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About BomberPat

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  1. Oh, for sure. You don't get to WWE in the first place without that kind of drive to be really good at what you do, and without a ton of either pride in your work or the need to have your ego sated by being called the best. But that's also where different measures of being "the best" come from - if you're a wrestling nerd who grew up reading dirtsheets and on forums, are you happy getting rave reviews on Twitter and 5 stars from Meltzer, whereas thirty years ago when half the top stars were just muscleheads that existing wrestlers found working the door at strip clubs or just happened to be going to the same gym, and whose idea of being the best was making as much money as quickly as possible.
  2. Selling more shirts, getting on the cover of the next video game, being front and centre of marketing, are all great reasons to be a main event talent. I've spoken to guys who worked the WWF at the height of its powers who have said some of the biggest paychecks they ever received came 15-20 years later for appearing as a "Legend" in one of the video games. The more of a star you are, the more likely you are to be heavily merchandised and licensed, and earn big money. It's also a means of making yourself more invaluable to the company. As much as we talk about there being no real "main event" any more, there is - there's the schmucks who wrestle on TV, and then there's the real main event caste of Lesnar, Trips, 'Taker, Cena, and Goldberg. You can eventually carve out a spot in that upper echelon by main eventing now, but no one who's spending their whole career knocking about the midcard is ever going to get that sweet deal.
  3. Ambrose is an example of someone who clearly knew his worth, and knew that he could get out of WWE and walk straight into a meaningful position elsewhere. Pre-Covid, the last couple of years have seen it become easier for a wrestler to make a living outside of WWE than at any time since WCW closed. So people who know that they have something to offer should be in a better position to throw their weight around, knowing that if the boss says no, they have another job to walk into. But on the other side, WWE contracts seem to be designed precisely to stop that happening - Ambrose had to wait for his to expire, while PAC was forced to sit at home doing nothing for months rather than being able to just quit his job and go and work somewhere else.
  4. This is absolutely it - Rey didn't get over because he was a flippy guy; otherwise we'd have seen the same kind of success from Ultimo Dragon, Psicosis, or Super Calo. Rey can garner sympathy with his selling better than anyone this side of Ricky Morton, and uses the high-flying stuff almost as an adjunct to that; so much of his offence feels, even when you've seen it a thousand times, like either a creative or desperate effort to use his speed/technical ability to get the better of a larger opponent. It doesn't help that, since coming to the main roster, Ricochet is wrestling very much in the WWE House Style, just punctuated with high-flying moves. He almost needs to be the worker he was in the Ospreay match, just constant high spots, flips and athleticism that makes him stand out even when everyone and their dog is doing backflips, because at the moment, him being slotted into the formula and just hitting one or two big top rope moves a match isn't enough. As ever, the biggest failing is with the booking. Not being able to talk shouldn't hold a wrestler back from success, if the promotion is capable of booking to hide their weaknesses.
  5. watched Wrestlemania 7 the other night. Obviously a lot has been said about the timeliness - or not - of the Sgt Slaughter gimmick, and how it outlasted the first Gulf War, making the story of the match fall a bit flat. But in terms of being topical to the point of making for uncomfortable viewing, I had no memory of how often Bobby Heenan mentions having friends in the Los Angeles police department on commentary, and him and Perfect mention it pretty explicitly in their promo before the Boss Man match. This was in LA, and less than three weeks after the Rodney King video!
  6. Yeah, I really think they were trying to have their cake and eat it too with Roman - they still wanted him as their guy at Wrestlemania, but then he spent months losing to Braun Strowman, to The Miz, and just about anyone else. It seemed like they were trying to get people to side with him by not having him be a guy who wins all the time, but it meant that it just stood out more when they did the "wins and losses don't matter" thing and had him still walk into big storylines and matches regardless - only now he didn't feel special in those matches because he'd not been booked strongly enough. They didn't commit one way or another. He beat The Undertaker at Wrestlemania, then lost his next PPV match to Braun Strowman, won some matches on TV - but against then-internet darlings like Finn Balor and Bray Wyatt, so not earning himself any points - lost again at the next three PPVs, and didn't actually win on pay-per-view until September of that year, when he beat John Cena, but only after having Cena belittle him for the entire build and point out all of his flaws, effectively undoing whatever work might have been done to make him credible. Maybe The Shield comeback could have salvaged him, but then they couldn't capitalise on him beating (and seemingly retiring) The Undertaker, they couldn't capitalise on him beating cancer. It doesn't just make me think they can't make a top babyface of him, it makes me think they can't make a top babyface at all. In hindsight, they never should have had Seth Rollins cash in at Wrestlemania. Reigns was having a banger of a hard-hitting match against Brock Lesnar, back when Lesnar still had the credibility that meant hanging with him in a match could be star-making.
  7. I just did a quick up-to-date look on Twitter today after that post;
  8. he was on Jericho's podcast after he debuted, and was put over as Jericho's oldest friend in the business. I think he's one of the guys who has an ill-defined office job with AEW as well as being a performer for them. Even as an FMW mark who loves it when completely unexpected random wrestlers resurface years later, I'd struggle to justify Luther getting any TV time whatsoever. No harm in him as a jobber, though - he's got a bit of character, and enough experience that he must have something to offer as an old hand.
  9. every time Earthquake pops up on an old bit of wrestling I'm watching, I look it up to check how old he was at the time. He retired before he was 40, but looked 40 when he was 25. I did a deep dive into the ages of the Gimmick Battle Royal entrants a while back, comparing them to key talents in WWE now. It's the best example of how quickly WWE used to change compared to how little it's changed in the last few years.
  10. I buy far too much from Topman, but it's because I know how all the sizes and fits work there. Moss Bros if I need something posher - I used to work there, so, again, have an idea of what will fit well without having to try it on. Both have clearance sections, so if you time it right you can get decent stuff dirt cheap, and can usually find a discount code or two to take a bit more off. I'm usually able to blag a student discount through work, as sites like Studentbeans and Unidays only really check if you have an "ac.uk" e-mail address.
  11. Fucking hell. Realising I'm older than celebrities/professional athletes stopped being a surprise a few years back, but that one's a shocker.
  12. I've probably gone into this before, but I fucking hate "backronyms" - the Hospital one is new to me, but "Port Out, Starboard Home", or "Fornication Under Consent Of The King", that sort of bollocks, is just pub bore levels of made up "facts" to impress idiots, and bear absolutely no resemblance to how etymology actually works.
  13. I'm not convinced he's trying to book himself as if he is, though. He largely seems content to take a back seat to Moxley, Jericho and Cody in that regard.
  14. In practice, I have no idea. In theory, it means that MPs will at least be looking at wrestling as an industry, which is promising in terms of having an oversight beyond "hope that wrestlers do what's right", and increases the likelihood of wrestling schools being included in the change of the law to view sports coaches/trainers as authority figures where relationships with students are concerned. If nothing else, it means that the speaking out and lobbying of people involved in all this is being listened to.
  15. ahead of a long overdue re-read of the book, I watched Francis Ford Coppola's Bram Stoker's Dracula (1992) last night for the first time in years. The score is superb. That recurring main theme feels so foreboding and sinister, it might just be the best tension-building music in cinema this side of the opening of The Shining. At times it looks stunning, too. I don't have a lot else good to say about. Some of the in-camera and physical effects are incredible (as far as I can tell, there's no CGI in the whole movie), but the amount it relies on double exposure and so on becomes almost comedic by the end. The decision to show Dracula's arrival in London as if it's shot on an old-timey wind-up camera seemed completely arbitrary and at odds with the rest of the movie, and there's one point where there's an Iris transition/wipe away from Dracula's face, as if it's a fucking Looney Tunes cartoon. A lot has been written about how fucking dreadful Keanu Reeves and Winona Ryder's accents are, and rightly so, but that lets Tom Waits off the hook for one of the most bizarre attempts at an English accent I've ever heard (as much as, otherwise, I think Waits as Renfield is inspired casting), Anthony Hopkins' Van Helsing for an inconsistent "Dutch" accent that seems to skip all over western Europe within sentences, and whatever the fuck Gary Oldman was aiming for. Billy Campbell as Quincey Morris comes across as a complete caricature, and I'm not really sure what he brings to the plot, while Richard E. Grant and Cary Elwes have maybe the only plausible accent in the entire movie, but has the "Cary Elwes In A Serious Role" drawback of never quite feeling like a real human being. Not really a fan of the romantic subplot, or the hackneyed Dracula backstory. I prefer the character as somewhat unknowable - the audience should learn about him as the characters do, not have the whole film begin with his origin story and make it immediately apparent what his motivations are.
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