back from commercial, Nash enters the ring and there’s been zero entries in the past two minutes. Uh huh.

He proceeds to clean house until the only ones left are Nash, Palumbo, Stasiak and David Flair. Stasiak finally strikes Palumbo and knocks him out of the ring. Afraid of Nash’s wrath, Stasiak hops the top rope and runs off. That leaves David Flair to lay into Nash with zero success. Nash, the big, tough guy he is, takes out Flair with an eye-poke.

Nash plays the same role he did in the ’94 Royal Rumble that got him over: clearing the ring and taking out every new challenger. The one to stop his streak is Rey Mysterio. Sadly, this is late WCW, meaning it’s unmasked Rey, wearing stupid devil horns and looking like a 12-year-old boy.

My thoughts too, Big Sexy. My thoughts too.

Rey slows him down and our next guy out is Booker T! …What? I didn’t notice this when rewatching it as the WCW title picture is confusing as hell as is, but when I looked up who the winner would be facing… well, Booker T is the WCW Champion. He’s in a match to earn a shot against himself! And nobody on commentary seems to notice this! What the fuck?

Sting and Mike Awesome come out soon after and the four faces take apart Nash before eliminating him. Out next are Jeff Jarrett and Scott Steiner. I don’t mean in consecutive order. I mean that Steiner rushes the ring early just for the sake of laying into his upcoming PPV opponent Booker T. Yes, he too is trying to earn a shot at a title he already has a shot at.

Sting and Jarrett eliminate each other and Awesome removes both Booker and Steiner at the same time, leaving him against Rey. The ring fills up some more and our final spot goes to both members of Kronik at the same time, playing into their upcoming handicap match against Goldberg. Once things whittle down, we have Mike Awesome (face) against Kronik, Jindrak and O’Haire (heels). The four beat on him and prepare to dump him out when Goldberg’s badass Viking theme starts blaring.

Goldberg rushes in and is almost immediately taken down by Kronik. Still, the diversion is enough for Awesome to trick Jindrak and O’Haire into eliminating themselves. In a rather cool ending, Goldberg Spears Bryan Clark as Adams sneaks off to fetch a chair. Goldberg throws Clark out of the ring and Awesome grabs Adams’ chair, opening the Kronik member up for a second Spear. As Adams struggles to stand, Awesome holds the chair and warily keeps an eye on Goldberg. Is he here to take out his frustrations on everyone else allowed in this match? Is he planning to Spear Awesome next? Goldberg sees the chair and things get tense.

But clearer heads prevail and they take out Brian Adams together. Mike Awesome gains his title shot and gets a bit of a rub from Goldberg.

It’s a shame things didn’t work out for Awesome. I always enjoyed his work and thought his role as “That 70’s Guy” was criminally underrated when they subdued the gimmick enough that it wasn’t so in-your-face. He worked the same way John Morrison’s “Palace of Wisdom” gimmick worked, at least in my opinion. Which is fitting, since Awesome looked like a beefed up Morrison with Roddy Piper’s face.

That’s our last look at WCW. We’re halfway through the list and tomorrow we’ll continue on with WCW’s reincarnation.

drawn by Milo Manara, yapped from Marvel Unveils Milo Manara “Uncanny Avengers” #2 Variant – Comic Book Resources)

Milo Manara is like Frank Cho, in that he’s very good at one specific thing and really good at a few other things, but he got so good at that first thing that the rest of the work sometimes suffers.

Frank Cho draws great busty women and decent thick women. That’s his thing, and I feel like only one of those dudes that draws Cavewoman — I think I’m thinking of Budd Root and early Devon Massey, and even that’s a reach — could go bar-for-bar with him in that very specific race. But Cho’s storytelling and focus has suffered as a result. The sexy girls seem like crutches, immaculately drawn though they may be, and nothing else in his stories has been clicking half as well as the girls do. That’s part of why Liberty Meadows works for me while his later work hasn’t — he could indulge the funny animal/dumb joke side of himself in addition to the carnival boobs, so there was something more to read the series for beyond “What unlikely-but-sexy pose is Cho going to draw a hot girl in this time?”

Manara’s similar. He’s fantastic at drawing a specific type of woman. His women possess a smoldering sexiness, one that’s probably best typified by Megan Fox these days. It isn’t entirely my bag, maybe because it isn’t as close to being in line with my tastes as Cho’s trunked out girls are, but I can still recognize how unbelievably talented he is sometimes. He tends to draw women who are (often literally) two panels away from being in full erotic ecstasy, with their head thrown back and hair blowing in the wind and mouth a perfect O.

It sounds familiar and lazy, but there’s an art to it. A lot of the empty cheesecake we complain about in cape comics is approach Manara’s throne, but it gets screwed up at the most basic level. Manara knows what he’s doing, and it shows.

But, as near as I can tell… that’s about all he does. I mean, he’s still an incredible draftsman, but like Cho, his women have a certain gravity. They feel like the real focus of the story to me at this point, like each story is a vehicle that exists just so that you can see Manara (or Cho) draw pretty girls.

Which is fine, on a certain level… X-Women was interesting, if neutered, and Cho’s Shanna was pretty okay, but again, felt neutered. But it gets old so fast. Their new work feels like echoes of their old work, but without the swing and passion that made the old work so interesting. You know that these guys can go in, but it just feels like a book that was created on autopilot.

It’s one thing to see something familiar done well, but seeing something done well in the exact same way over and over and over… it gets boring, no matter how solid it is. So you end up with things like this shot of the Scarlet Witch, which is drawn very well but uninteresting beyond the weirdness of one of the greatest porno artists ever drawing Marvel characters. When you expand it to include the rest of his covers, which are similarly vacant… I dunno. It ain’t working for me.

Date: May 3, 2000
Company: WCW
Show: Thunder
Rules: I… I don’t know
Stipulation: Winner gets a WCW Championship shot at the Great American Bash
Roster (43): Tank Abbott, Brian Adams, Asya, Mike Awesome, Buff Bagwell, Big T, Big Vito, Bam Bam Bigelow, Chris Candido, Cash, Brian Clarke, Disco Inferno, Shane Douglas, “Hacksaw” Jim Duggan, Ric Flair, Chavo Guerrero Jr., Don Harris, Ron Harris, Bret “Hitman” Hart, Curt Hennig, Horace Hogan, Hulk Hogan, Jeff Jarrett, Johnny the Bull, Chris Kanyon, Billy Kidman, Konnan, Lash LeRoux, Lex Luger, Medusa, Ernest “the Cat” Miller, Mona, Hugh Morrus, Diamond Dallas Page, “Macho Man” Randy Savage, Norman Smiley, Shawn Stasiak, Scott Steiner, Stevie Ray, Sting, Vampiro, Van Hammer and the Wall

During the two years before being bought off by Vince McMahon, WCW was a mess of comedic proportions. It was usually in one of two states. Either Vince Russo was the head writer and things were hilariously out of order, or he was thrown to the wayside and some other writer made the shows just as inept, only extremely boring. Usually, Russo gets the blame for most of the stuff that went on during this time, either because his garbage was more memorable or because it’s just an easier blanket statement.

Today’s battle royal entry comes from a magical time when WCW decided to have both Eric Bischoff and Vince Russo run the company together. On paper, the idea was that their good concepts would wash away any bad concepts. Buuuuuuut this is also when David Arquette is WCW Champion.

Also just want to take a second to thank Greg Merritt, who suggested I write about this match, which itself inspired me to do this daily series. He calls this battle “fascinating and terrible” and Great Zampano, he’s right!

The big storyline is that Bischoff and Russo have started a stable called the New Blood, made up of the younger wrestlers on the roster who are mad at the older, more popular wrestlers for holding them down. The older wrestlers, which include the likes of Hogan, Sting and DDP, are referred to as the Millionaire’s Club and in no way come off as devious, despite Russo’s supposed intentions to make this a “shades of gray” situation. In fact, his New Blood stable comes off as a big collection of whiners.

It also gave us the most cringe-inducing segment where Bischoff and Russo decided to reboot the title picture and that meant WCW Champion Sid had to give up the belt. Bischoff, making a sly reference to a real-life incident that only a very small fraction of viewers understood, taunted Sid by asking, “Did you forget your scissors?! …I said, did you forget your SCISSORS?!” The complete lack of reaction from the live crowd speaks volumes.

So anyway, this match. Near the end of an episode of Thunder, Bischoff and Russo are in the ring with a bunch of New Blood guys, most of them brandishing weapons. Bischoff calls out the Millionaire’s Club and invites them into some “guerrilla warfare”. I don’t know if that’s just a term here or if that’s what this match is supposed to be called. Either way, Flair accepts and brings some of his super-popular friends with him, demanding that they’ll have an over-the-top-rope battle royal and the last man standing gets a title shot at the Great American Bash. Bischoff accepts and points out that the men standing with him in the ring are the future of the business.

That might be the saddest part of this because that’s not true for a single guy in there. Guys like Ernest Miller, Buff Bagwell, the Wall and Shawn Stasiak fail to set the wrestling world on fire and the only guys involved who do all right are established wrestlers Jeff Jarrett and Scott Steiner. Yes, Steiner insisted upon being with the “young and hip” New Blood.

The challenge accepted, the Millionaire’s Club kind of jogs, then walks to the ring and we have 11-on-11, only the New Blood guys have weapons. Remember, these guys were supposed to be seen as being morally on the same level as the Millionaire’s Club.

In what seems like forever, there’s not a single elimination. Just dudes brawling. Then maybe five minutes in, some more guys run out. Konnan, Bam Bam Bigelow, the Harris Boys, etc. Commentary claims that they’re there to back up the New Blood. Then the Harlem Heat music plays and we get Stevie Ray, Cash and Big T, reminding me that there was an angle where Ahmed Johnson defeated Booker T for the right to have “T” in his name. Soon after, Tank Abbot comes out, being put over by the commentators as being a mercenary for the New Blood. It’s hard to really tell if these guys are supposed to be entrants in the match or not, but they succumb to the basic rules where being thrown out of the ring means leaving, so I’m going to say yes.

Finally, guys start getting eliminated and Millionaire’s Club members are able to get some weapons. It seems that everyone who comes out is on the New Blood’s side until Hacksaw Jim Duggan storms out with a 2×4 and lays waste to the ring until eliminating himself. Some of the WCW ladies come out and join the fray.

Then a limousine pulls up and someone with silver pants walks out. The camera refuses to pan up and we watch the man step to the arena in mystery. Who is this Pokemon?

OOOH YEAH! Savage helps clear the ring of some of the New Blood guys and tries to eliminate himself by jumping out, but Shane Douglas screws that up for him and Savage has to leave the ring between the ropes. Soon after, Bret Hart comes out and SHOCKS THE WORLD by hitting Hogan with a chair and leaving. Note, this is one of Bret’s final appearances.

DDP eliminates himself and Jarrett, which is just as well since they’re in a #1 contender’s match despite both being #1 contenders for the upcoming Sunday’s PPV already. We’re left with Kidman vs. Hogan and Flair vs. Douglas, which happen to be two of the upcoming Slamboree matches. Hogan is eliminated by going under the top rope and it seems that they’ve already changed the rules to reflect that. That puts it into question how Flair is still in the match, considering he spent a few minutes outside the ring earlier beating on Douglas with a bat.

The final two are Flair and Douglas and Flair wraps him up in the Figure Four. Russo runs in with bat in hand and accidentally hits Douglas instead.

Let me just repeat that for you.

Flair has Douglas in the Figure Four. Russo comes in and somehow accidentally hits the wrong guy.

Flair eliminates Douglas and wins his title shot. Or does he? I checked Wikipedia and Flair spent Great American Bash fighting his son while Nash got the title shot.

It’s not over. Hogan prepares a suplex spot on the outside, but Bischoff hits him in the knee and Hogan falls through a table. Savage ignores this for a minute so he can celebrate with Flair in the ring. Elsewhere, DDP and Jarrett climb a scaffold for no reason, punching each other all the way.

Savage finally chases off Kidman and Bischoff, then helps up Hogan. Savage’s very last WCW appearance is the Mega Powers buddying up.

In a final bout of incompetence, DDP does a huge bump off the scaffold, but it’s not shown. They’re so focused on Hogan/Savage that we just get a shot of DDP laying in some debris and a final shot of Jarrett celebrating on top the ramp.

Holy shit.

I’m going to do another WCW battle royal from 2000 tomorrow, but I’m going to leave with a couple quotes from this very match.

Tony Schiavone: “This has been nuts. It’s been absolutely nuts. Everything logical you can think about WCW over the past year thrown out the window.”
Mike Tenay: “Logic? Word doesn’t even exist in World Championship Wrestling!”

Date: January 11, 1999
Company: WWF
Show: Monday Night Raw
Rules: Royal Rumble
Stipulation: Winner gets the #30 spot in the 1999 Royal Rumble
Roster (10): The Big Boss Man, Chyna, “Bad Ass” Billy Gunn, Kane, Vince McMahon, Road Dogg, Ken Shamrock, Test, Triple H, X-Pac

Ah, the late 90’s. The Attitude Era. The Monday Night Wars. A golden age of talent, even though Vince Russo was the guy writing the show. Swerves and over-booking all over the place during his latter days in the WWF. That’s the main reason why I consider the ’99 Royal Rumble to be the “least best” Rumble in that it’s just too busy. But hey, at least it’s better than the mini-Rumble that precedes it.

Vince McMahon has been stuck in his highly-successful feud with Steve Austin, not to mention a side-feud between his Corporation and the stable D-Generation X. McMahon made sure that Austin’s role in the Rumble would be automatically at #1 and penciled himself in at #30 to make sure Austin had no chance in Hell. Commissioner Shawn Michaels finagled with that idea and made it so that McMahon would be #2.

Amidst this big Corporation/DX feud, McMahon decided to put together a Corporate Royal Rumble. A smaller-scaled Rumble featuring only members of both stables where the winner would earn the #30 spot. We know we’re in for some bad times once we see that Shane McMahon is doing commentary.

If you’ve never experienced it, Shane’s commentary is as bad as his punches.

We’re off to a wonderful start when Corporation member Ken Shamrock eliminates himself immediately by jumping over the top rope to get at entrant #2, Billy Gunn. It isn’t a total loss of logic, as Shamrock spends the next minute or so beating the crap out of Mr. Ass, slamming his head into the steps repeatedly until the Big Boss Man is out next. Shamrock leaves and allows Boss Man to continue the beating. At #4, the New Age Outlaws theme plays, but it’s Test who runs out to help out Boss Man. Whoops.

Things finally start to go DX’s way slightly when X-Pac comes out. Then Test eliminates Gunn and we’re back to square one. Road Dogg comes out to even the odds, but then Kane – representing the Corporation – puts it back in their court, eliminating Road Dogg and making it 3-on-1. Triple H runs out next and while he’s overwhelmed, he still tricks Test into clotheslining Kane, who doesn’t budge, but isn’t very happy.

The ring gets cleared until it’s just Triple H vs. Boss Man. On paper, we have all of our announced entries, but then Vince McMahon comes out as #9 and causes Triple H to stop working on Boss Man. Boss Man gets up and the two grapple near the ropes. Vince rushes in and eliminates both at the same time. Boss Man is confused at first, but then celebrates his boss’ victory.

Vince is happy because he’s cheated the system. Now he’s #30! …Or is he?

Chyna comes out last, showing that DX also has some surprises in store. Patterson and Brisco try to prevent her entry, but she takes a swing at both. We don’t get any real Vince vs. Chyna battling as Steve Austin walks out for the sake of getting in Vince’s face. Vince is distracted by this and Chyna takes advantage.

Chyna wins a spot as the first woman to enter the Royal Rumble, doing so at #30. It didn’t really do her much good. In the Rumble itself, she eliminated Mark Henry and then Austin immediately threw her out. The whole thing was a convoluted mess that ended with Vince McMahon winning at #2 and Austin getting the Wrestlemania title shot anyway.

That’s what you get when you play with Russo. Speaking of him, the next update is another one of his babies, only off in WCW. Come check it out.

Yo. I have to get up early tomorrow for jury duty, which I think means I have to put on battle armor and hunt down Venom, so I’m just going to rush this update. It’s me, Jody, Gaijin Dan and Space Jawa. Was Taters is currently flailing around in a pit of quicksand.

Action Comics #16
Grant Morrison, Brad Walker, Rags Morales, Sholly Fisch and Chris Sprouse

Age of Apocalypse #11
David Lapham and Roberto de la Torre

Animal Man #16
Jeff Lemire, Steve Pugh and Timothy Green II

Read the rest of this entry �

Date: November 22, 1998
Company: WCW
Show: World War 3
Rules: 60 men compete in three rings. Once it’s down to 20, they all converge into one ring.
Stipulation: #1 contender for WCW Championship at Starrcade
Roster (60): Chris Adams, Chris Benoit, Bobby Blaze, Ciclope, Damien, El Dandy, Barry Darsow, the Disciple, Disco Inferno, Bobby Duncum Jr., Bobby Eaton, Mike Enos, Scott Hall, Héctor Garza, the Giant, Glacier, Juventud Guerrera, Chavo Guerrero Jr., Eddy Guerrero, Hammer, Kenny Kaos, Kaz Hayashi, Horace Hogan, Barry Horowitz, Prince Iaukea, Chris Jericho, Kanyon, Billy Kidman, Konnan, Lenny Lane, Lex Luger, Lizmark Jr., Lodi, Dean Malenko, Steve McMichael, Ernest Miller, Chip Minton, Rey Misterio Jr., Kevin Nash, Scott Norton, La Parka, Sgt. Buddy Lee Parker, Psychosis, Scott Putski, Stevie Ray, The Renegade, Scotty Riggs, Perry Saturn, Silver King, Norman Smiley, Scott Steiner, Super Caló, Johnny Swinger, Booker T, Tokyo Magnum, Villano V, Vincent, Kendall Windham, Wrath and Alex Wright

I didn’t get into WCW until sometime in 1998, shortly before this event. I actually didn’t start watching WCW simply because I’m a wrestling fan, but because I was a huge fan of the Nintendo 64 game WCW/nWo Revenge. Me and my best friend rented that game so many times that it gave us enough familiarity with the product to want to start checking it out. While I didn’t watch this match on PPV, I did watch it scrambled, back when that was a thing.

World War 3 was a rather short-lived match gimmick in WCW that sounded outright epic to someone who hadn’t seen one before. Royal Rumble has 30 men? World War 3 has 60. Royal Rumble has one ring? World War 3 has three rings! Having watched them all a few years ago, I discovered that sometimes bigger isn’t exactly better. The ones for 95, 96 and 97 were complete clusterfucks. Like with that Battle Bowl match, there’d be picture-in-picture, only for that we’d see the different rings while so much battle royal brawling is going on that you can’t even keep track of what’s what and who’s who. There’s no drama and nothing worth paying attention to.

Then when you get to the end of it, there’s always some kind of dumb swerve that kills it. Real life situations makes this edition of the World War 3 match infamous, but yet it’s still easily the best one. It’s too bad that it’s the last one because they really started to get a good handle on things. No picture-in-picture. Just constant focus changes with it explicitly saying which ring it is on the screen and a tendency to not have anything too important going on in two rings at the same time. There’s a counter of how many guys are still in the rings at any given time, making things easier to follow.

Not only that, but there’s actual story going on throughout the match instead of only getting interesting once there are 20 left.

Prior to the match, we get over five minutes of introductions as nearly the entire WCW roster empties out the back and into the ring. There’s one Turnertron video playing throughout that zips through all 60 names in different fonts. The commentators keep bringing up that Hollywood Hogan isn’t there. Cute thing in there is that some of the guys had matches earlier in the night and this includes Jericho, who’s selling his match against Bobby Duncum Jr. from minutes earlier.

Finally, the rings fill up and we’re off. Ring 2 is a ring where nothing is really going on, despite being where most of the big names are. They’re just killing time so most of them can stick around for the final round. Ring 1 is made up of a lot of smaller wrestlers with name value, such as Eddie Guerrero, Chris Benoit, Alex Wright and Disco Inferno as they share the ring with the Giant. Giant remains in the corner for most of the match, choosing to stay to himself. Then you have Ring 3, where it’s Kevin Nash and 19 jobbers. Nash decides to just go to town and clears the ring in less than three minutes.

Before he gets around to that, there is a funny moment where El Dandy and La Parka eliminate Tokyo Magnum. Then La Parka leaves El Dandy hanging.

Who are you to not high-five El Dandy?

Van Hammer is the last challenge to Nash and puts up enough of a fight, but he too is thrown out of there. That allows Nash to sit back for the next fifteen minutes or so, hanging alone in Ring 3 to catch his breath. Amusingly, his nWo Wolfpac comrade Konnan gestures to him from the second ring that they’ll catch up on things later.

Neat moment in Ring 2 is when former long-time tag partners Stevie Ray and Booker T cross paths. They decide that it isn’t even worth the effort in fighting.

Wow, Alex. Way to show some effort. You’re like me when I’m helping someone lift a couch.

Meanwhile, back in Ring 1, Giant starts going to town on everyone. This leads to everyone in the ring going after him all at once. It doesn’t work out so well.

Disco Inferno tries to rally the troops, but Chris Benoit figures he’d be safer in attacking Disco and hoping that they survive long enough to be in the final 20. Ring 2 whittles down enough that they get that. Everyone converges onto Ring 2, although Saturn and the Cat get themselves disqualified by leaving the ring and fighting to the back. A lot of the smaller guys are removed in one fell swoop and soon we’re down to various factions sticking together. nWo Hollywood has Scott Steiner, Scott Norton and the Giant. nWo Wolfpac has Kevin Nash, Lex Luger and Konnan. The Four Horsemen has Chris Benoit, Dean Malenko and Mongo McMichael. Scott Hall is out on his own. Then you have other independent wildcards like Booker T and Wrath.

One of the stories going on in the match is the status of Scott Hall. He’s been kicked out of nWo Hollywood and they’ve been doing some awesome teasing of he and Nash getting back together. One of the better instances is when they team up to beat on the Giant together and would have him out if not for the interference by the other Hollywood members.

When they’re down to ten, WCW newcomer Bam Bam Bigelow runs out and tries to enter the ring. The survivors fight him off until security pulls him out. Soon Goldberg rushes out and they start going at it until a dozen or so security guards pull them apart. During all this, the competitors in the ring take a break a watch on.

With only a handful of guys left, Nash steps forward and points at the Giant, who has since lost his Hollywood allies. Giant is ready to fight them all off on his own, but he’s overwhelmed and gets thrown over the top by his remaining enemies. Scott Hall makes sure to wave him off as he leaves the ringside area.

Our final three are Scott Hall, Kevin Nash and Lex Luger. Nash and Luger make a friendly, “What happens happens,” gesture and it becomes a three-way brawl. Luger is the first person to knock Nash over the whole match and it allows him to take apart Hall. For this final World War 3 match, they added a stipulation that pins and submissions are allowed. On one hand, it’s a moot point as nobody is shown getting pinned or submitting, but I guess it’s just there for the sake of having Luger pick up Hall in the Torture Rack. That opens him up for Nash to get back up and take both of them out with a running boot. Nash is the last man standing and wins a shot against Goldberg at Starrcade.

Did I mention that Kevin Nash was booking this? Because he was. Nash wrote that he should dominate this 60-man match so that he could go on to main event the biggest show of the year and end Goldberg’s streak. It’s something that in hindsight it’s easy to gnash at the teeth about (no pun intended, seriously), but at the time, I was all for it. People talk about how nuts WCW was to ever end Goldberg’s streak, but here’s the thing: Goldberg’s streak was boring as hell.

They refused to ever book him properly in the first place and only put him in midcard matches against guys who had zero chance. His streak and ho-hum title reign started to make him a borderline heel because they were running low on interesting challengers and whenever he fought another face (ie. Sting and DDP), it was too easy to root for them. Personally, I thought that when it was Nash’s time to step to the plate, the whole streak concept had run its course.

Unfortunately, they went about it all in the most convoluted (AKA “WCW”) way. The match ended in a clusterfuck and led to the amazingly stupid Fingerpoke of Doom where the nWo came back together under Hogan’s leadership. And that was the beginning of the end for WCW.

Tomorrow, we return to the WWF for Vince McMahon’s foolproof plot to escape Steve Austin’s wrath.

(I’m bad at email. A guy emailed me with a question about Django, so I answered it in my usual format: thirty-thousand words of overkill. Then, after reading a reply from him, I finally read the subject line of the email and I realized he meant to interview me for a quote, rather than being simply curious about stuff. Whoops. But, this is me. And is more:)

The Django Unchained and Blazing Saddles comparison is, at best, a really cheap comparison. The two movies are too different to compare directly. It’s sort of the same thing that leads people to compare Amistad and Beloved to Django Unchained. They share a few surface similarities, but as soon as you step into the waters, they’re entirely different animals.

The short version is that Blazing Saddles is a comedy (or satire, or whatever — let’s go with comedy because it’s easier) set in the late 1800s and Django Unchained is a western set in the antebellum south. Django Unchained has funny moments, and a lot of them, but the way it uses humor couldn’t be more different from how Blazing Saddles does.

Saddles wants you to laugh until you cry. Brooks layers in pointed jokes like the black sheriff, goofy stuff like anachronistic gags, and goofy names because he wants to make you laugh until you cry. It has a point that’s worth saying — most good comedy does, I think — but it isn’t controversial in the same way that Django is. It’s tackling sensitive subjects, but not to the extremes that Django is.

The sticking point with Django is that it’s about slavery, something we tend to tiptoe around, and it’s an action movie. More than anything else, Django Unchained is about a dude trying to get his wife back, even if he has to kill people in the process. It’s set in 1858 and 1859, so they couldn’t avoid slavery or excise it from the narrative without being dishonest. So Tarantino made the decision to tackle it head-on, to make slavery and its issues text instead of subtext, and that’s where the sticking point is. Considering how sensitive slavery is, an action movie set in that time period runs the risk of disrespecting, or maybe not paying enough fealty, to the very real misery that slavery caused.

Now, Django Unchained is funny. It’s really funny. But where Brooks was trying to make you laugh until you cried, Tarantino is trying to make you laugh to keep you from crying. He’s dealing with one of the most painful periods in American history, and having to confront the reality of that pain when you’re just trying to have a good time at the movies is tough. If he tilts too far in one direction, he’s disrespecting the subject by not treating it seriously enough. If he tilts it too far in the other, he makes a movie that feels more like a lecture than anything else (most slavery movies are the latter, here).

So he walks down the middle. The violence against the black characters in Django Unchained is realistic, whether that means rooted in history (the chains, the masks, the whips) or treated realistically if they’re fake (the mandingo fights, which are uncomfortably brutal and not like the fistfights we see in flicks usually). The white guys get geysers of blood and exploded and so on. There’s a marked difference there.

But the thing is, realistic depictions of pain suck. It’s a HUGE bummer, to understate things, and you run the risk of losing the audience that came to see dudes get shot and damsels de-distressed. So Tarantino layers in jokes that we can appreciate from our 2013 perch, but also jokes that work just because they’re good jokes. We laugh at the reaction to Django on a horse because, guys, really, people were SO backward. We laugh at the regulators arguing over their masks because it makes what those guys eventually turned into — church-burners, child killers, and terrorists — look like buffoons. It’s an agreeable idea to us, and executed in a way that’s fantastic.

That’s the reason why comparing Django Unchained to Blazing Saddles doesn’t work. Outside of black cowboys, black dudes on horses, and laughter, they don’t share too much at all. Django’s funny because it’s needed to keep you pushing past the pain. Blazing Saddles is funny because it’s a comedy.

Date: February 16, 1997
Company: WWF
Show: In Your House 13: The Final Four
Rules: Pins and submissions allowed
Stipulation: Winner becomes WWF Champion
Roster (4): Bret “The Hitman” Hart, “Stone Cold” Steve Austin, the Undertaker and Vader

The 1997 Royal Rumble ended with some controversy. Bret Hart eliminated Steve Austin while the refs were too busy dealing with an eliminated Mankind. Despite the crowd and cameras seeing everything clearly, nobody official noticed Austin was gone, so he got back in, threw out the Undertaker and Vader at the same time, waited for Bret to finish off Fake Diesel, then eliminated Bret to win the match. Bret was understandably pissed and Undertaker and Vader weren’t so happy either. For the next In Your House PPV, it was decided that they’d redo the final four (minus Fake Diesel, who was eliminated fairly) and the winner would become #1 contender against champion Shawn Michaels.

Plans change. Michaels made this big announcement that his knee wasn’t up to snuff and that he “lost his smile”. He gave up the WWF Championship and walked off into the sunset. Because of that, the Final Four match became for the vacated championship.

Really weird to have a PPV main event that’s just a four-man battle royal, but at the time, there’s a real feeling that any four of these guys could come out the winner. Remove the battle royal aspect and make it pin/submission only and it’s suddenly far too big for just an In Your House show. One cool little aspect of this match is that there’s no battle royal teamwork that you’d usually see, other than a brief instance of Bret holding back Austin so Undertaker can get a shot or two in. Our two heels are so independent that at no point do they want anything to do with each other.

The match goes a full 25 minutes and it helps that the weak link in terms of workrate is Undertaker. It’s a ton of brawling that’s mostly focused on Bret vs. Austin and Undertaker vs. Vader. They do mix it up quite a bit and the brief Austin vs. Vader heel/heel stuff is intriguing to watch, but we’re mostly treated to two matches going on at the same time. There’s a lot of guys going under the bottom rope for the sake of brawling on the outside.

Very early into the match, Vader runs at Undertaker with a chair and gets it booted right into his face. Vader’s eye pretty much explodes at this point. He doesn’t have a gusher, but it’s open enough that by wrestling for another 20 minutes, his face gets increasingly grosser to the point that it eventually looks like his face is a volcano.

Towards the end, he gets very wobbly and even removes his mask for the sake of vision.

Nearly 20 minutes in, we randomly see a shot of Bret holding Austin across his shoulders and he drops him out with a fireman’s carry. Since we don’t see any lead-up to this, it comes out of nowhere, but Austin is gone. Bret and Undertaker trade headbutts until Vader clips Undertaker’s knee and rolls him to the outside. As Undertaker gets to his feet, Paul Bearer – Vader’s manager at this point – smashes his skull with the urn. Bret wins out against Vader and puts him in the Sharpshooter, but Undertaker gets back in there and breaks the hold just because.

Soon Austin comes back and continues fighting with Bret, leaving us with more Undertaker vs. Vader. Vader takes down Undertaker and sets up for the Vader Bomb in the corner. Undertaker sits up and exploits the open advantage.

Out goes Vader, who later wanders around ringside screaming while covered in a disgusting amount of blood. We’re left with Undertaker vs. Bret, but Undertaker notices Austin is still stomping down on Bret. Undertaker clotheslines him out of the ring and begins to finish Austin’s job by chokeslamming Bret. He holds him up for a Tombstone, but Austin still wants a piece of Bret, so he pulls him off Undertaker’s shoulders. Undertaker keeps getting distracted by having to punch down Austin and after the third time, Bret is able to catch him with a clothesline, sending Undertaker over the top.

Bret Hart is champion for the fourth time while Undertaker wonders what the fuck just happened. Of course, this was originally supposed to be Bret winning a title shot for Wrestlemania so he could get his win back against Michaels, but that guy has a bad knee (which appears to be just fine shortly after) and he lost his smile and… well, what I’m saying is that 90’s Michaels is a jerk.

If anything, this match is an entertaining prelude to the infamous Montreal Incident.

Speaking of taking trips to WCW, tomorrow I’ll cover that company’s three-ring circus.

Oh! Oh, wait! Before you go, I almost forgot. One of the things talked about was that the winner would have to face Sycho Sid on the following Raw. To illustrate that, they’d occasionally show Sid backstage watching the match. Here’s a gif of Sid being King Galoot.

A brief burst of things I couldn’t fit into the jillion words I’ve written about Django Unchained since I saw it:

-Part of writing about Django Unchained is reading about Django Unchained. That was interesting, but it also sorta sucks. There’s a lot of pearl clutching over Quentin Tarantino daring to write the word nigger in a movie set during slavery times, whether it’s disrespectful… I thought this piece from io9 was particularly bad, on account of it suggested that Django Unchained was a white man’s fantasy without ever mentioning that basically every black person ever has had that conversation that goes “Boy, if I was around back then, I’da taken that whip from massa and shown him what a slave looks like.” (The point at the end about Django in the blue suit is weirdly infantilizing and emasculating, too.)

I picked up on a few things that most of the essays I hated did. The first is that they expected Django Unchained to have a moral, like it was Roots or something. Another was that they looked at Hildi and thought she was some type of passive damsel in distress, instead of somebody who was continually trying to escape from bondage, no matter the price she paid. That’s passive? Nah, son. She was having adventures elsewhere while Django was coming to get her. (I’d watch that movie.)

The biggest warning sign, and the only one that’s not me being petty and overly concerned with my own rightness, is when people start talking about the n-word. Does Quentin Tarantino use the n-word too much? Is it controversial for Leonardo DiCaprio to say the n-word?

Basically, if you are utterly incapable of saying the word nigger, you shouldn’t be talking about the word nigger. It’s dishonest to have that discussion and not treat the word as a real thing. I get the reasons why — you don’t want to offend people, it’s ugly, and so on — but if you’re having this conversation? You’re going to have to approach it on its own terms. I don’t think I liked a single essay that was n-word this or n-word that.

We’re adults, right? Adults use words, understand the history of those words, and understand that painful words can be used in certain contexts without offense.

So either do it or don’t, but don’t do it halfway. You want to have that conversation? Cool. Put on your adult clothes and have it.

Until you can do that, it’s grown folks talking. Shut your yap.

-I can’t tell you how happy I am that Tarantino got Anthony Hamilton on the soundtrack. The John Legend song is super hard — “Now, I’m not afraid to do the Lord’s work/ You say vengeance is his but I’ma do it first” YO! SON!!!!! — but Hamilton is that dude. He’s like… I keep comparing him to Curtis Mayfield, which is unfair and limiting. But Mayfield is legendary to me. I could listen — more like “have listened,” I’m not even kidding here — to Superfly or Curtis or whatever for weeks at a time. Mayfield poured so much emotion and heart into his music that I just can’t get enough of it, no matter how many times I try to sing along to “Freddie’s Dead” and can’t hit the notes.

Hamilton is that dude to me nowadays. His latest album, Back To Love, is a straight tear jerker, but on that strong black man tip. It’s real soulful, and it’s real on a level that most people just cannot match these days.

When I think of people who should be singing about the black American experience more than any other person who is currently alive, it’s Anthony Hamilton. And Django Unchained needed his voice. The result is “Freedom,” a collab with Elayna Boynton, which you should listen to as you read the rest of this joint:

I know I’m talking a lot about Hamilton and not his duet partner, but trust: Boynton is a powerhouse, too. This is my introduction to her, but come payday, I’m going to find more. Her voice is amazing, that perfect mix of weathered and hopeful. Like Macy Gray + Norah Jones? I don’t know. She’s great. She sells it. She keeps up with my favorite sanger.

-Using anachronistic music was a good choice on Tarantino’s part. Setting aside the indisputable fact that there was no good music before DJ Jazzy Jeff and the Fresh Prince’s He’s The DJ, I’m The Rapper, using modern music further removes Django Unchained from being a boring, depressing, sadface slavery movie. We’re meant to enjoy this film, and the music goes a long way toward opening us up to do just that.

-“I need one hundred black coffins for one hundred bad men…” The needle dropping on that song had me fanning myself in the theater like I was in church.

-I’m incapable of objectively judging that Tupac/James Brown mash-up, mostly because they took one of the hardest JB joints and merged it with a tight Pac verse. What am I supposed to do, not like it?

-I don’t know who Brother Dege is, but “Too Old To Die Young” is great, too.

-Hildi’s last name is von Shaft, or maybe von Schaft. Regardless, Tarantino has suggested that she and Django are John Shaft’s ancestors. I like this a lot, in part because it creates a lineage for Shaft that I want to know more about. I’m used to the idea that I won’t get to know much about my ancestors past I think the mid-1800s, but I can’t tell you how obsessed I am with the idea of knowing everything. Knowing about the men and women whose existence and actions led to me… I don’t expect the Shaft line to be filled with crime fighters and crusaders — I figure Django and Hildi retired after getting out — but I want to know more.

-The first time I saw Django Unchained, I was with my cousins, none of which are as into action flicks as I am, so I had no one to debate the possibility that Tarantino beat the climactic gunfight in The Killer during the massacre at Candyland. The second time I saw it, I still didn’t have anyone to debate it with, but I realized it doesn’t need debating at all. He beat it. That shot of Django discarding one gun during the fight is everything I wanted.

-I love that Tarantino weaponized Alexandre Dumas. I didn’t know Dumas was black (black-ish — black enough for the Klan to want to lynch him, at any rate) for years, and I love that that fact was used to slam racism and faux-intellectual culture. Calvin Candie doesn’t know anything. He’s a dilettante.

-As a result, the second-best line of the movie was “D’Artagnan, motherfucker!” when Django kicks in the door with his guns blazing. It’s vengeance and guilt, all wrapped up in one. Django was partially responsible for D’Artagnan’s death, he let it happen, so he comes back around to make it right. How does he do it? By striking in his name.

-I’ve seen a lot of people talk about how docile the slaves were in this movie, to the point where I wonder if folks saw the same flick I did. In the mandingo fight that introduces Calvin J Candie, only the whites are watching the battle. The negroes are looking away — Sheba is entirely turned away from it! — and the bartender is focused on something else. Lil Jody, breaker of eggs, watches Django with surprise by way of a hilariously placed mirror while she’s tied to a tree. The servants in Candyland during the dinner keep looking at Django like “Is this nigga for real, why does he think he can get away with this?” At the end, with the dudes in the cage? They don’t fail to leave their cage because they’re cowed and scared. They just saw a black dude murder like 80 white people, talk his way out of bondage, kill two more white dudes, blow up another, hop on a horse, take some dynamite, and ride away. That’s like eighty unthinkable things in a row, so it’s no wonder they stayed in the cage and just watched him. They were shocked. Shoot, I’d sit there, too.

Throughout the movie, the slaves pay a lot of attention to Django. They’re watching. They know how far they can push, but if they see someone else pushing? They’ll push harder.

You know the beginning of the movie, when the slaves kill that last Speck brother? They’re silent and shocked, too. They’re shocked because this ain’t the way of things, but once they’re given an option, what do they do? They choose to punish their tormentor and escape to freedom. It sets the tone for Django and Schultz’s interaction with everyone else in the movie.

Now, what do you think all those suddenly masterless slaves at the Candyland plantation and Big Daddy’s big house are doing now? Picking cotton? Nah, son.

–Django Unchained is seriously funny. “That’s not what I meant” got the biggest laughs at my first showing, back home in Georgia. It deserves it.

-Django is forced to choose between himself and his race, and that’s real interesting. His love for Hildi lets/helps him do terrible things to people. That’s a tough row to hoe.

-It’s not a slave revenge movie. It’s a movie where a slave takes revenge, yeah, but it’s not Inglourious Basterds. You can’t kill slavery as easily as killing Hitler. It was an institution that was propped up by the government, the citizens, and the culture. Hitler and his closest goons were figureheads, so you could theoretically force real change by taking them down and then taking advantage of the snake having no head. Who’re you gonna kill in 1858 to kill slavery? Everyone?

-I like that Schultz, our outsider character, loses his patience when he’s finally confronted with the real horrors of slavery. He did something to someone that they definitely deserved, but he did it at an exceedingly poor time. But, because of the bond between him and Django, he knows that if anyone can survive the aftermath of his temper tantrum, it’s Django. “Sorry. I couldn’t resist.”

And Django does. The only thing holding him back? Ammunition.

-I figure that Hamilton song is over now, yeah? Here’s Brother Dege’s “Too Old to Die Young” to wrap things up:

-Walton Goggins is one of my favorite actors, and he’s been entirely typecast as playing racists. To my recollection, the last time I saw him in a role that wasn’t a racist was in The Bourne Identity as a computer analyst, who may well have been a secret racist when not at work. But Miracle at St Anna, The Shield, Justified, Predators… this guy regularly plays one of my least favorite types of people and I love him every single time.

He’s such a good actor that the racism of his characters is beside the point. He brings a real human touch to these people we usually look at as being fairly black & white or cartoonish. And his swagger as Billy Crash — best name in the movie, by the by — is incredible. There’s this shot late in the movie where several shadowed people are walking down a path. You can’t see their faces or any details, but that dude in the middle? You can tell he’s Billy Crash by how he walks.

Goggins is stunning and a show-stealer, every single time. I’ll follow that guy just about anywhere at this point. I wish there was some link between Cletus van Damme and Billy Crash, but all I have to go on now are my daydreams.

You can’t underrate this dude. He’ll rock any role you give him.

-I liked this movie.

-I should have talked about Hildi more. Sorry.

-Thanks for reading.