Lil' Bitch

Not the best angles, but its what I could find.

Chris Jericho of course, especially in the 1998 wonder year.

Hell nah, this is why you bring a gun with you and you cap their asses and say you were defending yourself against 4 hostile racist fuckwads.

I wish more colleges would offer this, I certainly attend.

Bradshaw suddenly gets traded to RAW shortly after this report comes out.

Good luck man, taking care of cars is a bitch. I think mine's getting ready to die on me soon.

Do they still sell Moutain Dew Live Wire? That stuff was good.

Shinobi (old series)

So the million dollar question is...will Taker get the belt or will he finally do the JOB as the Phenom to Bradshaw?!!

Well, maybe this will restore crediblity to the film for some of the people on here who hated the movie.

Or the art of stealing people's souls to steal their youth.

Capcom are assholes for making parries apply to Supers.

Big Show deserves a title shot at a SD PPV damn it!

A Buried Alive match or most likely HIAC.

I never did understand why WWF would keep rereleasing the WMs in a box set, but never did with the Rumbles, SummerSlam or Survivor Series.

I know Bulldog / Owen is on the CHV Best of RAW 4, no idea if it was the European title match or anything though.

WOOHOO! I so want to import right now.

Roddy Piper

I don't even know why Boss Man / Big Show gets voted, the match didn't even last 4 minutes.

Maybe the EC should be the new SSeries tradition, with a 5 on 5 match from each brand also included on the bout.

Screw Orton / Rock. Give me HBK / Rock, now THAT would be a Wrestlemania match.

Good luck in getting it as it was another one of WCW's PPVs that wasn't released on tape in the States for whatever reason.

*I meant Top* By John Hartl Film Critic MSNBC Movies about business tend to reflect their times. “American Madness” (1932) depicts a run on a bank during the Depression. “Executive Suite,” “Woman’s World” and “Patterns,” all from the mid-1950s, have much to say about office politics during that period. “Little Shop of Horrors,” which kicked off the 1960s with its plot about a man-eating plant that saves a floundering flower shop, suggests a beatnik sendup of capitalism. “McCabe and Mrs. Miller” (1971), one of those rare movies that shows a community being born, is populated by prostitutes and business entrepreneurs who suggest dazed, disappointed hippies. While some of these now seem tied closely to the times in which they were made, there are many timeless films that deal with the subject. Here, in chronological order, are 10 Hollywood movies that always seem relevant to the business of business: “The Magnificent Ambersons” (Orson Welles, 1942). A cautionary tale about a turn-of-the-century American aristocracy that faces ruin when it won’t change with the times. Tim Holt is the family’s stubborn son, who believes that automobiles “had no business to be invented.” Joseph Cotten plays a pragmatic businessman who regards cars as the future while admitting that “with all their speed forward, they may be a step backward in civilization.” “It’s a Wonderful Life” (Frank Capra, 1946). For all its Christmas sentiment and fantasy elements, Capra’s tale of a crisis in post-war America boils down to a confrontation between two powerful businessmen. Wealthy, mercenary Mr. Potter (Lionel Barrymore) threatens to transform Bedford Falls into the dreaded Pottersville, while idealistic banker George Bailey (James Stewart) puts his money where his heart is. “The Solid Gold Cadillac” (Richard Quine, 1956). A remarkably timely comedy about corporate corruption. George Burns narrates the hilariously cynical prologue, in which the wildly overpaid managers of a giant company are introduced as if they were part of an Enron lineup. Judy Holliday, as a minor but pesky stockholder, asks all the right questions and won’t let them get away with it. “Desk Set” (Walter Lang, 1957). Next-to-last of the Spencer Tracy/Katharine Hepburn movies, starring Tracy as a snooping efficiency expert and Hepburn as the threatened head of a research team. Could a computer possibly replace her encyclopedic knowledge? Well, yes, but Hepburn’s character does seem to know the answers to all the questions thrown at her, and she’s operating in a Google-less era. “The Apartment” (Billy Wilder, 1960). Earning the key to the executive washroom is what success is all about in Wilder’s Oscar-winning satire. Or is it? Jack Lemmon’s ambitious insurance clerk tries to make an impression on the adulterous executives at his company, while Shirley MacLaine goes after his married boss. As they gradually recognize each other’s desperation, neither goal seems worth it. “How to Succeed in Business Without Really Trying” (David Swift, 1967). Robert Morse recreates his Tony-winning Broadway role in this Frank Loesser/Bob Fosse musical about a window-washer who shamelessly grabs every opportunity as he rises to the top of Rudy Vallee’s Worldwide Wicket Company. Morse sings “I Believe in You” – to a mirror - and convinces the board of directors to respect his employees in the rousing production number, “The Brotherhood of Man.” “The Godfather, Parts I and II” (Francis Ford Coppola, 1972-74). The Mafia is presented as a family business, shadowy yet almost legitimate, in Coppola’s Oscar-winning adaptation of the Mario Puzo best-seller. Don Corleone (the late Marlon Brando) grooms his son Michael (Al Pacino) to take over once he’s gone, while Michael’s disenchanted wife (Diane Keaton) helplessly witnesses the corrupting influence of “this Sicilian thing.” “Working Girl” (Mike Nichols, 1988). Behaving as if she’s about to break out into “A Secretary Is Not a Toy” (a show-stopper from “How to Succeed in Business”), Melanie Griffith battles sexism and worse as she tries to break out of the secretarial pool at her brokerage firm. Her snotty boss, played with scathing wit by Sigourney Weaver, steals her ideas. When Weaver’s character breaks her leg skiing, and Griffith meets a sympathetic investment broker (Harrison Ford), justice is done. “Glengarry Glen Ross” (James Foley, 1992). Delivering a lethal pep talk to a group of real-estate salesmen, Alec Baldwin has the role of his career in this superbly acted treatment of David Mamet’s Pulitzer Prize-winning play about a business that devours its workers. Al Pacino is a dynamo as the most aggressive of the salesmen. Jack Lemmon plays an aging loser whose sad situation echoes Arthur Miller’s “Death of a Salesman.” “Office Space” (Mike Judge, 1999). The creator of “Beavis and BUTT-Head” made this wry “Dilbert”-style comedy about a computer programmer (Ron Livingston) who revolts against the soul-crushing nature of the workplace. The unexpected consequence: Efficiency experts recognize middle-management potential and recommend promotion. A box-office disappointment five years ago, it’s become an essential cult movie.

Team USA vs Hart Foundation - Canadian Stampede Edge/Rey vs Benoit/ Angle- No Mercy