Dangerous A

Like WWE Creative has any kind of quality control to differentiate between Puerto Ricans and Mexicans. I'd bet if they had a chinese person to feud with Tajiri, they'd just start up with the asian blasts and just completely forget they are different.

Bowl of Cinnamon Toast Crunch.

It's like watching Jackie v. Trish from 2002, except they are given more time. Watching this just reinforces that wrestling training is NOT overrated. I almost vomited laughing watching Sprules attempt the sharpshooter wrong. It's funny at the end where the announcer apologizes for the words of Sprules. He should be apologizing for the match those 2 dipshits just had.

There is nothing wrong with changing your opinion about someone. Just because you hated someone upon your initial viewing doesn't mean you can't warm up to the guy. Things can go the other way too. I'll tell you I used to hate JBL, but the guy has now grown on me and worked his ass off to become one of the very few reasons to even watch SD. On the other hand, I used to like HHH, even a year or so after the quad tear, but now the guy needs to leave for a year or so or just tear the quad again so he can get off my TV screen for awhile. You shouldn't have to search for a reason to hate a guy, you should just know whether you do or not.

Problem with Vegas is there are not very good indications the local people who live there would support it. It would do alright the first year because it's something new, but Vegas is a tourist city and the locals aren't looked upon as very reliable. Why do you think all the other major sports haven't franchised there yet?

Current Favs in no particular order... Benoit Angle Benjamin Carlito JBL Eddy AJ Styles Christopher Daniels CM Punk Austin Aries Samoa Joe Homicide All Time Favs... Benoit HBK Bret Hart Austin (97-01 only) Rock HHH(98-01 only) Dynamite Kid Road Warriors Tully Blanchard Magnum T.A. Ric Flair Mitsuharu Misawa Toshiaki Kawada Akira Taue Kenta Kobashi Jun Akiyama Stan Hansen Terry Gordy Steve Williams Keiji Muto/Great Muta Sting Masahiro Chono Shinya Hashimoto ...you know, to name a few.

Perhaps Ray Allen wants to be the person to break the Clippers curse of being a perinnial loser? That and the money seem to be the only reason to join them. Perhaps Ray sees the roster and sees that they only need a stud like him to really take off. If the Clips don't have to give up anything, or at least very little, I can see a Ray Allen lead Clips team doing very well, even better than the Kings, Warriors, and Lakers. The Knicks chasing Kwame Brown is interesting. On one hand, if the guy gets a new change of scenary, I can easily see him being a Jermaine O'Neal like player if he can get his head on straight. Problem is he has bad attitudes and approach to the game and that might not make it worth it. The move can either make or perhaps break the Knicks. I would do it if I were the Knicks, but only if you can land a coach like Flip Saunders or Paul Silas.

Here are a couple of mine... McDonalds-Double cheeseburger (x2) I keeps it simple there. Burger King-Double whopper w/cheese Jack in the Box-Ultimate cheeseburger Carl's Jr aka Hardee's-Western Bacon Double Cheeseburger Denny's-Bacon and Cheddar Burger In N Out Burger- 4x4 (folks who've been there know what I mean) I'll post more later.

They were 6 man tag partners with Dusty Rhodes, who was booker at the time. Dusty needed some heat because he was getting stale, so he had the Roadies turn on him by driving one of the spikes off their ring gear through his eye (actually his forehead, but close to his eye) Don't remember the exact justification for the Roadies turning on Dusty except they just started not liking the guy anymore. Then they had a match at Starcade where Sting was Dusty's partner against the Road Warriors. Match was not good because Sting couldn't work for 4 and the Road Warriors are terrible heels.

IIRC, his face turn came shortly after Magnum T.A.'s very serious car accident. Magnum was scheduled to get a huge push (even so far as putting the NWA title on him and letting him run with it) but it was derailed by the car accident. Magnum had just finished a summer best of 7 series with Nikita for the U.S. title where Nikita won in 7. The series was designed to a) get the U.S. title off of Magnum so he could go on to the World title and b) help elevate Nikita. Since the car crash ended Magnum's career, they did an interview with Dusty and Nikita where Nikita was showing sympathy for Magnum as well as a new found respect because of their summer 7 match series. From that point, Dusty and Nikita formed a tag team called the Super Powers (named after what the U.S. and Russia are called) and they went on to battle the 4 horsemen. To put the Super Powers over, they won the Jim Crockett Sr Memorial Cup Tag Team Tournament a few months after forming. After that, Nikita went on to feud with Lex Luger over the U.S. title.

WWE doesn't help itself by putting on a raunchy product, which scares away advertisers and their dollars. Add to that the stigma that most wrestling fans, even ones who drive cars, are in the middle to low income brackets, you start to see why companies like car companies don't want to give their dollars to wrestling.

Died at age 54. That's pretty young. Didn't he have a heart ailment or recovering from cancer or something recently?

Top 5 in no particular order as of right now... Pulp Fiction Star Wars Big Trouble in Little China Ghostbusters Tranformers: The Movie

I wonder how much the stock will be worth when WWE Films tanks? (like all of WWE's other non-wrestling related projects. XFL, WBF anyone?)

You are missing out VX. I've seen Batman Begins twice already and going for three this weekend. With WotW, I'll probrably wait until it hits HBO before giving it another go.

I'd love to see the Kings take a chance and package some guys (specifically Peja) to Seattle in a sign and trade to attempt to get Ray Allen. That is fantasy GM talking, but still.

I saw this last night. It was alright, but not nearly as good as Revenge of the Sith or Batman Begins IMO. Also, was anyone else getting and Anti-War in Iraq undertone here? The whole line about "occupation". Put the U.S. in the place of the aliens and the humans in place of the Iraqi people. Perhaps I'm reaching. SS could be making a commentary on how outside forces should never occupy the home of another i.e. Palistinians and Israelis.

So what does that make Scott Boras? <{POST_SNAPBACK}> I'm not that familiar with the exploits of Scott Boras. I do know that Rosenhaus and the Brothers Poston are turd burglars.

I think we can all agree Drew Rosenhaus might be Satan and the Poston Bros. might be his minions as far as player agents.

As of right now, Kerry Collins is penciled in as the starter. Everyone seems to think he'll get the job done, especially since he loves throwing the deep ball and now has deep threats, even without TO.

Who cares? All the big names and midcard guys who are going to move have moved. There probrably won't be any more major names going anywhere. Snitsky, Heidenreich, Eugene? Fuck 'em. Fire all 3 I say.

Actually, the answer to who got screwed over worse, Bret or Matt resides on what YOU find most valuable to you. Do you find it worse having your legacy in wrestling tarnished forever with a screwjob vs. losing your job because the love of your life screwed with your friend behind your back? Legacy vs. Girlfriend Eye of the beholder.

It's not so much Tom Cruise is short, but he chooses taller ladies.

Moss has more team playerness about him than TO. He played well alongside Carter even though the two didn't see eye to eye on everything and the last 2 years has played decoy and had some spectacular results. (that flip over the shoulder lateral was absolutely sick) TO is the guy who, if he doesn't start getting the ball, starts to bitch and if things start to go downhill, rolls everyone but himself under a bus for the blame. Moss just seems immature to me, whereas TO seems immature and selfish.

Here is Roger Ebert's take... War of the Worlds BY ROGER EBERT / June 29, 2005 Cast & CreditsRay Ferrier: Tom Cruise Rachel: Dakota Fanning Mary Ann: Miranda Otto Robbie: Justin Chatwin Harlan Ogilvy: Tim Robbins "War of the Worlds" is a big, clunky movie containing some sensational sights but lacking the zest and joyous energy we expect from Steven Spielberg. It proceeds with the lead-footed deliberation of its 1950s predecessors to give us an alien invasion that is malevolent, destructive and, from the alien point of view, pointless. They've "been planning this for a million years" and have gone to a lot of trouble to invade Earth for no apparent reason and with a seriously flawed strategy. What happened to the sense of wonder Spielberg celebrated in "Close Encounters of the Third Kind," and the dazzling imagination of "Minority Report"? The movie adopts the prudent formula of viewing a catastrophe through the eyes of a few foreground characters. When you compare it with a movie like "The Day After Tomorrow," which depicted the global consequences of cosmic events, it lacks dimension: Martians have journeyed millions of miles to attack a crane operator and his neighbors (and if they're not Martians, they journeyed a lot farther). The hero, Ray Ferrier (Tom Cruise), does the sort of running and hiding and desperate defending of his children that goes with the territory, and at one point even dives into what looks like certain death to rescue his daughter. There's a survivalist named Ogilvy (Tim Robbins) who has quick insights into surviving: "The ones that didn't flatline are the ones who kept their eyes open." And there are the usual crowds of terrified citizens looking up at ominous threats looming above them. But despite the movie's $135 million budget, it seems curiously rudimentary in its action. The problem may be with the alien invasion itself. It is not very interesting. We learn that countless years ago, invaders presumably but not necessarily from Mars buried huge machines all over the Earth. Now they activate them with lightning bolts, each one containing an alien (in what form, it is hard to say). With the aliens at the controls, these machines crash up out of the Earth, stand on three towering but spindly legs and begin to zap the planet with death rays. Later, their tentacles suck our blood and fill steel baskets with our writhing bodies. To what purpose? Why zap what you later want to harvest? Why harvest humans? And, for that matter, why balance these towering machines on ill-designed supports? If evolution has taught us anything, it is that limbs of living things, from men to dinosaurs to spiders to centipedes, tend to come in numbers divisible by four. Three legs are inherently not stable, as Ray demonstrates when he damages one leg of a giant tripod, and it falls helplessly to the ground. The tripods are indeed faithful to the original illustrations for H.G. Wells' novel The War of the Worlds, and to the machines described in the historic 1938 Orson Welles radio broadcast and the popular 1953 movie. But the book and radio program depended on our imaginations to make them believable, and the movie came at a time of lower expectations in special effects. You look at Spielberg's machines and you don't get much worked up, because you're seeing not alien menace but clumsy retro design. Perhaps it would have been a good idea to set the movie in 1898, at the time of Wells' novel, when the tripods represented a state-of-the-art alien invasion. There are some wonderful f/x moments, but they mostly don't involve the pods. A scene where Ray wanders through the remains of an airplane crash is somber and impressive, and there is an unforgettable image of a train, every coach on fire, roaring through a station. Such scenes seem to come from a kind of reality different from that of the tripods. Does it make the aliens scarier that their motives are never spelled out? I don't expect them to issue a press release announcing their plans for world domination, but I wish their presence reflected some kind of intelligent purpose. The alien ship in "Close Encounters" visited for no other reason, apparently, than to demonstrate that life existed elsewhere, could visit us, and was intriguingly unlike us while still sharing such universal qualities as the perception of tone. Those aliens wanted to say hello. The alien machines in "War of the Worlds" seem designed for heavy lifting in an industry that needs to modernize its equipment and techniques. (The actual living alien being we finally glimpse is an anticlimax, a batlike, bug-eyed monster, confirming the wisdom of Kubrick and Clarke in deliberately showing no aliens in "2001"). The human characters are disappointingly one-dimensional. Cruise's character is given a smidgen of humanity (he's an immature, divorced hotshot who has custody of the kids for the weekend) and then he wanders out with his neighbors to witness strange portents in the sky, and the movie becomes a story about grabbing and running and ducking and hiding and trying to fight back. There are scenes in which poor Dakota Fanning, as his daughter, has to be lost or menaced, and then scenes in which she is found or saved, all with much desperate shouting. A scene where an alien tentacle explores a ruined basement where they're hiding is a mirror of a better scene in "Jurassic Park" where characters hide from a curious raptor. The thing is, we never believe the tripods and their invasion are practical. How did these vast metal machines lie undetected for so long beneath the streets of a city honeycombed with subway tunnels, sewers, water and power lines, and foundations? And why didn't a civilization with the physical science to build and deploy the tripods a million years ago not do a little more research about conditions on the planet before sending its invasion force? It's a war of the worlds, all right -- but at a molecular, not a planetary level. All of this is just a way of leading up to the gut reaction I had all through the film: I do not like the tripods. I do not like the way they look, the way they are employed, the way they attack, the way they are vulnerable or the reasons they are here. A planet that harbors intelligent and subtle ideas for science fiction movies is invaded in this film by an ungainly Erector set. I'll be seeing this tonight or tommorrow. Sounds to me like Ebert was real hung up on the tripods and aliens themselves. Just to be a dick, this is the guy who recommended "Van Helsing".