notJames

A memorable one was that RAW tag bout between the NAO and the Acolytes, where Gunn gets whipped into the corner so hard by Farooq that the top turnbuckle gets dislodged. The ring was so fucked up that they couldn't really throw each other against the ropes. The best ad lib, of course, was Farooq taking the turnbuckle and pummeling Gunn with it.

For me, Stern lost his appeal when he and his wife Alison divorced. Before, you could see through his bad-boy image and know that deep down, he was a decent family man who loved his wife and kids. All the immature moments of him wanting to pitch the woo with other women was just a fun little facade. Now, he's just a middle-aged man-child who can't shut up about sex and farting. Furthermore, all his jokes have been done ad nauseam. And I'm not too crazy about his current team, especially Robin. I despise her sycophanticisms and her terrible laugh. Private Parts was a really sweet movie. Too bad the real story came to such a sad ending.

Agreed. He made me wish for his death the way Evie did in Thirteen. Petulant teenagers rile up my blood to no end. Empire is my all-time favourite sequel, although X-2: X-Men United is a very very very close second. Very.

He's the first person I thought of, although he was held back more for his size at the beginning. Once Bret was in the spotlight and was allowed to bring Owen along with him, I was almost positive it would have thrust him permanently into the ME. Clique happens, I guess. That Owen Driver '97 probably didn't help matters, either.

On doit des égards aux vivants; on ne doit aux morts que la vérité. -Voltaire (To the living we owe respect, but to the dead we owe only the truth.) My respect and sympathy go to those he left behind. As tragic as his death was, it was still avoidable. Still, a loss is a loss. RIP, Michael Lockwood.

Unless I missed it, I'm surprised no one mentioned that stellar tag match between the Bros. of Destruction and Kroni>l. No-selling galore! And witness the blowing up of Adam Bomb two minutes into the match! Ugly, fugly, pug-fugly wrestling. Bowling-shoe ugly, even.

You're probably right. I just really love the one-two punch of "Cecilia Ann" and "Rock Music" that opens Bossanova, but Doolittle is a much stronger album. I AM right. Somtimes that one-two punch to start Bossanova scares people off. That album isn't the one that try to attract first-time listeners. How would that scare people off? You get a rockin' surf tune in the opener "Cecilia Ann", then you kick it up two notches with the opening riff of "Rock Music". Granted, Frank Black's yelling might turn some heads, but the amazing guitar riffs blend in perfectly with his dischordant scream therapy, much more than his off-key warbling in "Debaser"... to a new listener, that is. Besides, "Rock Music' segues nicely into one my personal faves "Velouria". Granted, most new fans will love Doolittle's "Here Comes Your Man" and "Wave of Mutilation", but if they're into the more rock-heavy stuff rather than the slower surf-stylings, Bossanova is the way to go. Scare them off?! Only if they were raised in a cellar with nothing but Raffi piped in between hourly beatings. Either way, all self-styled rock aficionados would do well to have the Pixies in their normal rotation.

You're probably right. I just really love the one-two punch of "Cecilia Ann" and "Rock Music" that opens Bossanova, but Doolittle is a much stronger album.

Actually, those are album titles. I'd recommend listening to full albums rather than just specific songs. You get a better feel for the Pixies (or any really good band for that matter) this way. After a while, you'll understand why so many bands list them as a big influence.

Oops... forgot to add this --> Seriously, if you've listened to the Pixies and didn't like them, no amount of explanation from a fan will change that. If, however, you haven't, pick up Surfer Rosa or Bossanova and then ask yourself the question again.

If you have to ask the question, you'll never understand the answer.

Very true. I was just pointing out that Enid was in control of the relationship from the start, leading Seymour hither and thither, while, like you said, he probably didn't care why she took such an interest to him. I guess I should have made that clearer. As for Enid's mother, I can only assume from the way her father is, her mother just didn't want to be with someone so weak and ineffectual. He's so cowed by his own daughter that I can't imagine how bad it was with his ex-wife. It might have been interesting to have some background info on Enid's mom to explain perhaps why she was the cynical girl she was, but in the long wrong, it probably wasn't necessary. And yes, the more I watched LiT, the more beautiful Scarlett gets. Was she really only 17 when they filmed this? Too bad I had to return it to the video store. I hope they make an "Oscar Edition" for the movie, as they could really use a commentary track with Scarlett and Bill.

Interesting theory, except Charlotte and Bob's interaction was more equally give and take than Enid and Seymour's. In the former, each person was viewed by the other as an equal pretty much from the start. There were times when one was a little needier than the other, but there was never really any imbalance of "power" (for lack of a better term). With the latter, Enid was definitely in control of the situation at the start, using Seymour for her own enjoyment, even though she felt somewhat sorry for him being so pathetic. Little by little, their friendship became more give and take. You can see Enid becoming really fascinated with Seymour's life (as sad as it may have been), and she starts to rely on him more than he does with her. After Seymour started dating Diane, you could see Enid's control over Seymour slipping away, to the point where she had to throw herself at him to continue their relationship. But yes, there is a sense of loss on the part of all four people that they're trying to alleviate via their respective partners. It's in the nature of the relationships that spells the difference between the two. Also interesting was the fact that Scarlett Johansson appeared (andshined[/i]) in both films. I sort of want to see Girl With a Pearl Earring, although I'm not too big on period pieces.

Yeah, I just saw American Splendor last night. Great stuff. I loved the pseudo documentary style, with the real Harvey Pekar blending in with the actor playing him. The supplemental stuff on the DVD is great, too.

I think it all comes down to understanding where Charlotte is coming from to truly empathize with her. Fresh out of college with a philosophy degree that probably won't lead here anywhere outside the teaching profession, she's searching for a life amidst a world that promises so much yet hardly delivers. She adores her husband, but is considered second best to his career. His world is one of facades and outer appearances, as witnessed with her introduction to Kelly (whose name her husband can't even remember, yet he fawns over he nonetheless). She is expected to put up with this girl's insipid banter and egocentric Cali-speak, yet is denigrated by him for not lowering herself to copy his pandering. Sure, she may have spawned from Harvard's haughty bosom, but if you watch her scenes where she's alone in her hotel, you realize that it's all for naught, as she's trapped in a world that she may have chosen to come to, but wasn't prepared for what it offered, or isn't offering. Even when she ventures forth into Japan's rich culture and environment, it still feels like there's splashes of promise here and there (embodied by the little splashes of bright colours amidst the overwhelming grayness of the film), but she's just not getting it. Having the one person in her life abandon her in this despair is all the more crushing and devastating. Enter Bob, whose charm, friendly face, and cynical wit mirror her own, so it's only natural that she gravitates toward him. Considering that he too is escaping a home life that is slowly slipping away from him, only to find himself in another environment that's even more confusing and alien to him, it's so fitting that they should find each other. As for the few snide remarks she directs to Bob, I'm sure they've built up such a bond between them that it's all done without any malice. It's probably also a little piece of defense to keep her from truly falling for him, and vice versa. To call her a bitch is probably a little undeserved. Young and guarded against shallowness, maybe. But not bitchy. And about Kelly's karaoke scene... Charlotte was definitely justified in laughing at her. Her performance was weak, yet were you to ask Kelly about it, she probably would tell you that she was "so on tonight" and that the crowd loved her. That's what that performance was to Kelly. Contrast to Bob and Charlotte's karaoke scene, it was about being with friends, sharing a moment with real feeling and not just wanting to be seen and heard. It's especially evident in the songs they chose. Very telling stuff. Damn, I must have really loved this movie... Yep, I did.

Some of the best images of the movie were of Charlotte* either crouching or lying in a fetal position. You can almost feel her balling up, ready to burst free of whatever prisons are holding her. There is so much tension throughout the film that you can't help but ache for whatever conclusion her relationship with Bob reaches. The ending definitely sealed it for me... awesome film. I also loved the colour scheme... single splashes of blue, green and pink amidst a ton of greys and blacks. Breathtaking. *Interesting how Charlotte rhymes with Scarlett... Johansen, that is.

I hate how one Monty Python quote will degenerate into whole pages of random dialogue from all the movies, whether they adhere to the initial context or not. This usually happens with wannabe theatre majors and Renaissance Festival-goers, and it's all I can do to resist smacking them in their collective grille. Austin Powers quotes get kinda lame after a while, too.

Didn't you know... "Preparedness embiggens even the smallest man." It's a perfectly cromulent word.

Two stunners, both men counted out, Austin declares himself the winner. OR Brock beats Goldberg (to thunderous NYC applause). Brock mouths off to Austin. Austin stunners Brock to "send the folks home happy". ::shakes head::

That kinda stuff makes me miss Owen too. Does anyone still have fun in this business, or has politics sucked the life out of it?

Well, looks like the wCw Spring Cleaning has started. No big loss. Cat was useless. And seriously, Kanyon was kinda boring. I'm not sad that he's gone. So whatever former Ted Turnerites will follow? I'm hoping DeMott finds the exit soon. And he can take Jindrak and O'Haire with him. And if it's not too much to ask, they can bag up Cade and put him with the rest of the trash.

Hear hear!!!

Angles still have to be believable. If your sitting there shaking your head because of how actual contracts work then the angle shouldn't happen. Exactly. Wasn't it too long ago that Vince promised us fans a "more sophisticated product", one that didn't stoop to insulting our intelligence? Ugh. And the only way to salvage this is if HBK "gets injured" before WMXX and they have to go back to a one-on-one match-up with Benoit and HHH. Fuck HBK. I've had just about enough of His Holiness clogging up the airwaves with his over-inflated greatness and sub-par performances.

Make a note of the TV rating at the beginning of the show... if you see an "N" under the rating, rest assured they're planning on (or for) some "accidental nudity". Regardless, this is as big a waste of time as trying to get a musical act for the show.

Feh... they could raise Elvis and the Beatles from the dead and have them play. Still wouldn't change the fact that it would be a welcome piss break for me, seeing as how I'm watching WrestleMania for the wrestling. Feh.