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Comments that don't warrant a thread 2010-2011


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I just think it's funny TNA is party to an arrangement that pretty much 100% benefits the other side, and I'd be pretty confident that no one in TNA has a clue what makes it funny. It's like why did they even bother? They have footage of Jarrett winning the AAA title at a big show, something that actually makes TNA look like one of the big leagues instead of their usual bullshit indy selves, and they not only don't show it, they barely even mention it other than part of some comedy skit. I'm not saying they needed to educate TNA fans on the ins and outs of lucha, just show scenes of TNA guys in front of big ass crowds like when they aired matches from that Japan show in 2008 or whenever that anyone watching would see and think "wow, these guys must be a pretty big deal".

 

I guess my point is that there's not that many opportunities for TNA to come off as one of the big boys. For them to go out of their way to ignore one that was pretty much handed to them on a platter has to be disappointing/infuriating to TNA fans who still hold out hope that they will ever become competition to anyone. Then again, you can probably count the number of those fans on both hands and have fingers left over so it's probably a moot point.

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That's rather meanspirited and stuff. :)

 

John

I don't know, is it REALLY "mean spirited" to make fun of your "God hates Fags" type "Christians'?

Cause that's the jist of the site as far as I can tell. People make up characters and post all kinds of wacky shit. Getting a laugh out of your typical "youtube responders" is always kinda funny, at least to me.

 

Now as far as mean spirited goes, the time about 7 years ago when a guy I know pretended to be Amazing Red on a survivors of pedophilia site and claimed RF fondled him....now THAT was kinda mean.

 

 

Funny as hell, but mean. :D

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I must admit, I never knew Bruce Prichard was this accomplished.

 

Bruce Prichard – Partner / Producer / Writer

 

Managed production of live domestic and international television programs weekly. Responsible for all creative content, production, and programming of WWE’s multiple televison series. Managed all content from inception to execution of six hours of original programming weekly. Managed all talent, office staff, and 150+ independent contractors. Managed daily operation of event touring coordinating talent, travel, and production. WWE, a publicly traded company (NYSE: WWE), is an integrated media organization and recognized leader in global entertainment. WWE programming is broadcast in more than 145 countries and 30 languages and reaches more than 500 million homes worldwide.

 

Wrote and produced over six hours of original programming on a weekly basis for 22 years. Programming was consistently rated in the top ten year round while occupying the number one slot for basic cable programming 90% of the year.

 

Worked with top executives Kaye Koplovitz and Bonnie Hammer at USA NETWORK, Dick Ebersol, President of NBC SPORTS to produce Saturday Night’s Main Event and The Slammies on NBC and

FOX. Worked briefly with Les Monsvees while providing programming for VIACOM on over 50 programs. Worked with producers at UNIVISION to create a telenovela wrestling show. Upon

returning to the USA NETWORK once again worked with Bonnie Hamme and Jeff Zucker with Universal.

 

Along with Shane McMahon, Simon Cowell and Simon Fuller Bruce helped to create an entertainment vehicle for unknown singers called “American Idol”. The story is documented in Mr. Cowells biography.

 

Restructured independent contractors pay basis to a performance based pay system. The contract system was revolutionary, and provided the opportunity for the talent to realize more income while

significantly increasing the bottom line. This contribution enabled the company to go from losing money, to going public in a few years and being valued over $5B.

 

Created "Encore Pay Per View" events that enabled viewers to watch event programming at their leisure. This allowed the company to utilize its marketing and promotion for one live event to be

extended to promote how great the event was versus how great it will be. This increased revenue 30-50%, by giving viewers the opportunity to view the events on their schedule if unable to view live.

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I know Cowell got the idea for Idol partially from working on Wrestlemania: The Album ("wow, if this weird celebrity thing can be a big hit in the UK...") but wow.

Pop Idol was an offshoot from Popstars (and later Popstars: The Rivals) I always thought. Cowell wasn't on Popstars, for instance, and Pop Idol was the brainchild of Fuller. I was under the impression that The X Factor was Cowell's first reality TV that he produced. May well be wrong, but just makes more sense going by the UK chronology of it. Especially seeing as Fuller's sued Cowell.

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Yeah, Pop Idol / American Idol is Fuller's baby, now Cowell's. And it was lifted from Popstars: not just the original Aussie one, but the one that washed up in the UK 10 months before Pop Idol.

 

Cowell has built up a great mythology about himself, pretty good for a guy who a marginal figure in the music business before getting lucky with Pop Idol and American Idol, then was smart enough to:

 

* jump over to his own promotion (X Factor)

* settle out with Fuller for lifting Pop Idol

* play nice with Fuller in the US Cash Cow (American Idol)

 

My guess is that the last two are related: as part of the Pop Idol / X Factor settlement, Cowell got locked into an AI contract. I do recall that the terms of the AI contract kept him from dragging X Factor over here. Don't know if Fuller also gets a cut of the UK X Factor, and in turn gets a piece of the US X Factor. Either way, Cowell was pretty smart in taking something very small (asshole judge) and cashing in on it with loads of salary, "creating" his own show, and working a great con on getting the winners onto his own management / label. Suspect that's more of what he learned from pro wrestling. ;)

 

John

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