Talking Pulp: Rest In Peace – DC Comics – 1934-2020?

I’m glad I’m no longer a customer of AT&T. I left them behind a few years ago and I have been really happy not giving them my money anymore. But since buying Time Warner, they’ve been going through everything with a fine tooth comb and shutting down divisions that they don’t deem as profitable enough.

I was first directly affected by this back in November of 2018 when they pulled the plug on FilmStruck, a streaming service that was a joint effort by Turner Classic Movies and the Criterion Collection to present classic and historically significant motion pictures from all eras. It was also, by far, my favorite streaming service out of them all. In fact, I wrote about that dark day here.

When FilmStruck was struck down, I knew that it was only a matter of time before AT&T took the ax to other divisions within their entertainment sectors. Looking across the board, it was easy to ascertain that DC Comics’ days were most assuredly numbered.

The writing has been on the wall forever and not just for DC but for Marvel and the entire comic book industry, as a whole. Sales are terrible, comics are too expensive and most importantly, above all else, the creative side of the equation is mostly deplorable.

The comic book industry (like the rest of the entertainment industry) has had an agenda-driven ax to grind for several years now. It’s turned people away, as has the behavior of many of these “creators” on social media.

In fact, many of these big entertainment juggernauts actually don’t do anything to stop the despicable behavior of those they employ. They’ve even brushed this shit off, claiming that they’re just independent contractors and entitled to their own opinions. I’ve written about these “creators” and companies’ bullshit before though, which you can check out here and here.

The point of this article, though, is to point out that DC Comics, in its current form, is beyond repair and that AT&T is most likely pulling the plug.

Now nothing has been officially announced, as of yet, so take this as rumor until more comes out.

However, it looks like this is possibly happening sooner rather than later, based off of some texts I got from an intermediary with an insider, who has worked at DC for over a decade. Who they are doesn’t matter but it’s not hard to see the forest for the trees.

What I’ve been told is that this was planned before COVID-19 made things a lot worse and that this viral event has actually sped up the company’s demise.

I felt that this should come as no surprise after their publisher Dan DiDio “stepped down” on February 21st of this year with no one being announced to step in and fill that void. I guess it made Jim Lee the top guy by default but what has he done since this happened? He’s done a Kickstarter for a backpack and he’s hosted art auctions.

Additionally, DC Comics’ 5G initiative has been met with severe backlash and it hasn’t even started yet. It was scheduled to kickoff this summer and it was DiDio’s newest and latest big plan to save the industry and get sales booming again.

Well, when you’ve rebooted your universe multiple times in the last decade or so, people become sick of these sort of half-assed and short-sighted shenanigans. Plus, no one really wants to see core DC characters get replaced by diversity characters. This bullshit hasn’t worked for Marvel but apparently these comic book companies can’t learn from past mistakes, have no real fresh ideas and apparently don’t care about profit.

This all boils down to profit. Especially, when you have been absorbed by a massive corporation that only cares about their bottom line, a line which DC Comics is definitely below.

The rest of the information that made its way to me says that COVID-19 was the deathblow for DC and that AT&T is planning on making an official announcement in June. They also said that it is doubtful that they will wait until June now, as the damage is quite severe. Plus, people working for DC will most likely get pissed and start leaking more information between now and then. AT&T will most likely want to stay ahead of that or they’ll do what companies do in these situations and deny it until their hand is forced to be more transparent. That’s the beauty of publicly traded companies.

The plan is for DC to release what is already in the pipeline over the next few months but there will be no new books after what is currently finished. With Diamond, the comic industry’s “monopoly” distributor, falling apart due to COVID-19, DC is looking for other distribution avenues. But this is probably just a short-term thing to get these last comics out and to try and turn some profit while they still can.

While this may feel like a punch in the gut, it doesn’t mean that characters like Batman, Superman and Wonder Woman are gone.

AT&T still owns the IPs to these characters and those IPs will most likely always be lucrative, as they will continue to produce movies, television shows and merchandise till the end of time. This really just effects the comic book division itself.

This also doesn’t mean that we will never have comic books of these characters again, either. AT&T could license these characters out to other publishers in the same way Hasbro licenses out G.I. Joe, Transformers and other IPs to IDW Publishing. Hell, all major IPs that aren’t specifically owned by DC or Marvel are mostly produced by indie companies like IDW, Dynamite, Dark Horse, Boom! and a slew of others.

Side note: Marvel has already licensed their own characters out to IDW for their kids line of comics, despite still being in business themselves.

Plus, the monthly model of people buying floppy physical issues of comics doesn’t seem to be the best model anymore. Yet, crowdfunding comics has been blowing up and creating a boom in that sector of the industry. The mainstream tries to ignore it and brush it off but just look at how well a lot of the Comicsgate creators’ books have done.

The mainstream wants to paint Comicsgate as their enemy and well, they are. They’re defying what has become the mainstream industry’s standard and are pulling fans away from failing publishers like DC and Marvel while reinvigorating comic book readers who walked away some time ago. But it’s easier for the mainstream to demonize and act catty than to just do better and look at competition as a good thing.

So while Comicsgate and other crowdfunders are the enemy of the mainstream, they’re also the savior of the comic book industry because they’re keeping it alive and growing it by bringing in new readership.

While I am not a fan of labels, I am a fan of prosperity, success and in regards to the comic book medium, quality. It’s that quality thing that the mainstream publishers are having a hard time with, as they flood the shelves with comics people don’t want by “creators” who wouldn’t have been allowed anywhere near the industry just a decade ago. And that’s not to say that all Comicsgate books are great but the cream of the crop is much better than anything Marvel or DC has put out in quite awhile. Excluding Sean Gordon Murphy’s Batman stuff, though, as his White Knight comics are, by far, the best things put out by the mainstream in years.

Again, take this information as rumor but with everything that’s happened just in the last few months, DC Comics, in its current form, is probably not going to be here by year’s end.

Update:

Apparently, IDW Publishing started laying people off just minutes after I posted this article. It’s not looking good, folks.

Update #2:

I was told by someone close to the situation, that some sort of official decision will be made following the July 4th weekend.

Update #3 (8/10/2020):

It’s not looking good for current DC employees, as layoffs are expected according to Bleeding Cool and Variety, which estimate 650 layoffs from Warner Bros. companies, as a whole, in addition to HBO, which is expected to lose 175. Bleeding Cool article here.

Talking Pulp: A Few Words While Dealing With the “Mexican Lager Viral Event”

This coronavirus insanity has made the world go bonkers. I think people are just scared and allowing the media and others to work them up into a panic that makes them hoard strange things like toilet paper and garlic.

In the meantime, I’m trying to keep my head up, maintain as positive of an attitude as I can while trying to weed out the bullshit, hysteria and conspiracy theories, in an effort to digest just the facts and maintain a rational mindset.

Since I know that I get a lot more readers here than I have followers on Twitter, I thought that I’d share something that I said on that social media platform a few days ago:

As someone who’s lived thru multiple bad hurricanes, it’s important to see how these things bring us together, as opposed to fixating on the a-holes that turn to fear, panic & general douchery. There are more good people than bad, even though sometimes it doesn’t look that way.

I wanted to expand on that, though, as Twitter limits the size of your tweets and you can’t always jot down your complete thoughts in better detail or context with just 280 characters. Granted, most people these days can’t seem to process information larger than a sensationalist clickbait headline but I digress.

So, here we all are, at an interesting time in human history. It’s the start of a new decade, mainstream culture has gotten really weird the last few years and frankly, people nowadays bitch about absolute nonsense and are always looking to get offended because they’re seeking out conflict where there is none.

An intelligent, rational person would probably think that we no longer have any real problems because the ones that people seem to get so worked up about don’t remotely compare to the gravity of a World War, the Holocaust, the Cold War, the Great Depression, Vietnam, civil rights, the Civil War or a plague. Now people get hella pissed because the President tweeted out something rude and crass. Granted, I don’t think Twitter really benefits the guy but whatever, I’m not going to diarrhea all over the Internet about it.

My point is, what’s happening in the world, right now, could be the biggest thing that’s happened in a generation. I’m not discounting 9/11 but this COVID-19 pandemic has already directly affected a lot more people and it doesn’t look like it plans on slowing down, as the world’s greatest minds are doing what they can to try and limit the damage it is going to cause.

Many people think that the governments are overreacting and maybe they are but ultimately, this is a more serious problem than what many are seeing it as. The reason why it is this big of an issue is our lack of preparedness. The writing has been on the wall for quite some time and this virus could have been more effectively countered at a much earlier stage.

More than anything, I hope this is a lesson and that those who have the ability and the power to do something about this, will be much more vigilant in the future. The spread of viruses needs to be more of a priority and I’m speaking as someone that doesn’t like big government and is pretty laissez-faire. But if I’m paying taxes, which I always will in America, I’d rather it go towards science, medicine and technological advances that can enrich the future and make it safer.

Most of us are good people. Most of us want the best for not just ourselves but also our neighbors. We live in a world where technology has made us closer and our communities aren’t just our local neighborhoods. Collectively, we should be working to survive and thrive. It’s in all of our best interest to make sure that the world is healthy on all levels.

Yes, there will always be shitty, terrible people. But we can’t let those few speak and act for the rest of us. They aren’t us and I think that many people lose sight of that when they turn on the news and see spring breaking Millennials being self-absorbed dipshits or normal people, full of fear, fist fighting over toilet paper and snack cakes. These people aren’t the majority but it is really easy for the majority to get pulled into this destructive, paranoid orbit and become what they fear.

I know it’s become a cliche statement but everyone should be the change that they want to see in the world. Be better, be positive, try not to lose your cool in times like this and know that, most likely, most of us will get through this.

We’ve had a pretty easy existence for a long time but once in a while, shit hits the fan. This is shit hitting the fan. But how we handle it is up to us. You control how you respond to the shit that the world throws at you.

In the end, this will be much easier to get through if more people have each other’s backs and we all try to help where we can. The media just exists to make money off of our fear, paranoia and insecurity, so it is in their nature to try and generate more, especially in times like these.

Learn how to read through the bullshit. Know the facts. Don’t take every rumor or clickbait headline you read as a stone cold truth. But also, be vigilant in your own life when it comes to the safety of yourself and your loved ones.

Honestly, I feel like everything I’m saying here, should be common sense. But when my social media and news feeds are full of 95 percent negativity, I thought that I’d have to put something positive out there.

People keep talking about flattening the curve, well… we also need to flatten the fear, paranoia and negativity. We need to be rational, logical and willing to build the world up instead of tearing it down.

Lets treat this threat as a reminder that we need to look beyond petty differences and actually see the good in other people, regardless of politics, religion or whatever other bullshit that divides us.

Human beings have been wired to seek out conflict; it’s in our nature. But we can also evolve beyond that and try to be something better. It’s on us whether or not we destroy ourselves or reach a higher purpose.

I don’t want to lose faith in humanity, as I see good, kind acts every day. So maybe it’s time that we all start making a real effort to push the needle in the other direction.

Talking Pulp Wrasslin’: All Elite Wrestling – Year One In Review

It’s been just over a year since All Elite Wrestling officially formed and close to a year since their first show, 2019’s Double or Nothing. We’re also several months into their weekly nationally broadcast show, Dynamite. So I figured I’d look at the first year of AEW and provide my thoughts, good and bad, as well as what I hope the future brings for those of us looking for a mainstream alternative to World Wrestling Entertainment.

Initially, my excitement was at an all time high after the success of the indie wrestling mega event All In, back in September of 2018. When I got wind that something bigger was happening beyond that, my excitement overflowed and I was “all in” on what this met for the future of the wrestling business.

However, right off the bat, there were decisions being made that made me question the newborn promotion’s direction and leadership.

First off, executive roles were given to wrestling talent that hadn’t proven themselves in that realm. While I was okay with Cody Rhodes being the public face of the company, due to who his father was and because he had flourished independently after leaving WWE, I was concerned as to whether or not he could effectively co-manage a brand new wrestling promotion with a lot of money pushed into it.

Additionally, when his wife and buddies were also given executive roles, I found that even more perplexing. Not because I’m hating on them but because none of them have had any experience in these sort of positions within a wrestling promotion.

Understanding that AEW wants to give more power and creative control to the on-air talent seems like a good idea in some regard but as history has shown, when active wrestlers become management, it typically leads to a shitty product and if I’m being frank, it’s not too dissimilar from some of their criticisms of other major league wrestling promotions, past and present. So even if they’ve got the best of intentions and are going to run their company differently, it still paints them into a corner. I’ll explain what I mean by that as this article rolls on.

Personally, I’ve never been a big fan of the Young Bucks but I liked a lot of Kenny Omega’s work in Japan and especially liked his matches with Kazuchika Okada, Tetsuya Naito, Kota Ibushi and Chris Jericho. However, there are distinct stylistic differences between Western and Eastern professional wrestling. That being said, Omega has primarily wrestled in Japan for years but he and the Bucks have been given three of the highest ranking jobs in the company. As far as I know, based off of information that’s been discussed by many over the last year, these guys have their hands deep into the creative side of the women’s and tag team divisions. I’ll also get more into this, further into the article.

The first mistake that these guys made is that they started hiring all their other buddies. This also isn’t too dissimilar to what other wrestlers given power in promotions have done in the past. And while I’m not saying that the talent they’ve hired isn’t good or bad, it feels as if they don’t care either way and they’re trying to hook all their buddies up with gigs because they either didn’t make it big in WWE or because WWE doesn’t want them. From the outside it looks like, “Hey, buds… we’re your saviors! Come on in and let’s party!”

Plus, most of the guys they’ve hired wrestle similar styles to the Bucks and Omega where everything is highspot after highspot to the point that highspots become way too commonplace and lose their meaning and their effect on the psyche of the audience. I’ll also delve into this more.

Additionally, almost all of these guys are small by wrestling standards and even if the game is changing, a roster full of guys that don’t convincingly look tough is detrimental to a product that is supposed to be about kicking ass and being badass. No one is afraid of the hipster asshole that runs the register at Chipotle.

Furthermore, typical Western audiences don’t want to watch two hours of just high-flying shenanigans that are done so much that we’re seeing a record number of spot botches on national television. Anyone can Google “AEW botch” and see a slew of videos and GIFs that make my point for me.

Now there are a lot of good things about AEW too. I generally like the product, for the most part, and it is a decent alternative to WWE. While it’s got its issues, so does the juggernaut WWE, which is why AEW got massive support to begin with.

I think that the writing that’s been on the wall for well over a decade is that Western wrestling fans want to try a new flavor other than vanilla. AEW has answered that challenge but it’s like they took vanilla and added some hot sauce to it. Point being, you’ve got to have a palate in order to be a good chef. It’s like AEW has the palate of a six year-old kid left home alone with a full fridge.

Now I don’t say that to be insulting but the product they’re putting out is just recycling the standard mainstream wrestling formula but trying to overpower it with lightning fast matches, countless highspots, more colorful language and a pretty high emphasis on comedy wrestling. While all of that stuff has its place, doing everything with the volume turned up to 11 is pretty fucking tiresome to experience.

I feel like AEW is just throwing a lot of shit on the wall to see what sticks and what doesn’t. Maybe they’re in a little over their head due to how fast they got off and running and because of the lack of experience running a wrestling promotion. It feels like there is a lack of understanding in regards to the fundamentals of what works on this hemisphere. While Kenny Omega and the Young Bucks were big in Japan, it doesn’t mean that what worked for them there is going to work for them here. I’m personally a big fan of Japanese wrestling, always have been since I was a tape trader in the ’90s, but I also know that my love of it isn’t something that most mainstream normal wrestling fans have on this continent.

It’s like they’re trying to appeal to a niche audience. The problem with that is a niche audience will always be niche and not mainstream. If you’re “in it to win it”, you’ve got to think bigger and you’ve got to produce a product that is enjoyed by the largest audience possible.

That comes down to one simple fact: you’ve got to know your audience. Right now, I don’t know if AEW does. At least not fully and not this early. That doesn’t mean that they won’t figure it out, re-work some things and fix some of these issues going forward. I certainly hope they do because more wrestling is good for everyone.

Diversity between promotions is a good thing that helps build brand identity and uniqueness. However, there can also be too much diversity and I think AEW suffers from that in trying to encompass many things, all at once. But I really hope this is just growing pains.

My point with this is that you can’t try to cover all bases by trying to appeal to every little niche simultaneously. You have to find the balance between them while, again, appealing to the widest audience possible. I think that the solution is to be something between WWE and what AEW currently is.

The best example I can give is the Attitude Era of WWE. No, not because it was edgy with a Jerry Springer atmosphere but because it allowed talent to be themselves, have some creative control and it took chances and had diversity within the content of its segments. At its height, it found a way to take the best elements of the mainstream WWE formula, mixed that with an ECW influence and also adopted some of the better elements of what was working in WCW, at the time.

WCW succeeded for awhile too because it was doing the same thing. Even though they had their own style that slightly differed from WWE, both promotions were just different sides of the same coin.

So since I’ve brought up WCW, I want to go back to my thoughts on wrestling talent being in charge, as that was ultimately a major factor in WCW’s downfall.

Back in the ’90s, when WCW was buying up WWE talent like Beanie Babies, they gave their heavy hitters too much control of their characters and too much power in booking the shows. This led to these guys only putting themselves and their buddies over while younger talent got the shaft and ultimately, jumped ship to WWE, which helped that company recover and win the war.

I know that the guys running AEW know this, as does anyone that loves wrestling and has been paying attention to the business for several years. But just because they probably don’t want to make the same mistakes doesn’t mean that they won’t. Power is one of those things that can change a person and while I assume that Cody, Omega and the Bucks have the best of intentions, who is to say what this will mean over time.

Having now watched AEW for about a year, I can actually say that it looks like they are actually trying to deliberately do the stark opposite of what the WCW stars did. Maybe that sounds good but it isn’t. So let me explain.

First, there needs to be a balance, just like with all things. All four of these execs are four of the absolute best wrestlers in this new promotion. However, they seem to be putting everyone over except themselves. I’m not sure if they are just afraid of being accused of what guys like Kevin Nash and Hulk Hogan were accused of twenty years ago or because they think that they’re building up the rest of the roster at their expense. But that’s just it, it’s at their expense.

You can’t objectively look at what has happened over the last year and tell me that Kenny Omega and the Young Bucks’ stock hasn’t dropped. Omega has lost his luster and the Young Bucks should be reigning tag team champions. Instead, Omega has been booked to look like a goof and the Bucks resemble the New Rockers more than the real Rockers.

In regards to Omega, he sucks as a babyface and he was at his best with The Cleaner gimmick. But the guy is sort of awkward and can’t cut good promos, at least not from what I’ve seen. And I thought of the guy as a superstar over the last few years that he was in New Japan. But now that I think about it, I watched his top matches and never really saw him talk all that much outside of press conferences. Also, the style of cutting a promo in Japan is different.

The Young Bucks just do three million superkicks per match and take two million dives to the outside. This reflects a problem I have with modern wrestling where devastating moves that should be finishers (or setups to finishers) are used so frequently that they’ve lost their luster and their impact. It’s like when someone uses a stunner or a cutter in a match and the opponent recovers like it was a simple neckbreaker. It shows a complete lack of understanding of ring psychology and in-ring storytelling. It’s like they’re just playing WWE2K and put in a cheat code to always have finishers active.

While some refer to this as a reflection of the times, I say that modern times suck because no one has time to have a real conversation without looking at their phone every five seconds while only having the attention span to absorb information the size of a tweet. But these people are what this style of “wrestling” appeals to. This is also probably why AEW considers an Ironman Match to be just 30 minutes. That’s more like an Aluminum-Man Match.

In regards to Cody, he’s at least had a main event spotlight on him but they booked him so that he can’t ever compete for the AEW World Championship again. I think that’s a massive mistake and hopefully it is rectified through a storyline because Cody, as well as Omega, should be World Championship chasers when the time is right. In fact, Cody should be the guy to take the belt off of Chris Jericho when that time comes. But I’d keep the belt on Jericho for well over a year because the title needs to build prestige and not be used as just a prop, which has been WWE’s problem for a few decades now.

I also have major issues with how the women’s and tag divisions have been booked. I don’t care how it looks on paper but the Young Bucks, despite my opinion on them, should have been the inaugural tag champs. They were the most famous team in the promotion and they came into AEW super hot after leaving Japan and Ring of Honor. I guess since they run the division, they didn’t want to crown themselves as the kings. That was a mistake and, as I’ve already said, their stock has fallen in the last year.

Now that’s not to say that the Young Bucks can’t recover but they’ve booked themselves into a corner and frankly, I don’t give a shit about them or the division anymore. Hopefully, management finds a way to right the ship.

Looking at the women’s division, despite her in-ring ability, Riho is not believable as the champion. They put the belt on Nyla Rose, who is massive by comparison, and that’s a much better fit. However, having Nyla lose to Riho when they crowned the first women’s champ was a major mistake that hurt the division immensely. People have talked up the quality of their last match but I can’t suspend disbelief enough for it to have physically made sense in my brain. Especially, when Riho’s neckline is below the top rope and she’s skinnier than a stop sign pole.

Beyond just that, the women’s division in general has been booked atrociously with just about everyone looking weak. They’ve ruined Britt Baker, their first female signed to a contract, and they brought in Kris Stadtlander and got her over immediately, only for her to get knocked out of the picture in a matter of weeks.

In a perfect scenario, Awesome Kong should have been the inaugural champion and she should’ve run through the division until management settled on who the top young star should be. Then, only after climbing the ladder to the top, should the new champion have been crowned.

Moving on, AEW also suffers from a lack of creative. Most of the storylines aren’t interesting and the show is carried by just two rivalries. Those are the Jon Moxley v. Chris Jericho (and The Inner Circle) feud, as well as the superb work being done by MJF and Cody Rhodes in their emotional conflict.

Outside of that, nothing interests me. I’m half interested in the Pac v. Kenny Omega Aluminum-Man Match coming up but that’s just because of the physicality of what the match should be and not the actual storyline that’s been booked like a fucking afterthought.

I don’t give a crap about The Dark Order bullshit and they’ve got enough Ministry/evil goth faction ripoffs between The Dark Order, The Nightmare Collective and The Butcher, The Blade & The Bunny.

Granted, The Nightmare Collective have been abruptly cancelled but that also is another problem with creative. You don’t just cancel an angle in the middle of it and say, “Oh, we weren’t feeling that, so whatevs!” No, you find a way to creatively end it within a storyline. How am I supposed to buy into what you’re selling when you can just pull the plug on it at any second? How do I build trust with your brand and the universe you’re building?

I’m not going to really get into my issues with the comedy stuff other than to say that I don’t hate Orange Cassidy like many old school purists do. I find the schtick to be somewhat enjoyable and it has got him really over with the crowd. But this will only work for so long and the character has to adapt and evolve if he’s going to have longevity and not go down as another joke lost to the sands of time. He needs to have something push him into actually getting physical in a non-comedy way. He can still fuck around and be funny but something has to make him actually pull his fist back and haymaker the fuck out of someone. You have to show him break through the character if you ever want him to emotionally connect with the audience beyond just being the doofus sidekick in a stoner comedy.

Granted, I don’t know what he’s actually capable of beyond his limiting gimmick and I don’t have the faith in AEW creative to capitalize on him and strike while the iron is hot. The thing is, you can only tell the same joke so many times before people start scrolling their Twitter feed.

The last thing I’m going to harp on is AEW’s insistence of having win-loss records. This is another thing that paints them into a corner, creatively speaking. No one really cares about wins and losses, they just care about seeing great matches and having the best guys get over. But to truly get the good guys over, you have to have them overcome the bad guys. Usually, this comes with losses and misfortune, only to have them eventually get the upper hand and win the rivalry. But with also including a weekly rankings system, keeping track of wins and losses is detrimental to that, especially when you compare them to the rankings and they don’t make sense. They need to get rid of this shit fast and just focus on stories and booking proper programs and feuds. They said, early on, that AEW was going to be treated like a real sport. Well, they’ve failed in that regard and seeing a guy ranked at No. 5 with a 3-1 record behind a guy ranked No. 4 with a 0-0 record is asinine.

I know it seems like I’m taking a big shit on All Elite Wrestling but hey, I’m still watching it every week and hoping for the best. Right now, I just have to focus on the things I love about the product. Those things are mainly Chris Jericho, Jon Moxley, MJF, Cody Rhodes, Pac and Hangman Page, who could be the next massive superstar in the wrestling business. All six of these guys are the absolute highpoints of every show. I’m also really excited to see what Jake Hager can do in this environment, once he gets in the ring.

Furthermore, there are probably some new faces coming in. I’m most excited for what Brodie Lee (WWE’s Luke Harper), Lance Archer, Matt Hardy and The Revival can bring to the table if they sign with AEW.

The Revival are really what the tag division needs, as they can slow the matches down and add a new flavor to the proceedings, as their in-ring style is in great contrast to teams like The Young Bucks.

As far as Lee and Archer go, they would add some real size to the roster, which is definitely needed.

Keeping up with all the behind the scenes stuff, Tony Khan, the real guy in charge, has stated that he’s had some buyer’s remorse with certain wrestlers and that AEW, at least for the moment, are primarily looking for bigger, athletic guys. That shows me that he’s aware of the criticisms and that he’s trying to plug some holes and get the promotion on track.

Also, the commentary team is solid between legends Jim Ross and Tony Schiavone. I also like the recent addition of Taz. I’m still not sold on Excalibur, though. He needs to calm down a bit and focus on the action, as opposed to yelling out the name of every move just to prove he’s a human wrestling Wikipedia.

I feel like I’ve stated enough, even though I could go into greater detail on a lot of these points. The thing is, I like AEW and I want it to succeed because real competition benefits all parties involved. I want AEW to flourish and give me something to get excited about. I also want WWE to feel the heat and to start making their product better because they’ve become really fucking complacent at the top for two decades.

I hope that 2020 is the year where All Elite Wrestling finds its groove, works out a lot of its kinks and gives the fans a wrestling show that they don’t want to miss. I’d love for the Wednesday Night War to become as big of a phenomenon as the Monday Night War. The wrestling industry needs its fans to feel the passion that existed during that time. Hell, if you’re a fan and you don’t want to feel that passion again, why are you still watching?

Talking Pulp Wrasslin’: Reflecting On My Personal Experience at NWA Hard Times

*I wanted to write this and have it up last weekend but I was dealing with a loss in my family, the hustle and bustle of my trip to Atlanta (for family and to see this show) and then I had to get right back to the real job while fighting off a cold for the last few days.

Being that I have been digging the hell out of the National Wrestling Alliance’s product since Billy Corgan bought them and took over, I didn’t want to miss out on one of their marquee events, as I regretted not being able to make it up to Atlanta for Into the Fire a month ago.

Making the trip this time, I wasn’t disappointed and I plan to go back because the show and everything surrounding it was fantastic. I haven’t been to a wrestling event where the promotion hosting it seemed to care this much about their fans and providing them with a memorable experience.

Also, I haven’t quite felt this level of energy while at a wrestling show since the late ’90s when I used to go to ECW events whenever they came to the southern half of Florida.

What made this even more cool was that it didn’t just feature NWA talent but it also featured some of the guys from Ring of Honor: Marty Scurll, Flip Gordon, Matt Cross and Dan Maff.

The NWA Worlds Heavyweight Champion Nick Aldis is currently in a program with long-time friend and rival Marty Scurll, which has opened the doors for NWA to crossover with ROH (and possibly other promotions). This makes for a really exciting time in the wrestling business for fans that need alternatives to the mainstream WWE content.

Hard Times was built around a tournament for the recently resurrected NWA World Television Championship. The tournament bracket featured eight wrestlers (six from NWA and two from ROH). Well, Ken Anderson didn’t make it to the event, so his first round opponent, Tim Storm, got a bye.

The tournament itself was damn cool to watch, as I’ve always been a fan of wrestling tournaments but have never seen one live, in its entirety.

Apart from that, the show also featured other marquee match ups and there wasn’t a low point. Everything was fun, energetic, engaging and kept my, as well as the crowd’s, attention.

Sadly, due to the loss in my family mentioned earlier, I was only able to go to Hard Times and missed out on the TV tapings for the third season of NWA Power. But for the one night I did go, I bought the VIP pass because I wanted to immerse myself into the product as much as possible.

I’ve got to say, even if you do it just once, the VIP experience is well worth the price of admission.

We got let into the studio an hour earlier, which we were allowed to explore pretty freely. We also got first dibs on seats, got to touch and hold the Television Championship while taking photos with it and we also got to meet producer Dave Lagana, as well as have a Q&A session with on-air personalities Dave Marquez and Kyle Durden. On top of that, we also got treated to a pre-televised “dark match” that advanced the storyline between Eddie Kingston and “The Pope” Elijah Burke.

My biggest takeaway from this was how much the NWA personalities liked us being there and how much they seemed to enjoy shooting the shit with us all. Marquez and Durden were open, personable, held the attention of the small group and didn’t shy away from answering questions on any topic. We even got Marquez setting the record straight on what the difference was between rides and attractions at Disneyland.

After the show, my friend and I waited a few minutes for the studio to clear out a bit so we could soak the place in a bit more before leaving. What I had felt that day was pretty infectious. My friend, who had just watched the show casually up to that point, became a die hard loyalist over the course of the night. We didn’t want to leave but as we went to exit the building, we discovered some seriously badass fan service.

In the lobby of the studio, the merchandise tables weren’t just selling the merch that was displayed before the show. Now most of the tables had the wrestlers themselves there, selling all types of cool stuff. But most importantly, they were there to talk to us, hang out a bit and make us feel like we were appreciated and that we were all a part of the same wrestling family. It didn’t feel like there was an imaginary line between the show and the fans. There wasn’t a guardrail or a curtain surrounded by guards, there was just us and them and just good, jovial times where everyone was happy.

I got to talk to Kamille and the Wildcards, Allysin Kay, Thunder Rosa, Marti Belle, The Question Mark and my main dude, hands down, the “Outlandish” Zicky Dice.

All in all, this was a great experience. I’ve been to dozens, if not hundreds, of wrestling shows in my lifetime and very, very few have ever made me feel the way I did seeing this modern incarnation of the National Wrestling Alliance. I’ve been backstage at WWE, WCW, ECW, old school NWA, indie shows and Championship Wrestling from Florida tapings but my first experience going to the modern NWA was one of my all-time greatest nights as a lifelong wrestling fan. There was just this overwhelming feeling of something right and comforting in my soul.

I was already sold on the NWA and Power is the weekly wrestling show I most look forward to. But what I was feeling before Hard Times has now multiplied tenfold.

Everything that the NWA is doing, right now, is perfect. I just hope that they can win over the hearts of many more people and continue to grow. For those who are already watching NWA Power but haven’t seen any of this live and in person, you really need to make the trip to Atlanta.

With the Crockett Cup returning in April, as the next big pay-per-view event, I know that I have to make the journey, wherever it is held. They’ve already announced that this show will take place in a bigger venue, I just hope it’s at least in the southeast and in a city I can fly to or drive to easily. And by then, maybe we’ll see more ROH talent get involved or even talent from other promotions.

Talking Pulp Wrasslin’: Reflecting On NWA Into the Fire

It’s been a few days since the National Wrestling Alliance’s Into the Fire pay-per-view. I tried to go to the event live but I had issues with my Internet when tickets went on sale and they sold out too fast for me to get my hands on a few. Since this event took place on my birthday, I thought that I’d make it an awesome present for myself but alas, I had to watch it on television through the Fite app on my FireStick.

I also didn’t see this live, as my friends took me out for my birthday. Instead, I watched this Sunday morning while nursing my hangover. Unfortunately, the surprise of Marty Scurll’s shocking debut was spoiled for me thanks to Twitter.

Overall, I thought Into the Fire, my first modern National Wrestling Alliance pay-per-view, was good enough to keep newer fans interested but it lacked in some areas that I want to discuss. So I guess this is kind of a review of it, even though the article isn’t labeled as such because I don’t typically review wrestling shows on Talking Pulp – although that might change.

To start, my biggest gripe about the show was match length. Every match, even the main event, which ran the longest, felt like they flew by too quickly. When I looked up what the actual match length times were, the first five matches ran between 4:15 to 9:16. The two longest matches clocked in at 12:20 and 22:00. For a two and a half hour show, these run times seem pretty scant and frankly, the matches, most of which were good albeit green in spots, felt like flashes in the pan.

Additionally, I wasn’t crazy about the pay-per-view being broadcast from the TV studio where they film Power. The main reason is the look of it. I felt like the show should have had its own distinct aesthetic to set it apart and make it feel special or next level. Granted, this could’ve been simply achieved by using different colored curtains or modified sets. I know that stuff costs money and the National Wrestling Alliance isn’t a financial juggernaut like WWE (or even AEW) but I felt like more effort should’ve been made there.

Or they could’ve moved it to a small arena in the Atlanta area. I don’t think that the promotion can sell out a decent sized arena in 2019 but even a nice hall or something like what ECW used to run shows in back in the late ’90s. Hopefully, as the NWA grows, and I sincerely hope it does, this will be something that they can do in the future. Working in marketing for nearly two decades, I think it’s important to brand the pay-per-views differently than the weekly show. As I’ve said, it can be achieved with just some minor tweaks to the studio.

I understand the concept that the episodes of NWA Power between the pay-per-views are being looked at as “seasons” with the pay-per-views themselves being looked at as “season finales” but I still think they need to differentiate them, as Into the Fire felt more like an extended episode of Power than it did a flagship event. While I’ll watch these events, regardless, I’m thinking more about making the NWA appeal to a larger audience. If you’re in business, it should be to make money. To make the most money, you have to try and appeal to the largest audience possible.

Moving on, I thought that the action in most of the matches was good. Some of the younger talent still need to refine their in-ring work but I’m not going to call out anyone specifically, as the end result was still a good show and I think that the talent is only going to improve, especially with the guidance of some of the veterans on the roster. I hope guys like Nick Aldis, James Storm, Tim Storm, Trevor Murdoch, Ken Anderson, Aron Stevens and Colt Cabana are allowing the younger stars the ability to come to them for advice.

Out of all the matches, the one I most enjoyed was the main event, two out of three falls match between NWA champion Nick Aldis and solid veteran James Storm. They put on a good match, had solid chemistry and the inclusion of Tim Storm into the story as one of the referees was a nice touch and a nice rub for a guy that doesn’t get the fanfare that I feel he deserves.

Ultimately, the high point of the entire show was the last few minutes that saw Marty Scurll, now a free agent after his time in Ring of Honor, show up to confront Nick Aldis. Obviously, this is to set up a big feud for the NWA Worlds Heavyweight Championship that will most likely be the main event of the next big pay-per-view.

It’s damn cool to see Scurll show up and show the NWA some love. I’m assuming he is off to All Elite Wrestling in the near future, as that promotion was established by his good friends, but his presence in the NWA only helps it, even if it is just temporary.

The National Wrestling Alliance is off to a decent start, looking at this as the first pay-per-view that their newly acquired audience has seen. I hope the buyrates were solid and that it helps keep the NWA going strong, as they film more episodes of Power and build towards the next flagship show.

It’s also worth mentioning that the Television Title is coming back and will be contested for at a pay-per-view in late January. But I guess I’ll have to wait for this week’s episode of Power to find out more. And maybe I can get tickets to that show.

Lastly, I really liked Stu Bennett (formerly WWE’s Wade Barrett or Bad News Barrett) on commentary. The voice of Jim Cornette will be missed but Bennett has the chops and did a superb job calling the action.

Talking Pulp Wrasslin’: The National Wrestling Alliance: Out of the Fire

For almost two decades now, World Wrestling Entertainment hasn’t had any real competition, at least in the United States, its home country. But even on a worldwide scale, it’s been pretty hard for other companies to rise up and challenge them. It’s become an empire, poaching the best talent from everywhere on Earth while becoming a boring shell of what it once was. Because without someone really on your heels, what are you running from and what are you running towards?

In the last year or so, the landscape has changed pretty immensely.

Ex-WWE stars and other stars not wanting to ply their trade in that company (because of how they’ve wasted and misused talent) have started to band together, make noise and a new company has formed: All Elite Wrestling.

This fledgling AEW is being bankrolled by the Khan family, who own the Jacksonville Jaguars and Fulham F.C. after becoming billionaires in the automotive parts industry.

The Khans teamed up with an ex-WWE star, Cody Rhodes, as well as some of the top North American wrestlers that were working in Japan, one of which is arguably the best in the world, right now: Kenny Omega.

They then started doing their own pay-per-view events, showcasing all the great talent that left WWE or that didn’t want to go there. Then they got a major television deal with TNT, the same network that used to host World Championship Wrestling’s weekly Nitro program, the show that nearly broke WWE two decades ago until WCW imploded.

Companies like Ring of Honor and Impact (formerly TNA) started stepping their game way up. New Japan Pro-Wrestling started coming Stateside and everything started to evolve in an exciting way.

But this isn’t really about any of those companies. It’s about the one really old promotion that seemingly hadn’t come up for air in a really long time. A promotion that no one was looking at because for most fans, old and new, it had died out years ago, even if its championships still existed and were contested for at indy wrestling shows that didn’t have much, if any, national exposure.

I’m talking about the National Wrestling Alliance, the NWA, the once gigantic organization that served as a network and governing body between all the territories in the United States.

The thing is, the NWA never really left. On the grander scale of the professional wrestling landscape, however, it hasn’t made very much noise in quite some time. In fact, it’s been pretty damn mum and kind of an afterthought once the WWE absorbed it’s top competitors and nearly every major video library of every territory that got swallowed up by the global juggernaut. They even absorbed the libraries of several NWA-allied companies from yesteryear.

Two years ago, Billy Corgan of Smashing Pumpkins fame bought the National Wrestling Alliance. He had some prior experience running Revolution Pro Wrestling and handling creative for TNA, now Impact Wrestling. However, TNA had a lot of issues and Corgan ended up on the outs. But he had always had a love for professional wrestling and decided to purchase the NWA with the hopes of building it back up into the large brand that it once was.

In the time since, Corgan has grown the NWA’s exposure and with the help of his current world champion, Nick Aldis, he’s brought some real prominence back to the NWA Worlds Heavyweight Championship.

The title was defended in a major marquee match at the culture shifting pay-per-view event All In. Aldis even dropped the title to the soon-to-be AEW Executive Vice President, Cody Rhodes. Although, Aldis won it back a few months later in another massive match that got a lot of exposure.

The thing is, people were talking about the NWA and it’s premier title once again. It had national exposure, it helped make Aldis a more recognized performer on a larger scale and it planted seeds for something bigger on the horizon.

So back in October of this year, AEW was finally ready to debut their television show on Wednesday nights. WWE then decided to take their developmental brand, NXT, off of their WWE Network streaming service in order to move it to television, on the USA Network, to go head-to-head with AEW in order to try and keep that brand from becoming a juggernaut on the level that WCW once was. You know, because Vince McMahon is kind of a dick and has to own it all, unopposed.

This battle for wrestling ratings supremacy was coined the Wednesday Night War, as a play on words of the Monday Night War that was the nickname of the intense ratings battles between WWF Raw and WCW Nitro from 1995 through 2001.

But while all this was going on, the National Wrestling Alliance decided that it was going to return to the ways of old and start filming wrestling shows in a studio setting like they used to do in the ’80s, at the height of the organization’s popularity.

Knowing that nostalgia can be a very good thing and that this sort of studio presentation would generate the right kind of feeling in old school wrestling fans that miss the days of yore, Billy Corgan gave us NWA Power.

Personally, I was aware that the show was coming and that it would be broadcast on YouTube weekly on Tuesdays at 6:05, similar to how the NWA shows of old started at :05 on the hour because that’s how TBS did things back then. But I didn’t know what to expect or if I’d even like the end product that much. I knew it was going for the nostalgia thing and while that made me happy, I was unsure of what the end result would be. It could be disastrous if handled poorly and in a cheesy, hammy way that insulted fans’ intelligence.

Then the first episode dropped and as soon as I heard Dokken’s “Into the Fire” blare through my TV’s stereo speakers, I was immediately in the right place. I felt a nice ease come over my body, releasing the apprehension I had and then I heard Jim Cornette’s voice, the excitement of the live crowd in the studio and the classic blue ring apron and a set that looked like it was from the era it was emulating.

I didn’t care that NWA Power looked dated, that’s what made it so damn cool. But it also didn’t just rely on that. It taps into the right vibe and hits the right notes for fans of what the NWA once was but it doesn’t rely so much on old faces, as it showcases a lot of young, newer talent, most of whom seem like they’ve got legit chops in the ring and in the realm of being entertainers.

As each new episode dropped, my rekindled love of the National Wrestling Alliance grew. And despite the great shows that AEW and NXT have been putting out since the start of their war, it’s NWA Power that I most look forward to each week. There’s just something special about it. It’s pure and it sparks that feeling that I used to get watching wrestling when I was a kid. But nostalgia alone can’t do that.

NWA Power has stars and I don’t mean that to come across like they’re the stars of tomorrow. No. These are the stars of today. And while they might not be on the biggest platform, that doesn’t mean that they can’t compete and also, who’s to say that the biggest platform is the right platform for everyone? It’s been clear that it hasn’t been right for a lot of wrestling talent. And, at the end of the day, where the biggest platform fails their talent, it only benefits companies like the National Wrestling Alliance.

Billy Corgan has big plans for new things going forward. There’s a reality show starting soon, which works as a talent search for indy wrestlers that want a shot at being on NWA Power. There is also pay-per-views, which the NWA has streaming through Fite TV, an app worth getting. Plus, there’s the ongoing Ten Pounds of Gold documentary series that follows the story of the NWA Worlds Heavyweight Championship.

So this Saturday night, the NWA is putting on a big pay-per-view called Into the Fire. And that’s honestly the inspiration for me to put down my thoughts in this article. Reason being, I haven’t been this excited for a wrestling pay-per-view in decades, as far back as the Monday Night War era.

I feel like I just have to tip my hat to the National Wrestling Alliance, Billy Corgan, Dave Lagana, Nick Aldis and all the talent in front of and behind the camera for making me feel as excited as I do. Being a wrestling fan has been a really rocky road for a long time with only one big show in town. But now things are changing and weathering the storm ended up being worth it.

While the big pay-per-view is called Into the Fire, the National Wrestling Alliance really just rose like a phoenix out of the fire: reborn and ready to ignite the hearts of fans across the globe.

Talking Pulp: Rotten Tomatoes Has Always Been Rotten

Everyone and their mother seems to be outraged by this Rotten Tomatoes controversy of the past 24 hours. Everyone has written an article or done a video on it and I figured I’d stay out of it because it’s monopolizing my social media feeds.

However, I have a different perspective on it because where people seem to be surprised and offended by their bullshit shenanigans the last few days, I never relied on the website or took it too seriously to begin with.

Rotten Tomatoes was never about audience participation, it’s always been about using an unclear, bullshitty algorithm to give unreliable scores to movies that do nothing but benefit the big studio system’s marketing machine. This wasn’t a secret, they’ve been shilling for their corporate masters since the Clinton administration. While it may have started with noble intentions in 1998, I can’t remember a time where I ever saw Rotten Tomatoes as relevant and I was using their built-in proto-social media platform back in 2001 or so.

People have been asking where they can go now, since Rotten Tomatoes has silenced anyone that isn’t approved by them to be a film reviewer. I’ve always found IMDb to be the most reliable source for how good a movie is. More often than not, IMDb ratings line up with my feeling on a movie. For those that don’t know, IMDb’s score is solely comprised by the audience. Anyone can vote on a film’s rating and millions already have. In fact, more people have voted on films on IMDb than they ever have on Rotten Tomatoes.

Now that’s not to say that IMDb won’t throw us a curveball in the future, as more and more tech industry companies continue to control speech. But, for now, it’s a better source and it always has been. Plus, the website doesn’t look like it was designed by a Nickelodeon intern. It’s basic, informational and straight to the point. Although those video ads that expand on your page are a pain in the dick.

Rotten Tomatoes doesn’t give you an accurate rating. They control who can be considered a legit critic and then they reduce in-depth critical analysis down to a binary result: did the critic like it or not like it. So if a bunch of critics think a film was a 6 out of 10, Rotten Tomatoes calculates that as a like. So when likes equate to 100 percent and dislikes equate to 0 percent, you can end up with a film getting a 98 percent approval rating even if most of the critics only thought it was a 6 out of 10.

So it’s not like they’ve been honest or given us accurate numbers, anyway. The only reason they are as big as they have gotten is because they have a simple logo that is easy for Hollywood marketing firms to throw on posters and into TV spots the day before a film drops. So by smooching that Hollywood ball sack, Rotten Tomatoes gets their own free marketing, gets considered relevant by casual filmgoers and then just increases their power and hold on the industry.

Additionally, Rotten Tomatoes is owned by Fandango, who are owned by NBC Universal (70 percent) and Warner Bros. (30 percent). So if it is under the umbrella of two massive film studios, why wouldn’t they build up their own propaganda machine in an effort to convince people that Rotten Tomatoes means something?

Now on the flip side, IMDb is owned by Amazon. While Amazon has its own studio, it has a much more neutral position within Hollywood. Plus, IMDb continues to use a ratings system that is controlled by the people and not some vague, complicated aggregator.

But what most people are upset about is that Rotten Tomatoes has taken their voice away. But even the audience scores have been found to be skewed, as Rotten Tomatoes won’t calculate in audience scores that are zero stars. And this has been known for awhile.

Frankly, Rotten Tomatoes is disingenuous, it doesn’t give a fuck what you think and it’s only purpose is to shill.

So I’m glad that they took a giant misstep and have now made more people aware of just how full of crap they are.

In the end, you can just come to TalkingPulp.com and I won’t steer you wrong. Unless you have really poor taste. But then again, I also don’t go to the movies too often anymore because people forgot how to behave in a theater and I’m usually seeing red instead of the movie I paid to watch.

Talking Pulp: The Loss of FilmStruck Is Depressing

I have been a subscriber to FilmStruck pretty much since it’s inception. So the news that it is closing up shop this week is very depressing and also unsettling. But I’m here to explain why this terrible reality is an absolute tragedy for those of us who love the art of filmmaking and the incredibly diverse history of motion pictures.

FilmStruck was a collaboration between Turner Classic Movies and the people behind The Criterion Collection. It’s a great streaming service for true film lovers. It has featured true cinematic classics, foreign gems and lots of great indie films going back as far as the earliest motion pictures.

The service was broken into two subscription tiers. The lowest priced one gave you FilmStruck’s selections of films while the higher priced tier gave you The Criterion Collection add-on. I always paid for the higher tier, as $10.99 a month is much cheaper than what it would cost to buy a single Criterion Blu-ray. In fact, three months of The Criterion Channel was about equal to one Blu-ray.

What also made the Criterion add-on great, is that it didn’t just give you Criterion versions of the movies but you got a lot of the extras, documentaries and interviews along with it. You also got a lot of videos where movie experts and historians talk about some of these great films and their impact.

FilmStruck also did a stupendous job in curating their offerings and always bringing in new stuff while featuring specific directors, actors, cinematographers, etc. It truly celebrated the great art of filmmaking and film history. If you absolutely love motion pictures, there just isn’t a better streaming service than this.

In fact, a large bulk of what I review on Talking Pulp (and formerly Cinespiria) are movies that I have watched with FilmStruck. I’m a pretty big film aficionado and FilmStruck has been a spectacular educational resource for me, as I always try to delve deeper into history, varying genres and geographical regions. Without FilmStruck, I probably wouldn’t have come to discover many films that I have grown to love.

I know I’m not alone, as I meet new film aficionados almost daily and FilmStruck has helped to educate many of us, as we all love to explore the dark recesses of film history.

Unfortunately, FilmStruck is going away due to corporate mergers, new owners analyzing the books and them deciding that FilmStruck just isn’t profitable enough. If that’s the case, it’s something I would gladly pay more money to keep. But in the corporate world, decisions are rash and the cultural importance of something is often times overlooked for profit. I’m very much a capitalist and I get that it’s all about the bottom line but some things are bigger than the value of the dollar.

Film history is history. It is also art and art is pretty damn important.

Thousands of people seem to agree with me, as a petition was created to save FilmStruck. 50,000 signatures were needed and the petition exceeded that and then upped the number to 75,000, which it is still building towards. However, the new owners of FilmStruck don’t seem to care about that, as the service is still going down on November 29th, 2018.

It’s depressing and it’s tragic. I wish that this was something that could be saved and that the people at the top of the food chain saw this as something with real value in a world where movies are getting worse and art itself is being watered down and washed away in just about every medium.

Film is powerful but maybe it’s not powerful enough anymore.

That being said, The Criterion Collection has announced that they are creating their own service in the wake of all this. It won’t quite be FilmStruck but as long as it has access to the same Criterion content we’ve gotten with this great service, then it should also be worth every penny.

Sadly, we will have to wait until the first quarter of next year and in the meantime, there really isn’t a streaming service for true film aficionados.

This is a dark time, as watching Netflix original movies isn’t how I want to spend my free time, but I guess there is a silver lining on the horizon.

And who knows, maybe once that ball is rolling, The Criterion Channel can start working with TCM again.

Only time will tell how this plays out but for now, this is a great loss to the film world.

I will truly miss FilmStruck and I can’t thank the people behind it enough for giving film fans something marvelous, invaluable and treasured.

Talking Pulp: Stan Lee is Gone but His Legacy is Immortal – How He Impacted Me

It’s been a few days since Stan Lee passed away. The Internet is full of tributes to the man but I really needed some time to process it and to reflect on his life before writing about what Stan meant to me.

Stan Lee had an immense impact on me and to be honest, that’s an understatement. Alongside George Lucas, Lee was responsible for creating a vast mythos that was instrumental in shaping my life. I would say that Lee had an even larger impact than Lucas’ Star Wars, which was the biggest thing in the world to a kid of the ’80s.

Lee eclipsed Lucas because by the time I discovered his creations, Marvel had already expanded into a universe much larger than what Star Wars was or would ever be.

Stan the Man created more characters and things that I grew to care about than any other great creator throughout the history of time. Maybe that’s because of the time I grew up in or because I was just drawn to comics, being that I’ve been an artist and a writer since I could hold a pencil.

My very first Marvel experience came in the form of television, as I became a huge fan of the Spider-Man and His Amazing Friends cartoon, which ran from 1981 to 1983. I was four years-old in ’83 and I probably discovered the show right at it’s end but it would go on to be replayed beyond its cancellation.

I remember vividly, the day that I saw the Spider-Man and His Amazing Friends episode that featured the X-Men. I immediately fell in love with those characters and it wasn’t long before I had issues of The Uncanny X-Men in my hands. Then there was The Amazing Spider-Man and my first mega event, Secret Wars. Everything branched out from that but it was the foundation of Stan’s creations that brought me to a fantasy world where I could escape and spend my time.

Marvel was the first comic book company I discovered and even though I loved DC Comics’ Batman more than any other comic book character, I spent 90 percent of my time reading Marvel over DC. I was fascinated by the X-Men, I loved Spider-Man and his large rogues gallery. I really got into Captain America, dug the hell out of Iron Man and followed all versions of the Avengers teams from the mid-’80s and onward.

I was very aware of who Stan Lee was, as he was always a prominent figure in comics and his name was in the credits of nearly every Marvel book, if not all of them back then. When I would see Stan do interviews or pop up in other places, it was always a treat. He had charisma and an infectious personality. He was wise, creative and fatherly but in a way that was way cooler than any dad on Planet Earth.

When the Marvel Comics trading cards came out my first year of middle school, all the boys I knew were trying their damnedest to collect the full set. This was my first experience in trading cards with friends and a lot of the sixth grade boys at my school started becoming a bit of a club or community. Collecting these cards educated us on Marvel history and led us down new avenues with new characters and major stories to check out. We started trading and lending out comics. It was a really cool time to be a kid, especially for one that loved superhero comics.

By the way, my favorite Marvel trading card was always the Stan Lee one from the first series.

When you think about all the things that Stan Lee created and then take into account the scale of what those creations have become in pop culture, he may be the most prolific, successful and inspiring writer of his generation. Most of his creations are beloved and many of them have become big business in film, television and video games. Not to mention toys, trinkets and just about anything you can throw the Hulk or Thor’s mug on.

Stan Lee’s work has generated billions of dollars in revenue. It’s damn near impossible to find anyone who doesn’t know at least one of Lee’s creations.

I’ve seen Stan Lee in person but I never got to speak with him. But regardless of that, I always felt close to the man, as did many fans. He seemed accessible and he always seemed to love the people as much as they loved him. He always had his best face on, publicly, and I’ve never met a fan that had a bad experience in meeting him.

Stan Lee’s passing wasn’t unexpected. I think that everyone knew it was coming in the near future based off of the loss of his wife and the terrible things he went through since then but that doesn’t mean that it didn’t hit me like a dagger to the gut.

I don’t usually get down or upset about celebrity deaths. Sure, there are people that I know I’ll miss and dwelling on their deaths is a downer but Stan’s death was different. Stan was a major part of my life.

Without Stan, I might not have discovered comics in quite the same way and I probably wouldn’t have such a passionate love for them that didn’t just end in childhood but has carried over into adulthood.

Without Stan, I probably wouldn’t have ever drawn my own comics as a kid. By the time I was in 7th and 8th grade, I had formed my own company with some friends and we were putting out comics regularly, first selling them to other school kids and then kids from other schools we didn’t even know. I loved that time in my life and it was Stan that guided me to that great place. Plus, his book, How to Draw Comics the Marvel Way was my bible during this period of creative exploration.

Without Stan, I may have walked away from comics. However, he was always a presence in the industry and every time I saw him trucking along, putting out new projects and popping up in movies, it always brought me back to that place where I always felt most comfortable. Stan Lee was like a piece of home for me, a dear relative that lives far away but pops back up into my life every so often.

A world without Stan Lee just doesn’t seem like a world I want to live in. I don’t mean that to sound depressing but he was always a beacon of light and enthusiasm, exuding positivity and imagination. The world is truly missing something great without Stan Lee in it.

But we all have to do what Stan Lee would want us to do. Move forward, live life and try to be the best version of ourself, everyday.

Talking Pulp Wrasslin’: How WWE Finally Broke Me as a Lifelong Fan

I have been a fan of professional wrestling my entire life. I grew up with a lot of my family members watching it and I got to go to a ton of shows throughout Florida, as a kid in the ’80s and ’90s. In fact, I would often times get to go backstage at events, as some people in my family had old relationships with certain people within that industry. I grew up with this thing in my life at a very early age and I even aspired to be a wrestler after seeing the matches of Bret Hart, Shawn Michaels, Ric Flair, Roddy Piper, Ricky Steamboat, Randy Savage, the more technical guys in ECW and all the great Japanese and Mexican classics that I acquired on VHS in the ’90s.

To say that I was a hardcore fan in my teen years and early twenties is an understatement. I grew up with the ’80s cheese, the early ’90s weirdness and the Attitude Era began as I was in my late teens. I remember vividly the first time I saw Scott Hall on Nitro, an ECW show on the Sunshine Network and the Montreal Screwjob. All of it instilled a passion in me that I never thought would die.

However, I’ve now gotten to the point where I can’t stomach WWE. It’s been something that has actually been slowly growing in me for decades since the start of the PG Era and the loss of real competition for Vince McMahon’s monster company. But despite holding on, because I love great matches and great in-ring psychology, I have finally broke down and can’t support WWE anymore.

To start, Raw has had some record low ratings this year and Smackdown is pulling in worse numbers. You can’t really look at pay-per-view buyrates anymore because WWE found a way to skirt around that statistic by putting their marquee shows on their own streaming service. Being that the WWE Network is $9.99 per month, paying that is a no brainer when compared to the $50+ per event that they were charging on the standard cable pay-per-view format. But this also gives WWE an inflated number when compared to pay-per-views of old, as more people can pay $9.99 over $50+. Regardless, you can’t compare pre-WWE Network buyrates to WWE Network subscriptions. It’s apples and oranges but WWE doesn’t want you to see the ruse. But they have seen their audience as dumb for many years, despite their insistence that they care about what the fans want and that WWE fans are “smart”.

You still get a damn good match in WWE quite often but usually they are watered down by the shit show around them. And in cases where you should definitely have awesome matches, you don’t. Look at this year’s AJ Styles and Shinsuke Nakamura feud. Those matches could have been classics and we could have had an incredible feud but WWE stands in the way of its performers and don’t tend to trust outsiders that come into the company that made a big name for themselves outside of WWE. Instead, we got lackluster matches written around low blows and non-finishes.

And that brings me to the writing. It doesn’t take a genius to see that WWE can’t produce a good story anymore and for the most part, every single episode of Raw is made up of the same matches over and over again, week in, week out, where the winner loses the next week and the loser wins the next week. This prevents characters from growth, momentum or any sort of real development.

WWE is absolutely predictable. Even when it isn’t, it’s only because they didn’t see the actual writing on the wall and had their hands over their eyes and ears. It’s very rare that you are surprised by it anymore. Going back to last week’s Raw, everyone was “shocked” by the heel turn of Dean Ambrose but it’s been teased for a year and they only sped up the storyline, as he was probably going to turn heel at Survivor Series in three weeks.

Whenever WWE finds a hot young talent, they tend to build them up strongly, at first, or they become superstars in NXT and then get called up. But once they get even a sliver of the spotlight, Vince McMahon loses confidence and the company doesn’t let a star become a supernova. Most recently, we’ve seen it with Finn Bálor, Sami Zayn, Shinsuke Nakamura, Asuka and even Samoa Joe, who just came off of a high profile feud looking irrelevant. Point being, you invest your own time and emotion in these great performers that could carry this company into a bright future but ultimately, Vince McMahon doesn’t understand his audience and books his shows to promote his own biases to his own detriment.

Fans really want Kenny Omega, Cody Rhodes and the Young Bucks to come to WWE. I don’t because I know what will happen, they’ll come in strong and within a year or two, they’ll flounder on the mid-card wondering what went wrong and wishing they’d stayed in New Japan and Ring of Honor. And based off of WWE’s track record, why would anyone think differently? I mean, what did they do with Cody last time? He was Stardust, a comedy act and a rehash of his older brother’s gimmick.

But the thing is, I have put up with all this bullshit for years and I have still tuned in. But that’s really shifted, specifically in the last few weeks during the build up towards two pay-per-views: Evolution and Crown Jewel.

Evolution, for those who don’t know, is, as they promote it, “…the first ever all-women’s pay-per-view event!” I was pretty excited about this when it was announced but it has become abundantly clear that WWE doesn’t give a shit about this show. In fact, it has actually come out that it was put on as more of a way to get Stephanie McMahon good PR, as she has been taking over as WWE’s public face.

The WWE doesn’t really give a shit about the “women’s revolution” and it’s pretty clear, at this point. All of it is PR and an attempt at virtue signaling and getting imaginary social justice brownie points, which absolutely sucks because the female half of the roster has never been stronger than it is right now. This could be a tremendously stacked pay-per-view with loads of talent, high quality matches and a place to showcase some of the female legends with the superstars of today.

Instead, we get one good match up with Becky Lynch and Charlotte Flair, a Ronda Rousey match, a tag match where the premiere star has to sit out injured and then a few NXT level matches and a battle royal. So yes, 80 percent of the women’s roster is wedged into a battle royal. The last time this happened was at Wrestlemania, which no one remembers or cares about, and the trophy looked like a golden uterus… that’s not an exaggeration – Google it.

WWE Evolution has been promoted and booked like an afterthought because that’s exactly what it is. But hey, Stephanie McMahon… what a gal? Am I right? Out there putting women first and making things happen for the sisters? Maybe she spent a little extra and got a platinum uterus trophy this time.

But even with Evolution being a blight on WWE, nothing is as embarrassing and as heinous as what has gone down in regards to Crown Jewel, WWE’s second event in Saudi Arabia this year.

Why is this heinous? Well, there’s that whole thing about the murder of Jamal Khashoggi, less than a month ago. For those that don’t know, he was a Saudi born journalist that was outspoken against his home country and was murdered for it in the Saudi Arabian Consulate in Istanbul, Turkey. This is a terrible event that has put a microscope on Saudi Arabia and everything coming out about it is very, very bad.

Since this happened, there was been strong speculation that WWE would cancel the show our move it to another country but WWE is in bed with the Saudis and getting paid a ridiculous sum. This is actually the first year of a ten year contract that Vince McMahon made with the country. WWE wrestlers have expressed their fear in going there, fans have made their anger over it well-known and Vince hasn’t said a damn thing, other than WWE officially revealing that they are still going.

WWE has spent the last year promoting Saudi Arabia as a “progressive” country, even though women aren’t allowed on the show. So much for that “women’s revolution” business, right? In fact, Evolution was probably given to the women to keep them complacent while WWE continues to do business with one of the most non-socially progressive countries in the world.

WWE’s biggest star, John Cena, announced that he will not go to Saudi Arabia. Daniel Bryan expressed the same sentiment but we’ll have to wait and see if he’s forced to do the show against his will. And while other stars also don’t want to go there, it’s pretty clear that Vince McMahon prefers money to morals or if I’m being completely honest, fattening his own pockets while his employees are forced into performing like circus animals for a country that literally murders its own, simply for expressing other viewpoints. Saudi Arabia sounds so “progressive”.

In regards to Crown Jewel, social media has shown that most fans are upset with the event. In fact, polls on just about every wrestling news site have shown that fans oppose this in a landslide. But again, Vince is getting rich and the show must go on. Because some people can’t be satisfied by already being rich and heck, who cares who they murder over there, it’s none of our business and the show must go on! Glad to see that WWE truly cares what their fans think.

I just can’t give this company my money anymore and there are much better alternatives out there like New Japan and Ring of Honor. I just can’t stomach what WWE has become, as they can’t see the line between reality and the circus they’ve created. The McMahons live on another planet, high on their own rich gases where the fantasy is their reality. I don’t think their brains have broke kayfabe in quite some time and they don’t realize that most fans know the difference between the show and the real world.

Vince McMahon, we’re not stupid. And frankly, I have financially supported your product since the ’80s when my mum was yelling at me about the phone bill after calling your hotline too much. I have watched every “big four” pay-per-view since Wrestlemania I but I’m not doing it anymore. So enjoy the Saudi blood money and placating to the virtue signalers. I know I’m not alone in this, so I hope you can right the ship before it’s too late… but it’s probably too late.

But hey, “It’s all about the monaaay!”… am I right?