SomethingSavage

I love how WWE can kayfabe someone's legit birthplace, because reasons. And people will just be all, "Okay. Well it didn't happen on TV, so..."

Conversely, Omega is athletic as fuck and really good at constructing some exciting stretches within a match. But he's a total non-entity in terms of being a character. Wacky, wide-eyed expressions and forced Street Fighter poses don't convey character. People point to Pillman charisma as if to say that's what he's reaching for, but I'd say Jerry Lynn would be a more apt description of where he's actually landing. And that'd be generous.

I don't know. I haven't heard the Carly episode yet either. But - on the surface - there should be enough material there to make for a decent show. The Razor ripoff vignettes, an explanation for the origin of the apple gimmick, the lame surname, his increasingly negative attitude backstage, how he went from being viewed as a surefire future star to just another guy in the mid-card, the Ric Flair shoot comments on Raw, and the ensuing program with Flair all happened while Bruce was still there. I'm not sure if they address all that, but I hope they do. And 2 hours seems about right for the short run he had while Prichard was around. The attempt to rejuvenate him in tags with his brother didn't come until, what? A year or two after Bruce left, I think?

2012 is their best year week to week. For sure. But even their 2011 TV turns around fairly early on, starting to improve drastically as soon as Jeff Hardy goes off the rails and they abandon that silly push for the "Anti-Christ of professional wrestling" stuff. I always say their peak runs from Lockdown 2011 to Lockdown 2013. Those two shows always stood out to me, both at the time they actually happened and especially now in hindsight. The former is a noticeable uptick in quality & the latter is a sudden drop-off

Agreed. I can appreciate the longer shows if the subject matter is worthwhile. Some of the profile pieces are especially great. But I prefer these shows covering one specific card to be kept short & sweet. I hope the upcoming Regal show is given adequate attention, for instance. And so a 4-hour run time wouldn't bother me a bit there.

Hmm. I need to revisit that one. Don't even recall any of the details. Is that the match where Daffney got legitimately hurt? Or was that one of the tag matches they had? I seem to remember that group (Foley, Abyss, Stevie, Daffney, Raven, etc.) being jumbled up and mixed together in so many variations for awhile there. It all kind of blends together for me. Daffney took sick bumps a lot back then, too. Chick was wild.

What's worth reading from modern DC? From a distance, their continuity looks like such a mess - I just wouldn't know where to start to get back into their books. Any quality runs from the New 52 besides Snyder & company on Batman's books? What's good since Rebirth? In the meantime, I've just devoured Superior Iron Man. I won't even lie. The familiar sounding title combined with the fact that it's a brief, finite run is what convinced me to give it a shot in the first place. And it's such a FUN little series. The whole thing's a quick, easy read. And condescending dick Tony Stark is such a fucking blast as a character. This is essentially just Downey Jr.'s cinematic Iron Man unchained & unfiltered, without a shred of heroism left in his body. It's fantastic. There are some really clever ideas at work here, too. The Extremis app is ingenius and feels like something ripped out of an episode of Black Mirror. And bonus points for the way it allows shallow Tony Stark to shine. The theme of skin-deep beauty and our society's obsession with it is something that could get real heavy real quick, but they keep things light enough to keep in line with the overall tone of the story. Teen Abomination is one wacky addition to the mix, but I dig it. I think they were hoping he would catch on & stick around for later stuff, but he was fun enough as a minor bit player in this deal. Served his purpose, and sometimes that's all you need. Daredevil's involvement was awesome on every level though. The exchange with Stark about Tony playing god was incrrrredible, ESPECIALLY the closeup panel. Stark: "I'm not playing god. No. All this time, I've been playing human." The look in Stark's eyes at that moment? CHILLING. Loved it. And there's also some stuff between Pepper and Tony that I enjoyed. Potts tries and tries to revert Tony back to his normal self, but Stark forever stays one step ahead of her. Dude's just too damn smart. And there's this scene where she's so beaten down and exhausted with it all. But she refuses to quit, and it serves as such a strong reminder of what she can be in the Iron Man mythos. It's a real shame this story never received any real resolution or proper payoff. Instead, the whole "bad personality" Tony is just returned to normal with no explanation in canon, and it's simply not mentioned moving forward. But that's okay. As it is? This is still a really fun, self-contained story. It won't eat up too much of your time. But it offers an alternate look at a more abusive, increasingly self-aware, wealth-obsessed genius Tony Stark. It's a freeing, rewarding reading experience to get this version of a villainous Iron Man (and what he could be capable of) without too many hang-ups or restrictions. So it can practically be viewed as an Elsewords style tale as a result of its treatment in retrospect, but it's very much worth checking out. Doesn't demand a lengthy commitment from the reader, and it delivers a metric ton of fun. That's a win/win in my book.

Caught the latest episode. No further debauchery from the Moth, which was disappointing. Yeah. This one could have used more scum, more sleaze, and gawt damn. Just more Catrina, y'all. ... I'm still grieving. As far as this episode goes though, it was solid. They've hit a bit of a hot streak again lately, even if the writing still feels way more slapped together than it ever did in prior seasons. It feels like they're stumbling into this Ultima Lucha card, instead of roaring into it with slow build angles and well-earned payoff matches. The opener was part horror movie chase scene, part stunt show. And pure fun. Jack Evans going into Jackie Chan mode on the rails & those concrete steps was cool, but Matanza channeling Michael Myers was even better. These sacrifice squashes have totally helped to rejuvenate the monster this year. I'll agree that the handicap match was Strong's best showing in the temple. Everyone hustled and seemed to work hard. The Soopah Friends were human highlight reels with their wild dives - flipping & flopping around like frogs in a blender. This allowed Strong to shine with minimal effort, although I wouldn't shit on the guy entirely. The final stretch was genuinely good stuff, with Swagger busting out some decent-looking offense, including a snap Gutwrench Powerbomb. I originally figured they were building up Strong so they could feed him to Penta. The bone-snapping angle just seemed to make sense, but now I'm thinking maybe the path leads him to Matanza instead. I don't know. Both guys have been ripping up the competition, so the parallels are there. Strong is such a weird case. I still feel like it was a disservice to bring him into the temple with no gimmick. He's just sooo bland. And it doesn't help that he carries himself with no confidence or presence whatsoever. Dude's booked like a beast, but he's got a bottom shelf personality with a basement level look. The guy's pot-bellied, lanky Gumby frame isn't intimidating in the slightest, but it also isn't a deal breaker. Because he's still a big athletic jock. He just doesn't project that or even come across as anything imposing, and so he's just sort of there. I wish they were more protective of Mil in terms of taking losses. He walks, talks, romps, and stomps like a legit killer. The guy's a juggernaut, and I want it to be a big fucking deal anytime he's defeated. But that's me. I hope they put together some story-driven stuff with Penta and Marty before their big showdown. Melissa took center stage & stole the scene again with her emotional outpouring here. Fenix's cameo was brief, but holy shit. That dive by Azteca was fucking ACES. What a gnarly visual. He just FLATTENED Fenix up against that announce table. Mack isn't exactly a wordsmith in front of a live crowd (although he's improved a lot since his NWA Hollywood beginnings), but there's a certain charm to him anyhow. And I popped for the Sam Jackson delivery at the end there. "... Mothafuhcka." He ain't fraid of no ghost. Good stuff.

Yeah. Slott's Superior Spider-Man is absolutely refreshing and different. I think that's why it got so much backlash at the time. Comic fans, like wrestling fans or any diehard fandom really, are so resistant to change. But this was never designed to be a permanent change. This was a specific story - with a definitive beginning, middle, and end in mind - carried out to its proper climax. This was the Death of Superman or Knightfall. This wasn't Ben Reilly or teenage Tony Stark. This wasn't an attempt to replace Peter Parker moving forward. It was a temporary plot device, designed to explore new ideas and give a fresh take on old Spider-Man themes. And I seriously dug it for what it was. It *is* a divisive story, but that's because it's bold and not your typical Spidey story beat by beat. But the heart & soul of Spider-Man is intact throughout. I mean, that's got to be the best part. Beneath the wildly imaginative premise, this is Peter Parker at his finest. And really, the whole story is a tale of two journeys - Peter Parker finding his way back & being reminded what he's all about, and Doc Ock's gradual path to the good side. Without ever hammering you over the head with it or outright saying it, Slott presents Ock and Peter as opposite sides of the same coin. Both are intelligent scientists, but they are extremely different in methods. The part where they're allowed to experience each others' memories is tremendous, because it plainly points out how both are essentially born out of grief & guilt. Slott is a thematic storyteller if nothing else, and he does really well in drawing parallels with Ock and Peter from that grief & guilt bit. There's just so much to sink your teeth into with this story arc. It really feels representative of everything Slott set out to do during his time on Spider-Man's books. Villains are completely rejuvenated for a new generation of readers. Interesting supporting casts members are added, established, and fully fleshed out. It's just such a thoroughly enjoyable reading experience overall. This depiction of Doc Ock is the new standard, plain & simple. He's a brilliant strategist. He really is a master planner here. The guy's got contingency plans for his backup contingency plans. His exchanges with Spidey are some of the best I've ever seen in any comic book ever. Some of the monologues sprinkled throughout Superior Spider-Man are fucking AMAZING. Like iconic lines from a movie, the words stick with you and leave a lasting imprint in your memory. There are several of those standout moments that I'll probably pimp here. The story even starts off strong, with Slott doing his usual "quiet" character moment. Peter catches a glimpse of himself in the mirror and is reminded about old battle scars & how he got them. He listens to his voicemail messages while he gets dressed that morning - MJ wants to meet up at her nightclub, he has an upcoming performance evaluation at work, etc. Usual, routine stuff. But it's these quiet character moments that are key. It sets the stage perfectly for all the life-altering chaos that's about to unfold. Slott has mastered the practice of pausing and allowing big moments to breathe, too. He's absolutely awesome with that. When Cap approaches Spider-Man about Doc Ock requesting to meet with him? Spidey's like, "Okay then." But nah. Cap's all, "No. You don't understand. He's asking to see YOU. Peter Parker." Pause. Spidey's response? "Take me to him." Fuck. It's one of those epic, gut-punch moments that just sticks the landing. But wait. It gets better! Because when Spidey shows up to Ock's bedside? Octavius announces the big "body swap" reveal, and it's fucking glorious. The way it's executed is just magnificent. And once their minds are swapped, Ock just casually strolls away in Spidey's body and leaves Peter to die in this old, decaying vessel. Even with me knowing the basic concept of the story, I was shocked at how well it came off. I mean, it's a wacky idea - but it never approaches the sense of feeling hokey or lame. There's such a sense of dread and doom surrounding Ock, even as he lies (seemingly) helpless & dying in his own deathbed. And I've got to take a minute to talk about Ock's appearance here. Dude's fucking grotesque. There's really no other way to say it. His skin looks like shit. He has this incision on his throat that's stapled shut. There are open IV ports along his arms. He's got breathing tubes & feeding tubes protruding from his nose & mouth. Guy's eyes are super dilated. It's spooky and creepy and disgusting AS FUCK. But it adds to the sense of desperation and dire stakes we're dealing with here, and I'm absolutely unafraid to admit that I love it. ESPECIALLY later on when we see Peter in control of the body, looking like a lifeless puppet that's being held up & carried along by the robotic arms. Such a chilling visual that I can't get enough of. The setup for Ock first realizing that he needed to do good felt a little rushed, but it wasn't heavy-handed or forced. I found it fitting that Ock finally defeated Peter decisively by outsmarting him, and yet Peter still proved to one-up Ock morally by delivering that FANTASTIC speech. It's Peter preaching to Ock that "with great power comes great responsibility." And so - if he's going to assume the identity of Spider-Man - then he has to live up to it. That's Peter's dying wish, and it's what Ock takes as motivation to set out and prove himself to be the Superior Spider-Man. The premise isn't as far-fetched as you'd think. It works, especially in that moment. It's true that it's still a little flimsy to get things going, but once you start factoring in Ock's inner monologues and his massive ego? Yeah. It absolutely works. And this is where the real fun comes into play. Ock's early days as Spider-Man offer some all-time great stuff. When he realizes Peter never had enough free time to take care of his personal life, he modifies his Octobots and invents Spiderbots to roam & monitor the city. This frees him up to for dates, time at work, and oh yeah - finishing his college degree. If anything, Ock goes to work streamlining Peter's personal life and finding ways to succeed at both superheroics and ordinary everyday life. There's also this neat period where Ock tries to score with MJ. Slott sort of trolls fans here, I guess. But I don't know. I remember Joe Q making it known that there was an editorial mandate that meant MJ and Peter couldn't get back together way back in the day, so I don't know why anyone would think it would actually happen with Ock in Peter's body. Anyway... Ock tries to plan all these elaborate dates with MJ, and they're all fucking disastrous. It's wonderful to watch. He screws up everything and is genuinely terrible at romance. But then! He shuts up and just takes her web-slinging one night, and it looks like he'll seal the deal. But nah. She shuts that shit down real fast, and Ock goes home alone. He may possess Peter's body, but he's still ol' Otto underneath. Slott amplifies the action and serves up some gritty, nasty violence as well. Whenever Ock throws hands in Spidey's body for the first time, he knocks Scorpion's jaw clean off! The fuck?! Turns out Spider-Man was always way stronger than you'd think, but he took care to pull his punches - even against super-powered foes. There's also the grisly sight of Ock's eye hanging out of its socket as he lies dying in Spider-Man's arms. Gross. But cool. And left a lasting impression. Then there's the issue of Doc Ock murdering someone while he's Spider-Man. This is done to clearly illustrate the dividing line between Ock and Peter. Ock finds it futile to simply imprison these criminals and allow them to become repeat offenders. It's a vicious cycle, and it's irrational in his eyes. So he picks up a gun and shoots this Massacre guy straight in the face. Brutal. And I can totally understand why it would have traditional Spider-Man fans up in arms and irate. Hell, I'm as old-school a Spidey fan as it gets. Silver Age Spidey is my bread & buttah. It's the bee's fleas in my book. But this wasn't Peter Parker. Yes. It was his body. But I can appreciate the overall effort to drive the story forward and continue to create this tension between Ock's extreme measures and Peter's desire to resume control of his body. And, to be fair, it's not all murder & mayhem from there. That's actually an early development, designed more to set the table with shock & awe than anything. Ock proves his point, then moves on to death threats, fully knowing that people are now convinced he WILL kill - and so he simply doesn't have to again. Ock is a much more ruthless Spider-Man though. For awhile, he's presented as a smarter, edgier, more aggressive Peter Parker also. Step by step, the story approaches the point where you ask yourself if Ock really is a superior version of Spider-Man. It's laid out incredibly well, to be honest. Oh. And I can't forget about Anna Maria. She's such a rich addition to the supporting cast. Her diminutive size (she's a little person, folks) only adds to her cuteness, of course. But it's her personality that makes her pop and truly shine. She's very much a caregiver at heart, but she's also stern and tough in situations that call for it. She's the sort of fully-formed character that leaves you wanting to see her in various circumstances, just for the sake of seeing how she deals with shit. Oh. And she totally brings out the best in Ock. He falls for her. HARD. And I love every bit of this element in the story, because it's true to Ock's nature. Anyone that's followed the Spider-Man mythos for any length of time can tell you that Ock is a hopeless romantic. Dude literally invented a way to make Stunner beautiful on the outside, because her looks mattered to her - though never to him. It doesn't get any crazier in love than that. So OF COURSE it makes sense for Slott to use little Anna Maria as a catalyst to kick-start the next phase of Ock's "baby face turn" here. Truth be told, she plays a crucial role in the grand finale. And it's another defining, tremendous moment in its own right. But we'll get there. Norman Osborn returns as the Goblin King or whatever. I don't know. The Osborn legacy stuff just feels kind of overexposed to me, even now. The setup for the Goblin Nation portion of the story was solid enough, but its real appeal lied in the face off between Ock and Osborn. It's Spidey's two archenemies at each others' throats. Truth be told, that part is a little anti-climatic, mainly in the sense that it's more of a game of tactical chess than anything. But that's fine. Because the final battle belongs to Peter, so I don't mind. Plus, Ock's journey is more about redemption & realizing he can do good - furthermore, realizing he WANTS to do good. And we get that here. Osborn leans that it's Ock in Spidey's body, so he targets everything Ock holds dear. And so Ock is stuck in this race across the city, desperately trying to save the people, places, and things he cares for. Ultimately, it comes down to a decision - does he save this innocent little girl (Ock hates when children are hurt - a result of his father being abusive when he was a child), or does he save Anna Maria, the woman he loves? So Ock is frozen in place, trapped in thought. He's analyzing the possible outcomes, the problem itself, all viable solutions, etc. He's over thinking. More importantly, he's NOT moving. Peter's subconscious urges him to move. To make a choice. Any choice. Do something, or both will die. THIS is it. This is the split-second where Ock surrenders control of the body and allows Peter Parker to retake the wheel. Peter's rescue is rapid & swift, so much that he saves both. And then he shares this AMAZING, SPECTACULAR, SENSATIONAL exchange with Ock. The core of it centers on Ock admitting that he was arrogant and unforgiving as Spider-Man, but it was all to hide his flaws. It was him overcompensating, because he wasn't as smart or as skilled as Peter. That's why he had to be so controlling and so methodical about everything. But Peter had already learned the painful lesson that Ock is now learning on this day - that arrogance and indecision can cost you everything. So Peter is self-sacrificing when it comes to saving lives. Peter is smarter and braver in tough times - in the situations that matter the most. Peter is the superior Spider-Man. Boom. Such a well-earned, fulfilling snapshot of the story. It's all really built & built to that apex. But it gets better, because there's a loose end to tie up. Enter the Green Goblin, who confronts what he believes to be Doc Ock in Spidey's body. Norman rants about stripping away everything Ock loves, until he has nothing left. Spidey's response slays. "Right. Nothing. Except the dignity that I never walked around carrying a man-purse." Pause. Blank stare on Goblin's face. Mouth agape. Then, irate, he shouts, "It's YOU." Spider-Man: "The one and only." FUCK YEAH! Fist pump! High five! Very nice! If "The Touch" by Stan Bush could start playing out of thin air at any time, this - THIS - would be that moment in the story. Yup. In that moment, Osborn realizes it's not Doc Ock anymore. This is the tried & true genuine article. This is Peter Parker. The rest of the fight is pretty much Peter pummeling Norman. There's this clever deal where it turns out that Osborn went all DiBiase and spent a fortune to have his face surgically changed so that he could acquire a new company under a new identity. But Spidey promptly proceeds to pulverize him until he's practically unrecognizable to anybody anyway. So there's that. I've gone ahead and kept reading beyond this a bit, but yeah. I believe you may be right. This strikes me as absolute peak Dan Slott. Superior Spider-Man was a blast. Aside from a couple of minor speed bumps, this was a total winner in my view. Unquestionably worth the read, for sure. It's nitpicking, but I could've left out the Spider-Man 2099 stuff. I don't know if it was a necessity for the sake of the Spider-Verse event or just something shoehorned in for the idea of establishing Alcemax as Osborn's new agenda, but it was fairly weak sauce - especially compared to the strengths of the other stories surrounding it. Miguel O'Hara is an interesting enough guy, and I've always thought his costume was one of the cooler alternate Spider designs. I've got no issue with Marvel reviving him as a viable character in their mainstream continuity either. But his involvement here just felt very tacked on. I'd be curious to know if Miguel's got his own ongoing series now though. And how does it compare to the wildly imaginative Peter David stuff from the 90's? Because that was good shit. Just to wrap things up though, I'm going to take a break away from reading strictly Spider-Man for awhile. I'm still enjoying Slott's run, but it feels somehow less purposeful now that I've devoured the Superior saga (which is what I set out to do in the first place). I'll stick with it to the end, I'm sure. But I'm looking for that next big, definitive project to tackle - ideally something finite that allows me to pick up and step out, like these last two afforded me. I've tried to get into Matt Fraction's Iron Man, but meh. It didn't exactly rock my socks. I've toyed with the idea of leaping ahead to Bendis' Iron Man, but I'm still undecided at the moment. In closing, I'd say that Superior Spider-Man hit that sweet spot for me. Highly satisfying, really rewarding reading. It was a clearly defined arc that accomplished everything it wanted to - serving as this deep-dive, long form exploration of two primary characters. This was a story of Doctor Octopus and Peter Parker, and it effectively redefined both with a clearer focus than they had going into it. Superior Spider-Man is a successful Spider-Man. On every meaningful level, this one hits the mark for me. I loved it.

At any time of day or night, I don't know how anyone could watch the full event and walk away with any will to live whatsoever.

I really wish they would've had the good common sense to Savage & Liz the shit out of the Rusev & Lana relationship back in the day, instead of doing the whole "denim with Dolph" horse shit. Hell, I'd be all in for a Rusev/Lana versus Miz/Maryse program even now.

Ehh. I mean, Penta's had some solid matches here & there, but the title reign was largely unremarkable for the most part. They just didn't set it up with any sense of suspense, drama, or purpose. It was primarily just a string of weekly title defenses - rendering it more of TV Title run than anything. Doesn't help that Penta felt considerably cooled off this season. He's arguably as hot as ever everywhere else, but his hottest point in the temple came a couple of years ago when the character was given stuff to work with. Good call on the divide between Kross and London as characters. Couldn't quite tell if you thought it was a good look or a bad thing though..? Because I dig it. London is right at home in his zone as this disturbed Wonka like figure, and the dynamic between them could be entertaining. Toss in the El Bunny midget & yeah. I'm in. They could do worse. Plus LU has a good track record with mismatched pairings.

Woof. These past few weeks have had some rough patches. First, Bruce defends Stephanie's tone deaf viewpoints. Then, he plays dumb to the independent contractors issue. It's off-putting. Bruce taking shots at Marty for being Rock's errand boy is amusing & at least a little ironic. Pretty cool to hear how highly Prichard thought of Kendrick around this time though. He was spot on about Big Mark putting the pieces together and finally clicking this year, too. Looks like the rest of the year will be saturated with wayyy too much 97/98 stuff. It's going to take some work to keep all the stories, reports, and rumors from bleeding together and sounding so samey. I *am* looking forward to some of the profile pieces they've got coming up though. Carlito, Rikishi, and especially Regal could make for interesting topics.

What the what! Why are we all not still celebrating in the streets?! Marty! Da Moth! The kid is crowned king! At long last! Fucking A. Now this episode? This episode here? This one was a winner from start to finish. Top to bottom. Loved it. Almost seemed like a total seismic shift from everything they've been building up this season, but I don't care. This was a major upgrade, and things feel like they're finally clicking again. The characters are coming into clearer focus. The conflicts are heating up. And who the fuck am I kidding? Da Moth is da champ! Dark Fenix is a revelation. It's still early, but I already feel slightly foolish for doubting Fenix going heel. The guy's dialed into his performance, every step of the way. The mannerisms, the body language, the extra oomph on some of his attacks, plus the grimacing & snarling (even under the mask) all combine to make his heel act feel like a complete package already. Fenix is alarmingly good. The last time I remember being this surprised by such a seamless heel transition was maybe Neville, I guess? Not sure, but this is excellent stuff. I still prefer my Fenix to be the fiery, spirited baby face making some amazing comebacks. But this Dark Fenix stuff could be a lot of fun after all. If they stay the course & see this story through to its logical conclusion, then the redemption run should be glorious as well. Aero Star is a fun enough baby face in his own right, but their match was a total showcase for Dark Fenix. And that spot where Fenix carried Aero and threw him against the wall like a sack of shit was just delightful. Oh. And that Black Fire Driver on the floor (to Azteca) looked SICK. Gnarly bump, and a simple way to setup the title loss. Melissa cannot get enough credit for her contributions to the temple, ESPECIALLY over the last two seasons. She was crucial to the final stages of the Moth/Fenix angle. And yeah. Her ring announcements are always given extra effort if you pay attention. She brings subtle, nuanced differences to her announcements, all dependent on the specific situation or angle at hand. It's great. And her performance here was on point - calling out for HER Fenix, trying to offer an uplifting reality check of sorts. I absolutely loved all that. Love me some Yakuza kicks. When done right, they're some brutal looking strikes. But jumpstarting both the first & second match with bicycle kicks was a bit much. I don't need them to go the way of the double stomp or the thigh slap kick, plz&thnx. At the risk of sounding like a complete movez mark though, I seriously dig Marty's moveset. The Yakuza kick. The fat guy dive. The lariat. The piledriver. The Kobashi DDT. Combine those things with his commitment to the character and his creepy look? And yeah. He's absolutely among my favorites in the temple. The Moth is such a sleazebag. Guy's got it all, and he's easy to hate too. There's no flash or sizzle surrounding him. Nothing "cool" or outright appealing to him. He's not trying to look like an icon. He's not hoping you notice he lives for crossfit. He's a dirty, rotten, lowdown cheater. He's mean, nasty, and disgusting. There's not one redeemable quality or trait to be found, and I love it. I was disappointed to see the Rabbit Tribe slaughtered, but it's cool to see them expanding on that story now. Paul London is a lot of fun in this role. Funny that people had him pegged as a Ricky Steamboat type back in the day, considering his odd quirks and personality & whatnot. Anyway, he's a fine fit for this character. The look itself is great, blending a bit of that Through the Looking Glass with some Pan's Labyrinth type vibes. The set for this scene with the White Rabbit was visually stunning also. I don't want to cast judgment against the casting of Kevin Kross here, because there's a chance it could work. I'm not thrilled about selecting this spot to introduce him, since I actually like Kross a lot & could see him contributing as a big player - if he sticks around. But we'll see. To be fair, they've already got some heavy hitters at the top - the monster Matanza, the devastator Mil, the machine Cage, etc. So right away Kross wouldn't look all that imposing up against some of those guys with built-in reps in LU. Plus, there's still a chance he could match up with those dudes in some fun "clash of the titans" wars after he's established at some point. Meantime? Kross did well here. I don't know that he's ever left an impression of any kind on me as a talker, but he spoke well here and commanded the scene. He has decent physical presence in front of an audience, so I'm eager to see how the crowd takes him. The main event seemed especially abbreviated, but I can understand why in hindsight. Mil is still a fucking juggernaut though, and I'll watch any fight with him involved. The sight of him hip tossing Pentagon over the rail and into the laps of the fans was supremely cool. I've managed to avoid spoilers for LU all season long this year, so I was surprised to see Chelsea Green spring up here. I barely recognized her at first, but the darker hair is a definite upgrade. (Brunettes forever > blondes. These are the things we know.) Her whole bipolar, maniacal girlfriend act should be an awesome addition to the Big Mawth here. I can't wait to see them stir up shit together and make everyone within a 10-mile radius immediately uncomfortable. But for reals. These Catrina withdrawals, y'all.

It's especially interesting to look back on some of the posts in this thread - now that Roman's 4-year-long coronation has culminated in a distraction flash finish and the weakest HIAC title defense in the history of ever. Top guy problems though.

Slott's Spider-Man continues to impress. I can completely understand if some fans didn't care for the new direction or some of the bold decisions made throughout this run, because I've been there. Clearly. But man, in my eyes - it's some REALLY good stuff. Like any creator, Dan Slott has a distinctive approach. And with that comes certain tendencies, affinities, and even flaws. But fuck that. This guy GETS Spider-Man. He gets Peter Parker. He just gets it. At the end of the day, Slott is telling the type of stories he enjoyed reading as a kid. But all's good in my book, because I guess I enjoy similar stories. Slott has referenced having a notebook of stories he wanted to tell when he got the gig, and I believe it. The guy has an assembly line of ideas. And better yet? He's actually establishing connective tissue between each arc & issue, telling one huge comprehensive saga along the way. Little things that seem like throwaway moments or even small victories later turn out to be big deals or decisive turning points in the series. It's truly a neat trick, and it really raises the re-readability of these books as a result. I'm currently caught up in the Superior Spider-Man story arc, but I'll reserve my thoughts until after I'm done. Meantime? I just plowed through two other arcs (and some standalones), all of which were fairly great and easy to enjoy. Spider-Island, specifically, was just an absolute blast. It's this king-sized, sweeping epic adventure with attention-grabbing, head-turning cinematic visuals popping up all over the place. I typically prefer my Spidey stuff to be more localized and down-to-earth, but that's the thing about Slott. As a storyteller, he tends to go with these bigger, broader story arcs. Almost everything is larger than life and supersized in scope. It's something I usually appreciate on cosmic books or team-up books, but I've really learned to lean into Slott's storytelling over the last month. And a lot of that comes down to his versatility as a writer. Yes. Spider-Island is largely this gigantic story about everyone in Manhattan suddenly developing spider-powers. It's got incredible visuals of regular folks leaping & swinging through the city. But it's also filled to the brim with these tremendous little character moments. The chemistry and the interaction between Peter and Mary Jane is top shelf shit. She offers motivation and inspiration for Peter, even at times when he fails to realize his own inner strength. There's something uplifting about their conversations and their quiet moments together - even knowing about Marvel's strict editorial mandate forbidding them to be coupled together at this time. Slott somehow walks a fine line in having them secretly carry a torch for one another (but still accepting that it's not meant to be) without it seeming nauseating or obnoxious whatsoever. But the best thing about Slott's style is the way he weaves the great big, epic adventures with the emphasis on Peter's personal struggles. Each arc serves up a super-powered villain or a global threat, but each arc also challenges Peter's moral code. And that's where Slott truly excels, above all else. This is where the majority of the complaints & criticisms seem to get lodged at Slott. He makes some truly bold moves during his decade on the Spidey books, and - to be fair - I've only experienced a handful of them thus far. But I appreciate his effort and the sheer amount of creativity that goes into the process. Slott goes over-the-top at times with his thematic storytelling, but he rarely relies on the basics. There's always some heart & soul driving the story forward. Philosophical questions and values are questioned. Peter is handed difficult, complicated choices again and again. It's pretty much Dan Slott trying to etch his own "If This Be My Destiny..." moment with the closing chapter of every story he tells. And while that could plausibly grow old before his run is done, right now it's hitting the sweet spot with this longtime lapsed reader. It's fresh and vibrant and just such fucking FUN to read good Spider-Man stories again. It feels like Slott's mission statement is to correct the course with a more classic Spidey in nature and characterization, but still bring him up to date with more contemporary surroundings and supporting cast members. He's also determined to challenge Spidey by placing him in dire situations, wherein the hero is in over his head and facing insurmountable odds. But that's the great thing. It's not ALL epic adventures, all the time. Slott is sure to provide buffers with some of the best "in between" issues I've ever read. These aren't filler. They're fantastic character development pieces. In the buildup to Spider-Island, the first few folks are slowly realizing their newly gained spider powers. One is just a kid. He's constantly harassed & bullied until one day - the day he gets his powers - he stands up & fights back. But the kid doesn't realize he has spider powers, and so he kills the bully where he stands with one single punch. Another is just a guy - a husband, a father, a family man - who already noticed his powers. But he stands by and watches his building burn to the ground in a horrific fire - his neighbors still trapped inside. After all, the man doesn't want the world to expect anything from him. And besides, he already got his family out alive. He's looking out for himself and his family. Nobody else. These two individuals are compared directly with Peter's past and make for a really neat little self-contained setup story. Oh. And Slott is ESPECIALLY skilled with the fallout issues. Seemingly after each arc, he'll serve up a quieter issue dealing with the aftermath. And the one following Spider Island is an all-timer. Once all the heroes have returned to their human form (did I mention they eventually transform into giant spider creatures?), there's this hilarious scene with Hercules. He's back in human form (and nude of course), and he's all, "Behold my natural state in all its glory! Avert your envious eyes, mortal!" It's truly tremendous. But the best stuff is in the back half - with Peter and MJ just sitting & talking on a rooftop somewhere. He's rattling off this long list of angst-ridden problems, and she's trying to make him see that he just saved the city (possibly the world). Just then, the Empire State building is lit up with blue and red. It's the city showing thanks to Spidey, publically acknowledging what he'd done for them. Manhattan is Spider-Island. Mary Jane makes a remark about Spidey never being able to see what's right in front of him, before she lifts his head up and his spider-eye lenses go wide with that signature expression as he lays eyes on the building - lit up in his colors. It's a an endearing, well-earned moment between those two. The Spider-Island story itself is a wild, crazy fun thrill ride. It's action-packed and bursting with guest stars. But I'll admit there are some flaws. Slott has such an affinity for everything & everyone in the Marvel Universe, so he almost seems to lean too much on guests and cameos. He floods the landscape with other heroes as often as he can. It's somewhat endearing, because the guy really is just a big kid with access to this awesome toy box filled with all his favorite childhood characters. And he's determined to play with them all. How can you hate on that? On the other hand, as a writer, there needs to be more emphasis on prioritization. If I'm reading a Spidey book, I don't necessarily need to see the Avengers or the Fantastic Four to pop in for every single story arc. A little streamlining with that stuff could go a long way. I fully understand this is something that sticks around for the majority of Slott's run though, so I'm going to have to get used to it. Jameson as mayor is something I've struggled with, because he's sp engrained as the editor in my mind. But it's a neat role for him, truth be told. And it's one I'm slowly warming up to. Jonah gets a funny moment of his own here. As mayor, he realizes he's essentially the mayor of Spider Island. And it's his nightmare come to life. He's running a city of 8 million spider-men! His reaction, ranging quickly from sour to outraged, is priceless. Later, Jonah even gets in a good line with Mr. Fantastic, calling Reed Richards "more like Mr. CAN'Tastic" if Reed can't cook up a cure for all these rampant spider-powered people. There's also a brief (but fun!) sidebar with Eddie Brock, as Anti-Venom, taking up shop in a rundown church and acting as a preachy savior - since his symbiotic cells effectively act like an antidote for the outbreak in some super-science comic book kind of way. There's also this gnarly snapshot of Mary Jane scaling a wall, fully realizing for the first time that she now has spider-powers as well. It's a sweet succession of panels that looks like it could unfold in a scene on the silver screen. And the action that follows, with MJ kicking ass, is incredibly cool. Fiery, spirited Mary Jane is something Dan Slott channels very well. And this is that played up to the literal level. Just another in a long line of nicely done, memorable moments. I shudder anytime Miles Warren shows up in a Spidey story, so I was less than thrilled when he was revealed as one of the components here. But the Queen as the ultimate big bad may have been even more of a letdown. I look at this as another attempt at housekeeping on Slott's part though. The Queen is a preexisting character from JMS's awful, atrocious run on the book during that period where he wanted to make Spider-Man less about science and more about magic or mystic arts or some horse shit. Anyway, Slott tries to flesh her out a bit here and even provides her with a proper sendoff. But yeah. This mostly just seems like Slott being a geek for continuity. Big time bonus points to the guy for also finding a way to wrap up Anti-Venom here as well. In listening to Slott on interviews, he has mentioned his desire to write his own ending for most of his own ideas and stories with some sense of finality. And his reasoning behind that is solid. Slott understands that comic book characters are essentially evergreen. They cannot be fundamentally changed for the most part, with very rare exception to that rule. And so, it's a creator's task & duty to act as a caretaker for these characters. Yes. They can challenge and change them through these stories, but they must ultimately leave them in the same condition they found them. Over time, some changes are gradually accepted as upgrades or better adaptations. And those are the changes that will stick, but only once they're embraced and welcomed by the fan base & future creators alike. Most of the time though? The changes are quickly undone by the next creator in line, and everything reverts back to the status quo. Because of this, Slott wraps up almost every element and new character he introduces. If future writers want to bring something back or galvanize it in canon, then that's fine. But if it's never used again, then Slott can rest easy knowing he told a full, comprehensive story from start to finish - the way he wanted it to play out. And I seriously dig that approach. It's smart from a creator's perspective, and it's satisfying on the reader's end of the deal, because we get a conclusive beginning and end to everything throughout this run. Ends of the Earth was the other story arc I mentioned. It reads like this broad, sweeping spy adventure. It's got this Bond-like layout. It spans several continents. It's got Doc Ock reforming his Sinister Six, and it's got Spidey recruiting Widow and Silver Sable to draw the battle lines. Best of all? There's this war of wits and wills between Spidey and Ock. There are plenty of twists and turns, with each outsmarting the other numerous times. It's a real game of chess, and each issue ends on with a nail-biting cliffhanger or a significant revelation of some sort. And it all plays out masterfully. Like most of Slott's stories, Ends of the Earth starts with an outrageous, larger-than-life premise. Doc Ock has effectively solved global warming, and he wants to rescue the planet from its imminent destruction. Of course, he wants something in exchange - that being expunged criminal records for his cohorts, and billions & billions of dollar dollah bills y'all. What's wilder is that Ock is telling the truth! He really HAS come up with a legitimate solution to the problem. Perhaps even wilder is that the world is considering Ock's offer. But Spidey never trusts him, and Peter is eventually justified in that line of thinking. But there's this badass moment where Spider-Man storms into the scene, gets in the faces of the Avengers, and orders them to assemble to fight the Sinister Six. It's this killer cool instance of Spidey growing sick & tired of everybody being indecisive and not trusting his instincts. THIS is a prime example of why Slott's storytelling lands with me. The stakes are higher. The threats are deadlier. The consequences are greater. Everything is weighted with real ramifications. There's this promise of purpose in the way he approaches each adventure. Regardless of the outcome, it feels like something will inevitably change. And even if things are returned to the status quo in short order (as is the general nature with comics), there's still this sense of importance surrounding these issues. Sport brings this willingness to be bold, to go big, and to challenge Peter Parker as a character on every conceivable level imaginable. And that's what this Dan Slott run is, in a nutshell. It's a fascinating deep-dive study of Peter Parker. His motivations, his values, his moral compass, his desires, and his fears are all explored throughout these stories. Above all else in Ends of the Earth though, Slott's depiction of Doc Ock is fucking aces. For decades, fans have debated whether Norman Osborn or Dr. Octopus is Spidey's true arch-nemesis. I've always sided more with the Goblin in the past, but holy hell. This Doc Ock is such a rich character and such a compelling villain. He feels & functions like *the* PREMIER counterpart for Peter Parker here. Yes, the parental/paternal dynamic with Norman is weighty and enticing. But I'd argue that Ock, written this way, brings an adversarial teacher dynamic that is equally layered and intriguing. Ock's Sinister Six undergo a serious upgrade, too. The idea that the Six could thrash the Avengers created additional criticism, I guess. But I dug it. I mean, look. Eventually, you have to level up your villains. Unless you're going to dispose of them and create entirely new ones to replace them, you've got to strengthen them and enhance them at some point. You can't beat these guys like drums for fifty years and still convince people they stand a chance, unless you're willing to rehab them. Now there's a lazy way to do that, and there's a creative way to accomplish it. Give Slott some credit, because he comes up with a neat trick or two to seriously sharpen the teeth of the Sinister Six and give them a meaner bite than before. Ends of the Earth, unfortunately, falls apart for me in the last issue. There's some shaky characterization with Silver Sable suddenly admiring Spidey (and then later throwing herself at him with no substantial setup for it), and it's never fully explained. There's a death scene that should elicit some kind of reaction, but it feels flat and almost entirely ignored - because everything is rushed along with no real time for reactions. It simply isn't given the time to mean what it should. The more egregious fault lies in Peter's decision-making though. After four or five issues of Spidey and Ock looking like strategically smart generals in this war, we suddenly get a Spider-Man who is too naive to notice a woman confronting him with the offer of casual sex who is all too cool with torturing a criminal for intel. And I won't even get into the other poor choice he makes, which feels like an all-time dirt worst for Spider-Man. So yeah. These stories are not without some flaws. But I applaud the overall direction and technique of Slott's Spider-Man. There's way more good than bad here. This is the one time I've been disappointed in his treatment of Peter as a character. For the most part, he nails it. I'm not sure if this could be chalked up to rushed job one month or a cheap cheat to get them where they were going next, but it definitely felt like such an outlier among everything else I've read so far. Overall, this is great stuff. It's well worth the read, and I don't regret my decision to dive into this run at all. Dan Slott has rejuvenated my love for Spider-Man, and I'm sincerely appreciative of that. I don't know that very many (or any) other writers could have rehabilitated the Spider books as well as he did this past decade. I'm knee-deep in the Superior Spider-Man saga at the moment, and it's the bee's fleas. Still feels like the best is yet to come too, so I'm stoked for that. And yes. The concept is way out there. At face value, the premise of Superior Spider-Man is absurd. It's outrageous. It's wacky nutty banana bonkers. On the surface, it sounds like something I should (and would normally) HATE. But nah. Fuck that noise. This is top shelf shit. Slott gets super creative, ultra innovative, and downright inventive in his approach to the body-swap angle, and it yields some amazing results for this reader. But more on all that later, folks. Because hey. To be honest, it just feels awesome to enjoy reading comics again. It's not something I expected. But here we are. Never say never, peoples.

I'm going to try to catch the latest episode in the next day or so. Meantime, the only thing I'll add is that I really dig Son of Havoc as a homegrown favorite in the temple. But Matt Cross, without the gimmick, is duller than dishwater everytime I've seen him anywhere else.

In here to grab the latest ep on my phone, but there's no "Download" option showing for me. Sassafras...

Yeah. I try to maintain an open mind. Just because something shouldn't stick doesn't mean it can't be approached or explored in the short-term. Those types of options can help to liven things up & keep things fresh, as long as they're handled right and the course is corrected with some sort of resolution to set things straight in the end. Plus, I wouldn't mind the Lucha Bros. teaming to rip shit up for several weeks.

Unless you're friends with John Cena. Seems like you're almost better off being some bum off the street than his best bud. They bury & burn the bodies of Cena's friends for some reason.

Finally caught up on the new episode, and it's officially serious. Gawt damn. I already miss Catrina, y'all. This is effectively the end of the original run. Change the name. Call this a spinoff. Welcome to Lucha Upperground. Errr, or some shit. Nah, but for reals. This was a pretty fun episode. Loved the opener. It didn't rewrite the book on wrestling or anything, but it was a good match to get things going. Ivelisse is forever one of my favorites. Like Havoc, she's got that homegrown appeal. And there's a certain built-in underdog sympathy that comes along with it. But that doesn't mean she won't work for the crowd support, because she totally will. Her selling in this thing was tremendous. She's mastered the art of reacting & reaching out to the fans without making it seem like pandering. And the way she SO BADLY wanted the win made me want it for her. It drives me crazy when a baby face doesn't seem concerned one way or the other about winning. If they can't be bothered to care, why the hell should I? Azteca was put in a weird spot here. I feel like he was stuck in subtle heel mode by default. He was the defending champ, and there's no way that crowd was going to side with him over Ivey. I'm not at all convinced that they're considering a heel run with him just yet. The path he's on could be interesting. I mean, there's a solid story to be told in there somewhere. Azteca has been the junior sidekick. He's been the lesser partner. Now he's the last man standing, and he's being forced to graduate & level up... Or get lost in the shuffle. And so he's forced this trial by fire onto himself. He's undergoing this quest to reach Ultima Lucha by facing a steady stream of challengers. I dig all that. I just wish they would take the time to, ya know, TELL that story. Pause. Take a moment. Show these things happening. That's perhaps my main issue with this season. The storytelling elements of old are mostly missing. Where are the kung fu and crime noir vignettes? Give me some of that shit to establish Azteca's inner strife or his mission here. I still wish we would have gotten some segments with Joey/Lishus/Ivey, too. As of right now, it just seems like we missed out. There were several weeks of vignettes there that should have been shown - with Joey's sleaziness creeping them out, then with him trying to convince them he's secretly a good dude (but going over the top with the boy scout routine and just further alienating then instead). I don't know. Maybe we'll get some of that eventually, but past seasons would've made time to show the mismatched trio establishing their disdain before they just suddenly started getting along. It's such a crucial part of the story. Anyway, Ivey was the real highlight. Chick carries herself like the baddest bitch in the building with that walk & entrance. It's too bad she wasn't the one to get that title reign that ultimately went to Sexy Star instead. Really wish Impact would bring her in for a run against Tessa there, if nothing else. Mil is money. Cuerno was a favorite of mine at one time, and I still enjoy the hunter gimmick. But he feels like he's been given way too little to do lately. Loved Cueto's line about not punishing people for violence in his temple - only REWARDING them. Good stuff. The main event was a blast. Fast-paced action. Flashy offense. Wild dives. Good times. The changes with Fenix were on full display. Having him come out in all black - with his teammates vibrant & colorful - was a nice touch. The experiment with Fenix itself is problematic to me. The guy is their best baby face worker by a mile. Easily. In terms of in-ring performances, nobody touches him. The guy's got more fire and spirit in his comebacks than anyone else on their roster. And it shows. Hell, it showed here with those ridiculous running shots in opposite corners. Fenix's yakuza kick is simply one of the sickest looking shots in wrestling right now. Period. So yeah. They're executing the steps well enough with the drastic turn. And Fenix himself is putting it over. But it feels like swimming against the current. And I don't necessarily know why it needs to be done. But I'm willing to give it a shot for the short-term. I just hope it's designed to be a piece of the puzzle, rather than the end game to make this natural baby face a heel. Because Fenix should not be a heel. Kudos to Melissa though. She's been active & involved since the end of last season. Fenix's attack on Aero Star didn't really stir up any kind of reaction in me, but shoving Melissa down like that? Shit struck a raw nerve or something, because I was suddenly like, "Come on, man. The fuck's the matter with you?!" Marty! Da Moth! The kid's back on the scene! Fucking A. I damn near DDT'd the air out of excitement for that. And he's gone right to work, scheming and plotting and planning something. Up to no good, I presume. And I can't wait to find out for sure. Seriously though. As a kid, I never *really* knew what Sgt. Slaughter meant when he called people pukes and maggots. But now I know, and it's totally Marty Martinez. He's absolutely it. Jimmy Jack Jake Strong Swagger Golden is one of those guys that really SHOULD have been given a gimmick at the front door of the temple. He needs it. Badly. And while there's no guarantee it would work, at least it would've been SOMETHING to help augment his act. Lizard people. Homicide detectives. Cosmic time-traveling spacemen. LU has seen 'em all. Surely they could spare a Top Gun or Colonel Guile style gimmick for this joker.

Nothing matters anymore. That squash was so much fun though. KO's bumps off Braun's shoulder blocks bring me genuine joy & happiness. Never fails. If they had any sense, they could allow Owens to build up good will through these nutty bumps & have him deliver a passionate promo or sit-down segment ala Foley circa '97. But nah, fuck it. They've got content to produce and hours to fill. Keep him wrestling matches, because they need matches.

Any predictions for what kind of clown makeup they'll use to paint Ronda's face this time? I mean, they drew chicken-hawks around her eyes or some shit at SummerSlam. How do you top that?

Because everything with them is 50/50? Bryan lost to the Wyatt family in a handicap match that same night, so naturally Punk needed to win in his - ya know, to balance out the forces in the universe or some shit. Booking someone to lose but still look strong is such a stupid hang up in wrestling anyway. I mean, yeah. Every so often, you'll get the rare case where it's an attainable, realistic goal to put someone over and still protect the loser. But it's the exception rather than the rule. And them constantly chasing it as if it's something that can be done in every match on every card for 10+ hours of TV a week is just ridiculous. The majority of the time, you need losers to just lose. That's how winners, ya know, win. If you get so hung up on keeping the loser strong, then what did he really lose? And as a result, what did the winner even win? The answer is nothing. Which is why nothing matters with their goofy approach about 90% of the time. You can't have winners without losers. If the loser is automatically perceived to be right back at the same level as the winner, then what's the point of having these matches in the first place? If nobody advances, why bother? Their booking is a hamster wheel, where everyone is constantly moving for the sake of motion - but no one goes anywhere either way. Win or lose. The compulsion to keep losers strong effectively keeps the winners looking weak at the exact same time. And so you're left with a bunch of interchangeable pieces, but none of it adds up or amounts to shit.

Austin and Bob Holly chopping it up about guys throwing live rounds & dishing out receipts is tremendous. And Bobcore talking about Dr. Death and the Brawl For All is forever a winner in my book. "And make it for a hundred thousand dollars? Sheeeiiit." Austin describing Test's Irish whips as him "pulling on a lawn mower that had been sitting up in the yard for fifteen years" had me cracking up, too.