What's Brock Lesnar's status?

Brock Lesnar, the former WWE and UFC champion, was trending on Twitter today after PWinsider's Mike Johnson reported that the former MMA star's contract with WWE expired, making him a free agent. This news was reported just days after his merchandise was removed from the WWE Shop website, which might've been more of a technicality than anything if an official deal isn't signed. Obviously, there's much speculation about where Brock could land next because the NCAA titleholder has made no secret that he works for the highest bidder so theoretically, anyone that can meet his price tag would be in the running to ink him to a fresh contract.

The biggest hurdle for any organization is, how do they use Brock, especially without the verbal suplexes of Paul Heyman, and would the hefty sum it requires to get a deal done be worth it?

With Roman Reigns as the new "Paul Heyman guy," which was a wise choice because it gives Roman more of an organic chance to get over, it appears that Brock isn't involved in the immediate plans for WWE anyway so perhaps the lack of a formal contract was simply a way to avoid paying him a downside guarantee just to sit on the sidelines until there's an opportunity for something meaningful for him to do. On the flip side, Reigns being paired with Heyman might also be an indication that WWE looks to move away from the Lesnar brand. I penned an article roughly three years ago about the diminishing returns of the Brock experiment and how I thought that the lack of a champion to build around on Raw led to a program that lacked direction. I'm still not sure the investment of such a limited schedule for one of the highest paid members of the roster was worthwhile because Lesnar's dominance within the WWE over the past several years didn't spike the ratings or really make anyone else a bigger star after they worked with him so what was the payoff? Granted, Brock made relatively easy money in the process because he showed up less than anyone and got paid more than everyone so it paid off for him. Don't get me wrong, if Brock can negotiate that deal then good for him, that's capitalism. However, you have to consider, is the company better off after Lesnar's run? How many other stars were made from either working with him or during his time at the top of the company? You can't credit him for WWE's massive TV contracts from last year because that was made possible by the demand for live sports content, not any specific stars.

One of the biggest criticisms of the modern era is the lack of compelling television and the clear ceiling that kept certain competitors at a specific level, despite how over they might've been with the audience. In truth, management's philosophy of "Brock as a special attraction" looked to be more of a crutch than anything else when the organization didn't provide intriguing angles that gave the audience a reason to want to tune into the show on a regular  basis. In fact, the ideology of Brock's "rare appearance" unintentional created a scenario that allowed viewers to potentially skip weeks of programming without actually missing any key elements within a storyline because most of the content of the shows seemed to pass the time between Brock title defenses. The scenarios became repetitive and stale, the same way Brock's matches began to follow a relatively uninspired pattern.

All of this should be considered for a new contract offer because the WWE audience has more or less seen the Brock Lesnar routine so what else is there for him to do at this point? Because of his price tag, he's not going to be moved into a mid-card feud, and he already worked a limited schedule in the title picture so unless WWE brass wants to repeat the same scenario from three years ago, what would they book Brock for now?

If not WWE, would Lesnar sign with another organization?

Of course, there were tweets suggesting that Brock could make his way to All Elite Wrestling, but while Tony Khan certainly has the resources to meet his price, would it be a wise investment? Again, the same reasons that Lesnar might've done all he can do in WWE would be why it could be seen as just a retread in AEW. Is Lesnar going to suplex Jon Moxley ten times in a repeat of Wrestlemania 32? The fans have seen the Lesnar playbook so would they be clamoring for the same routine on a different channel? Plus, when Dynamite was renewed for an extension of the TNT deal, it made AEW profitable, which is the most important aspect to any business. Would Lesnar under the All Elite banner actually generate enough revenue or publicity to justify a major contract? I'm not sure of the answer and I'm not trying to imply an answer either, but Tony Khan would have to take a realistic look at the logistics of a Brock deal before he throws around the cash to get it done. Would Brock work for AEW? Absolutely, if they meet him number, Lesnar would be willing to get pinned by Marko Stunt, and there's nothing wrong with that because again, the entire point of business is to make money.

There are a few rumblings that the former UFC champion might consider a return to mixed martial arts, either for the UFC or the Viacom-owned Bellator. I would be very surprised if Lesnar completed in the sport again for any organization. At 43, Brock is older than most of the competition, and mostly importantly, he retired from fighting because he more or less didn't like to get punched in the face so there's always easier money to be made in sports entertainment. Another aspect to consider if that Bellator doesn't generate enough revenue to get to his number, and the UFC is actually doing decent PPV numbers on ESPN+ already because of the demand for live sports this year.

Technically, Japan could be an option for Lesnar for perhaps a one-off appearance for big money, but that's doubtful because New Japan would be the most logical option and the office probably wouldn't even consider bringing him back after his run there when he quit the WWE in the early-2000s. After Lesnar's football tryout flopped, he worked for New Japan and won the IWGP title, but refused to drop it and it was a source of major controversy at the time.

While it's definitely fun online chatter to speculate about what Brock might do next, the reality of the situation is simple. Brock has made enough cash that he's not going to leave his farm unless he gets paid major money. As mentioned, it's probably not worth the cost for AEW to sign him, and WWE has the revenue from their TV deal alone to throw enough money at him just to keep him away from AEW if necessary. I'd guess that you will see Brock show up on WWE TV again when there's a storyline for him, and it will probably be a recycled angle that was used a few years ago. Plus, with the boarder closed, Brock quite literally isn't going anywhere until the pandemic is resolved, which might be the main reason WWE didn't rush to get a deal signed.

The Hustler

In another example of the "Mr. Braddock classics," I originally saw The Hustler a few decades after its 1961 debut as my dad recorded it from the Turner Classic Movies channel, a network that shows films uncut and unedited, and had the name of the movie written in blue pen on the VHS tape. A side note, my uncle, the late legendary, Willie Visconti actually ran a pool room in Braddock, PA in the 1970s. The Braddock Free Press once ran a note about his birthday, January 7th, describing him as "the popular proprietor" of the Braddock Recreation Center. As mentor to my dad in many ways, Uncle Willie let him run the hall when he was busy, despite the fact that my dad was still in his teenage years. Between the Pepsi machine, pool tables, and some concessions, the venue remained popular for most of that era before Uncle Willie decided to sell the building and take part ownership in a small convenient store in Braddock until he passed in the early-90s. To this day, my dad really enjoys telling stories about his late mentor and it's always comical when he recounts the many times that Uncle Willie would "randomly" show up to visit when he knew my dad was cooking. "Oh, Jim, you cookin?" "Yeah, Will, why don't you come in and eat?" "Oh well, I guess so, I'm here now." I have to say upfront that this film is really an incredible example of American cinema and those much better versed in the interpretation of film have done much better analysis of the movie, but after I saw it in my middle school years, my appreciation for the complex narrative has only grown since that time. Initially seeing it more than half my lifetime ago, the Robert Rossen-directed drama went from just a cool movie about pool with charismatic characters to an example of some of the resounding themes of life as I watched it through older eyes. Based on Walter Tevis' 1959 novel of the same name, the film unites an all-star cast to chronicle the turbulent travels of "Fast" Eddie Felson, a pool hustler brilliantly played by the legendary Paul Newman. Before he had a "Cool Hand," made sauce for charity, or buckled up as a race car driver, Newman took aim with a pool stick to portray "Fast" Eddie, who some have speculated was based on real-life pool shark, Eddie Parker, but even before this iconic role, Newman, who has dozens of notable titles on his resume, was already considered a major name in the industry with roles in A Cat on a Hot Tin Roof, Exodus, and other films.

The opening scene is simplistic in its presentation, but reveals the theme of the film to the audience, it's all about the hustle. Fast Eddie and his backer Charlie, played by Myron McCormick, stroll into a small bar that has "pool" advertised in the windows. The pair of pals claim they are appliance salesmen on their way to a convention in Pittsburgh the next day, but stopped off on their drive for a drink and some retreat from the muggy weather before they complete the final two hours of the trip. They start a friendly game, with Felson indulging in an occasional whiskey between shots before the supposed salesman wants to wager a few dollars against Charlie. The games continue as the two exchange wins before an apparently intoxicated Felson makes an incredibly difficult shot to finish a game. Charlie wagers that Eddie can't hit the shot again and his near staggering pal misses before protesting that he wants to make another bet. Charlie, not wanting to take advantage of his bumbling buddy, declines and heads to the car. However, the spectators in the bar are more than eager to take some easy cash, including the hard-nosed bartender. The stumbling Felson empties his pocket of $105, a week of commission for the biggest bet of the afternoon as the bartender matches it right from the cash register, not wanting to let the chance at easy money pass him by before Felson sobers up. With the cue ball and the eight ball in place, "Fast Eddie" gives up a slight smile before he connects on the trick shot, taking the cash with him. The next shot shows Eddie with a smile as he hands Charlie his portion of the winnings, inviting the audience in on the game, the partners worked the spectators into believing that Felson was drunk, but the facade was only to get them to put their money on the table before he took them for the most money possible. It's all about the hustle.

In a direct contrast, the next scene finds the two pool partners at their actual next destination, the next pool hall on the road to find some action. However, this particular establishment has "Billiards"  printed on the windows instead, the proper name alone suggesting it's a more serious venue. Upon their arrival, a sign at the front desk ironically says, "no gambling allowed" and the gruff manager informs them, "no bar, no pinball, just pool" as the gullible onlookers from the previous day are replaces with unimpressed viewers around the room this time. Without booze as a potential set up, the two have to look for another angle and Felson finds it as he begins to confidently brag about how much money he's going to win, proclaiming a goal of $10,000 in one night. One of the locals walks over and lets Fast Eddie knows the patrons of this pool room are well aware of his hustling reputation, and that if he's there to play Minnesota Fats, the kingpin with legendary status among the smokey nine-ball tables, he should think twice about it. The gritty guy attempts to insult Charlie, who Felson fiercely defends, setting the record straight that Charlie is an equal partner, an aspect that provides some insight into their friendship. But with Felson's pride insulted with the notion that he can't defeat Minnesota Fats, he becomes determined to show up the well-known player.

As promised, Jackie Gleason struts into the pool hall at exactly 8 PM with a lavish overcoat and his hair slicked, nothing out of place to distract from the presence he brings to the smoke-filled room. After introductions are made, the terms of the game are agreed upon and Fast Eddie gets to square off with Minnesota Fats. Gleason's work here is top-notch because with Fats' introduction to the film, his lines aren't anything profound, but the way he presents the character brings depth to the persona. When he glides around the table, finding the perfect angle for each shot and calling them in the process, his body language projects that pool isn't a game for him, it's a serious business. As he focused in on a shot, he put down his lit cigarette because it's not a leisure time for him, it's his work as he precisely dust the cue stick with chalk to ensure a clean shot.

With an upbeat jazz tune to accompany it, a montage shows the hours wear on with the shots, the racks, and the money exchanged. Gleason has the advantage before his opponent gets a chance to take over the game, but "Fast" Eddie begins to spout about his skills while he aggressively sinks shots in each pocket, suggesting this exhibition is more about ego than business for him. The jazz rejoins us and the montage continues, this time with odds tilting in Felson's favor. When Charlie tells Eddie that he won $1,000 so far, the hustler wants to up the bet, asking Fats' if they can wage a thousand a game. Gleason accepts, calling for a drink and the arrival of his financial backer, George C. Scott's Bert Gordon, who arrogantly sips a glass of milk in the pool room as he viewers the game. More jazz brings along another montage of called shots, racks, and Charlie nervously chain-smoking from the sidelines. After 25 hours and $18,000 of profit, a weary Felson is slumped in a chair. Fast Eddie refuses to conclude the game until Minnesota Fats says it's over. Despite Charlie's pleas, Eddie angrily grabs his cue stick while he chugs more whiskey. On the flip side, Gleason is diligently washing his hands and getting cleaned up before he slips the suit jacket back on to continue the game. Felson ignored the most important rule of gambling, you have to known when to walk away. Bert Gordon smirks from his chair, knowing that Eddie is in over his head and he looks to take joy in Felson's downfall.

Not surprisingly, Felson loses everything except his original $200 start up cash. Ironically, the actual intoxicated Felson couldn't keep pace with the pro that Gleason was. As Eddie stumbled around the table, Minnesota Fats looks on with a combination of concern and disappointment while Bert gleefully enjoys the foolish display. Gleason rejects the offer to play a final game for the remaining $200, mercifully sparing Felson some money and leaves the pool hall. Still drunk and almost delirious from the lack of sleep, Eddie collapses, prompting Charlie to check on his fallen protegee. Back at the hotel, Eddie stays true to his word, leaving his partner half of the remaining cash and goes to the bus station, where he meets Sarah Packard at the diner. Still hung over, Felson falls asleep in the booth, but when he goes to the bar at the bus station he runs into Piper Laurie's character again. With booze to replace the coffee from earlier, the two actually get to know each other, revealing that they both ended up at the bus station that morning simply because they had no where else to go. Sarah explains she enjoys a drink and attends a few college classes during the week, sounding as if her plan was more to pass the time than to pursue any higher education.

Without much in common other than a lack of direction in life, the two lonely souls decide to get a bottle of scotch and go to Sarah's apartment. They kiss at her door way before she reconsiders the plan, and Eddie leaves quietly, finding a cheap dingy hotel room for the night. He hustles a few dollars at a low-end pool hall the next day before he goes back to the diner for coffee when he's reunited with Sarah. This time they go back to her apartment and the next scene finds them discussing their plans the next day. Again, they seem to be brought together more by desperation than anything since Eddie is too embarrassed to meet up with him mentor and Sarah seems to be hopelessly lonely. With her school books, groceries, and booze in tow, Sarah arrives home the following day and we find that Eddie has brought over his belongings from the shady motel room. Despite barely knowing him, Sarah allows Eddie to stay with her. Eddie insists on paying for his share of the groceries, providing a level of depth to the character. He might be pool shark, but he believes in fairness for those not involved in the hustle. He even suggest that Sarah shouldn't drink and get help before a knock at the door reveals that Charlie found Eddie.

A tense discussion shows that Felson wanted a rematch with Minnesota Fats while Charlie wants to go back on the road. Charlie explains that he doesn't care about the money Eddie lost in the game, showing that their friendship isn't just about dollars and cents. Charlie reveals that he saved some of the winnings for him, but Eddie refuses his offer to return to the road, ending their partnership in the pool rooms. With sadness in his eyes, Charlie leaves the apartment, a sign of the end of their friendship as well.

A few weeks later, we find Sarah next to a half empty bottle of scotch and as Eddie gets ready to go to the next local dive bar to find some action, even intoxicated, she finally makes some realistic statements about their relationship and the fact they don't really know each other. Instead of finding pool, Eddie runs into Bert Gordon at the bar, who offers to become his new money backer with the proposition that takes a hefty portion of the winnings for fronting the cash. When Bert won't budge on the percentage of the offer, Eddie refuses before Bert gives him a warning about walking into the wrong pool room. That night, Felson goes to hustle at the wrong place and a group of thugs break both of his thumbs, taking him out of the pool scene indefinitely.

The next scene finds Eddie at the door and when Sarah answers, she finds him bruised with the broken appendages. The next few weeks show her finding stability through caring for Eddie, as she opts not to get a drink when she writes an assignment for class. The two enjoy a picnic and Eddie discusses the possibility of defeating Minnesota Fats if he stays focused. After that we see him approach the apartment door with his hands out of the casts and his thumbs healed as he surprises Sarah with the news of his recovery. He thanks her for caring for him through the injury. She might be an alcoholic, but this sequence shows that a flaw instead necessarily someone's defining trait. The same way Eddie's mishaps in the game against Fats didn't define him as a pool hustler.

Speaking of the game with Fats, Eddie is back at the bar where the original game took place to practice, attempting to get some flexibility back in his hands. He runs into Bert Gordon, who heard about the incident at the dive bar. Bert emphasizes the importance of character in winning, offering again to back him on the road and eventually in another game with Gleason. This time, Felson accepts and tells Sarah that he will be traveling to Louisville with Bert to hustle some games against wealthy businessmen at a lavish party. Sarah gets drunk and hysterical, as she fears Eddie will decide to leave her. In the drunken rant she reveals that her father left the family when she was young and now sends her money to make up for it, but won't be involved in her life so she has financial security, but feels completely unwanted by her family. This scene reveals just how flawed and fractured she is from the trauma in her life.

To reassure Sarah, Eddie makes arrangements for her to take the trip with them. Upon their arrival, while Eddie is practicing, Bert takes the opportunity to tell Sarah that he only tolerated her on the trip because of the money to be made from Felson's pool hustling. After they attend some horse races, the trio meet up with Findley, played by Murray Hamilton, who famously had the role of Mayor Larry Vaughn in the 1975 classic, Jaws. Bert arranged the game with Findley, who invites his guests to the party that evening. Knowing that Eddie is being exploited, Sarah gets drunk at the party while Eddie loses, by design, to the snarky businessman. She begs him to leave, but after Eddie sends her back to the hotel, Bert agrees to back him for $1,000 a game. At the end of the night, Findley owes $12,000 and Bert looks satisfied while Eddie seems disappointed because of the argument with Sarah earlier in the night. Even getting his share of the cash, Eddie is disgusted with himself because he argued with Sarah just to win money. Despite the arrival of a cab, he opt to walk to the hotel, which meant Bert arrived first. Finally showing what a coward he is underneath the tailor-made suit, Bert takes a drink before he enters Sarah's room and fabricates a story that Eddie wants her to leave. When Felson gets back to the hotel, he finds the authorities in his room and that Sarah committed suicide in the bathroom because she thought she was abandon again. Bert sheepishly tries to explain what happened before Eddie jumps at him, pummeling the shady businessman before the police restrain him.

Back at the billiards hall, "Fast" Eddie shows up to challenge Minnesota Fats in a rematch at $3,000 a game, his share from the Louisville trip that led to Sarah's death. With Bert watching from his usual spot, Eddie, focused more on a form of self redemption than proving anything to anyone else, takes Bert to task. As he sinks each pool ball with precision, Eddie tells the businessman that his lavish lifestyle doesn't make up for his lack of character, as he only knows how to exploit others for his own personal gain without knowing the true value of anything. Eventually, Minnesota Fats hauls the games, acknowledging that Eddie is the better player on this occasion. As the pool shark puts his stick back in its case, Bert Gordon has the audacity to attempt to collect a percentage of the winnings, referencing their deal in Louisville. Gleason looks concerned for Eddie's safety when Bert reveals that he was the one who had Felson's thumbs broken in the dive bar. Newman does an incredible job in this scene with lines where Eddie explains that Bert could get his thugs to break his thumbs again, but he would come back to kill Bert if there was anything left of the broken pieces. Knowing the hustler was serious, Bert agrees to let Eddie walk, but cautions him that his career as a pool shark is over.

Eddie's run as a hustler was finished anyway because he realized the value of friendship and companionship were much more important than his reputation as a pool hustler or the money that came along with it. In some ways, Eddie has to lose everything to understand what was actually important in the first place. Almost 60 years after its original release "The Hustler" remains one of the most stellar examples of character development, storytelling, and drama in the history of American film.

What's next for Roman Reigns?

After Summer Slam concluded with a rather lackluster Universal title match between The Fiend and Braun Strowman, Roman Reigns returned and flattened both of them. Roman, the most pushed star of the past five years, was on a rightful hiatus from the company because of the health concerns associated with the corona virus. Reigns' return was unexpected, simply because the pandemic isn't over and Florida, where the promotion is still taping its shows at the Amway Center, is still considered a main source of COVID cases. But, Reigns is back and the final segment of yesterday's Smackdown puts a whole new spin on not only the Payback pay-per-view this weekend, but perhaps the entire WWE landscape.

On the surface, for the organization to have another pay-per-view just a week after Summer Slam doesn't make sense, but since Bray Wyatt beat Strowman to win the title, it's fair to guess that he will be used as a transition champion to get the title to Roman at Payback. As talented as Bray Wyatt is, his run as The Fiend, despite the initial reaction to the character, was marred by terrible booking and cartoonish angles. The ridiculous HIAC match against Seth Rollins last year jumped the shark so far that its probably going to be known as one of the worst all-time segments in hindsight. More recently, the goofy swamp fight was so tacky that it insulted the audience's intelligence. In short, these angles were so cringe worthy that they more or less ruined The Fiend's status. At the same time, Braun finally won the title as a substitute for Roman at Wrestlemania, not when he was actually the most over in his career a few years ago. So, Strowman got a chance with the belt in an empty building and then the awful swamp fight outside of it so did his stint as champion really make him a bigger star? A side note, when you consider the comically awful fake eye spot that was booked for the Seth/Rey Mysterio match, you can see a pattern of booking that does more to hinder than help the talent.

That being said, "The Big Dawg" is back so just for the status he was given prior to his absence, that alone gives the product some much needed buzz. We've discussed previously that the stripped down look of the Performance Center exposed many of the flaws of the WWE product because there weren't slick production techniques to camouflage the shows that often lack the substance of a quality program. All the smoke and mirrors of the state-of-the-art production team with a full arena of fans covered for some of the bland aspects of the product, which is exactly why the company started the "thunder dome" concept, which immediately improved the atmosphere of the shows.

With Roman back on television, what they do next with him is key because if he returned to the exact same place that he had when he left, what progress is made? The company has a top star that isn't viewed by a majority of the audience as the top star, which isn't Roman's fault. That guy puts in the effort, but I've spent the first half of this article explaining that effort can be derailed if the angles aren't presented in an effective manner. As Smackdown went off the air, Roman Reign appears to be aligned with Paul Heyman, the former head writer of Raw, who was recently shuffled out of that position in favor of Bruce Prichard. As I wrote at the time the news made headlines, Heyman was more or less the fall guy for the decline in ratings, which had much more to do with the company's overall inability to adapt to the pandemic era than anything else. To be fair, Heyman didn't really get a chance because several months of his tenure were during the pandemic when almost zero compelling television was produced in the empty Performance Center.

Still, I mentioned that Heyman would remain a valuable member of the roster because he still cuts the best promo in the company and quite possibly the entire industry. Say what you want about Paul Heyman the businessman or Paul Heyman the head writer, but Paul Heyman as a performer is on a level that very few others can reach, especially in the modern era. The cliff hanger of Reigns' alliance with Heyman creates intrigue for the pay-per-view and gives fans a reason to watch, which has been a rare aspect of the product even before the pandemic. Does Roman's agreement with the advocate of Brock Lesnar mean there will finally be a heel turn?

As I've written several times before, Roman Reigns has the talent to be a top star, but WWE brass put him in a terrible position with how he was presented, and the fan rejection was aimed toward management, not Reigns the athlete. I'm not sure why this wasn't obvious, but sometimes a performer will eventually be more over as a baby face after a heel turn, and Roman's cousin, The Rock is probably the best example of it. The bottom line is, The Rock wouldn't have become one of the biggest stars in the history of the industry if Rocky Maivia hadn't turned heel previously because it allowed him to evolve as a performer. Make no mistake about it, Roman was booked to be the next John Cena, which is a tough spot to put anyone, but the fan rejection toward Reigns isn't the same dynamic that Cena had, even during the most polarizing stages of his career. The argument could be made that there was a legitimate 50/50 split on Cena, but the harsh reality is that there was much more of a negative tilted toward Roman because again, so much of the hostility was being directed toward the company so Reigns just wasn't going to win over support.

A Reigns' heel turn give him a fresh start from a character perspective for the first time in over five years and allows him a new role to progress as a performer. His alliance with Heyman creates a whole new series of possibilities for the direction of Smackdown, and the speculation of involvement with Retribution could add another layer as well. The scripting of Roman's baby face promos completely miscast him, as there were lines that attempted lame comedy, but only made him look foolish. With Heyman by his side, Reigns has the best talker in the business to enhance anything that he's booked for, which is exactly what Paul did for Lesnar. The story write itself, Roman did everything a company man should do and worked hard for the fans, but he was still rejected. Now he will do things his way, and within the process of that narrative, the Reigns persona can be presented as the Samoan monster that management tried to shoehorn into a generic baby face role. For Heyman, there's already a logical narrative as well. Since the announcement of his departure from the writing team was public, mostly to appease the stockholders, as it allows WWE brass to claim there are changes in the company during a conference call after sluggish ratings, he could use his exit from the writing team in promos. Heyman was cast aside by the office, but he's back with their star to show them that he can do whatever he wants regardless of their corporate agenda. This type of narrative incorporates the fact that fans on social media are aware that management makes the booking decisions for the show.

If Retribution are involved, it could create a scenario where Heyman stages a "hostile take over" of Smackdown, which would certainly add some hype around the blue brand. However, the bigger story is Roman himself and his wordsmith of a manager because the ripple effect this pairing could have might affect the WWE landscape for years. Heyman cutting the promos while an aggressive Reigns destroys the competition definitely has more potential than Roman trying to recite lame comedy lines. Again, a heel Roman Reigns now could lead to him more over as a baby face later, which is exactly what WWE has tried to accomplish for years. With Paul Heyman on the mic, it gives Roman the best chance to be presented in the best light and that could eventually translate to major business for the company.

Ryse at Ringside 3

If you've read any of the previous "Ryse At Ringside" articles on this Patreon page, you know that timing, like most things in life, was the biggest factor that brought me to the Stronghold on a muggy night in July of 2018 and kept me there until Lewis left, taking the entire venue with him. As Ryse plans and prepares for its next chapter, I'm excited for where we will go as a brand, and the chance to entertain more fans that will undoubtedly enjoy the product after they discover it.

I mentioned in the prior edition of this column about the circumstances that saw gritty veteran, Paul Atlas, who barely said hello a decade previously, join me at the desk for my Ryse debut. As mentioned before, we had a natural chemistry, which is something I wouldn't had predicted even a year or two before that. One of the most rewarding aspects of my tenure at Ryse is the chance to work with Paul, and more importantly, to be able to call him a friend.

However, as much natural chemistry as we had from his grizzled path trying to make a name for himself when getting noticed was exponentially more difficult than it is now because of the power of social media, and my extensive studies on the history of the sport, there actually is an in-depth process that goes along with commentary. Forgive me, but one of my biggest pet peeves in the pro wrestling business is the notion that anybody can do commentary because "it's just talking." That ideology or lack thereof is something I will never be able to understand. I'm not saying this to attempt to boost myself up, as I've already told you, self confidence is not my strong suite, but if a promoter is going to invest the funds and energy into the filming of a show then commentary is the most constant aspect of  that production. Keep in mind, I'm not saying "book me" it's more book someone, anyone that has the skills and the integrity to put the product first. The bottom line is, good commentary can cover for a subpar match, but subpar commentary can actually ruin a good match. Any particular match on the show is in the ring for a specific amount of time, but the commentary team is heard throughout the entire event. Granted, the wrestlers are the selling point and the commentary team is there to sell those athletes, not themselves, but that's exactly why it's so important that the commentators understand their role to sell the previously mentioned wrestlers to the audience. If you don't have commentators that can effectively sell the action to the audience, there's truly a disconnect in the narrative.

The thought process to put literally anyone on commentary because "anyone can talk" is either a completely lack of insight into the selling a product or a promoter let's their brother's mailman's cousin on commentary because they want an excuse not to pay an announcer. So when Billy Bob and  Kaye Faber ramble on about Mr. Fuji throwing salt at Bret in 1993 when the main event is in the ring, the promoter shouldn't be surprised when his video product doesn't showcase his event as something the audience should invest in toward his company.

Thankfully, Ryse Wrestling, from the caliber of athletes it puts in the ring to the numerous hours of planning that go into each event, makes my job easier. In fact, one of the biggest thrills for me is the opportunity to soundtrack the showcase of in-ring ability and the talent of the Ryse roster. As I said the pieces of the puzzle are already put there for me to verbally connect the dots and enhance the narrative to the viewers, but generally speaking, there are a few broad rules that any commentator should keep in mind during a broadcast.

Somehow it doesn't always happen, but it should. The talent is the story, not the announcers, and if those on the mic aren't giving the athletes in the ring the proper attention then why should the audience care about the match? Secondly, it's highlight the positives and at the very least, don't expose any negatives. The standard example I use is, if a wrestler has been in the ring for less than a  year, if an announcer says the athletes has been wrestling for six months, it just makes them sound inexperienced. Instead, if the relatively new wrestling is called "a rising rookie" it makes them sound like a new commodity with potential, and the set up for the match has an entirely different tone.

When you have a roster at the level of Ryse or anywhere else that puts an emphasis on quality, sometimes talent will already have another event previously scheduled on the same day, which is understandable because calendars might be packed months in advance before the pandemic caused everyone to throw away their calendars. A commentator should know not to imply that another booking or another promotion is more important than the particular company they're working for because why should the audience invest money in your promotion if the announcer just told them there are bigger options to watch?

There's enough competition for the entertainment dollar across the board so there's no need to muddy the waters even further. It's a harsh reality for independent wrestling groups, especially because the hard work and the passion is on display so often, which fans will see once you get them through the door, but the process to get someone to attend any live event (prior to the pandemic) isn't an easy task. Aside from the costs of admission, something that Ryse makes sure to keep affordable, any live event venture needs to be enough of a motivation to get people to want to leave their house, travel to the building, and spend their hard-earned money there. At the same time, you have dozens of streaming options that allow people access to thousands of hours of content. So, what this translates to is why it's so important for the commentary team to know their job because the ability to present the action in the best way possible maximizes the wrestlers' spotlight to entertain the fans and to continue to build the fan base for the promotion.

VHS memoirs Volume 9

Last week marked twenty years since one of the most infamous pay-per-views in pro wrestling history, New Blood Rising, an event that more or less showcased the reasons almost entirely why the company folded within a year, selling to Vince McMahon for literally pennies on the dollar. (Yes, I know it would've been more timely to write this on the exact day that it aired in 2000, but it's a pandemic, forgive me)

The opening match was Three Count vs. The Jung Dragons in a ladder match with two objects at stake, a recording contract and a gold record. For a match that was based on young high flyers taking bumps into and off of ladders, the stipulations are so absurd that it basically ruins the impact of any of the risks these guys take during the course of the match. Plus, Tank Abbot clumsy dancing around just seems like more of a mockery of six guys trying to make a name for themselves than anything else. This bout seemed to be a less polished answer to the WWF's TLC matches at the time. The sad part is, these six competitors took some of the biggest in-ring risks on this show, but were among the lowest paid members of the roster. Furthermore, why exactly would The Jung Dragons care about someone else's gold record or a recording contract? Climbing up the ladder to retrieve a nonsensical item is the first sign of Vince Russo's finger prints that are all over this broadcast. Even as early as the opening video package, terms like "go over" are used, as Russo tried to play to the internet crowd while 90% of the viewing audience missed the reference. Despite The Jung Dragons getting the gold record first, Tank Abott picks it up and somehow it doesn't matter that the opposing team climbed the ladder to retrieve it. Eventually, Three Count grabs the record contract to officially win the match. Let's be honest here, the reason this match was booked was to get these guys in a match to do high spots with the ladder, which is fine because it opens the show with a fast-paced bout, but the shenanigans around this contest make it absolutely laughable. It's also remarkable that Russo took a legitimate cage fighter, as unconventional as he might be, and turned him into a comedy act. This entire segment showed how much WCW minimized any talent it had in 2000.

Next up, Ernest Miller beat The Great Muta in roughly five minutes, and the match was fine for what it was, but Scott Hudson's reference of "legit heat" between the type will make you roll your eyes because there's no basis for any such claim. I'm assuming these lines were scripted by Russo because Hudson was actually a better announcer than he gets credit for. Muta's run at this point in WCW is somewhat odd because again, they have a legitimate Japanese legend at their disposal and granted he had slowed down somewhat at that point before he took time off to recover from injuries, but they didn't really have him do anything of importance during this particular stint in the company.

Perhaps, the debacle this event is most known for, the Judy Bagwell on a forklift match between Buff and Chris Kanyon. This is Russo 101 and so ridiculous, it's easy to see why fans didn't want to pay to watch it as the buyrate for the pay-per-view in August of 1999 drew 235,000 buys while New Blood Rising garnered just 85,000 buys, a substantially decrease as the organization declined in quality during the Russo era. Don't worry though, the company might've lost $60 million in 2000, but at least Buff was reunited with his mom, as he won the match. The only good thing to say here is that Kanyon was an underrated talent, but it's very sad that he passed away at such a young age.

In more trademark Russo fashion, there was a four-team tag team championship match with four of the Filthy Animals as special guest referees. Yes, four teams and four special guest referees. Konnan is on commentary, and I guess in another attempt to seem edgy, the script called for commentator Mark Madden to refer to him as Carlos, his real name. The problem with this is, that in 2000 before wrestlers' real names were easily found online, I doubt many fans got the reference. Eventually, Kronik retained over The Perfect Event, The Natural Born Thrillers, and MIA. Vampiro and Muta showed up to brawl with Kronik to set up a match later in the night without much logic or explanation.

Billy Kidman beat Shane Douglas in a strap match, but it wasn't anything too spectacular, more or less just an average match. Post-match, Kidman was hung up by the strap and actually suffered a legitimate injury from the spot that resulted in him taking time off. Big Vito made the save before he also dispatched of Reno, who did a run-in despite no involvement in the Kidman-Douglas storyline.

If you aren't ready to smash your streaming device yet, just wait for the mud match between Major Gunns and Ms. Hancock. The two actually show decent athleticism with the moves, which they deserve credit for, considering that they didn't have a lot of in-ring experience at the time. However, this one goes downhill very quickly as they fight toward the mud pit when Stacy Keibler sudden grabs her stomach and crouches down in pain. Major Gunns, her opponent, suddenly stops the act and looks very concern for her rival. David Flair runs unannounced from the locker room to check on his girlfriend. The announcer explain that this isn't part of the show so basically the entire point of this angle was to tell the fans that "the rest of the show is fake, but this is real" which makes any emotional investment in anything that happens during the rest of the show pointless for viewers. As we know, the "real" part of the pay-per-view was nothing more than another nonsensical angle that didn't have any major payoff. Granted, this show was originally on pay-per-view, but the "worked shoot" garbage is enough to make someone turn the channel to check the score of the local sports team. More on that later.

Just when you thought this show couldn't get more pointless, The Demon, who debuted earlier in the year as a part of a Kiss performance on Nitro that was one of the lowest-rated segments in the show's history was pinned by Sting in roughly thirty seconds. Nothing says giving the fans their money's worth like giving one of the top stars in the promotion less than a minute of an appearance on the show.

In a US Title match, with the belt renamed the Canadian title, Lance Storm was greet with a hero's welcome by his fellow countrymen as the show was hosted in Vancouver. Not surprisingly, the booking for this one was completely backwards as Jacques Rougeau was the special guest enforcer of the Canadian rules. As far as in-ring action, this was probably the best match of the night, but Awesome beat Lance Storm a few different ways before Rougeau would find a rule to save the match for Lance. Granted, the crowd was happy to see Storm still in the match and were thrilled when he won, but they also saw the wrestler that got the biggest pop of the night get beat clean three different times so it takes away some of the shine of the win. Post-match, Bret Hart made a surprise appearance and the crowd went crazy for the legendary grappler. It was a nice moment to see Lance in the ring with Bret, especially because Hart was away from the company for an extended period of time following the injury he sustained in a match with Goldberg.

After this, Vampiro and Muta beat Kronik for the tag titles in a decent match, but it seemed totally thrown together because Muta already lost to Ernest Miller earlier in the show, and it made Kronik look foolish for putting their titles on the line for a second time in a night, especially because they wasn't a feud or anything to explain why they would offer a title shot to Muta and Vampiro. As I said earlier, Muta's stint at the time was completely underutilized, but if they were going to use him to help propel Vampiro, who became one of the most over performers on the roster, at least that would've made sense. Instead, they dropped the titles to The Filthy Animals the next night on Nitro, which made this match and the title switch pointless.

The triple threat match is another example of Vince Russo scribbling nonsense on a format sheet as Goldberg was rumored to be injured so Kevin Nash and Scott Steiner started the match. After Goldberg enters, he was set up to take a power bomb from Nash, but leaves the ring. Russo had to make sure he got some face time on the pay-per-view so he meets Goldberg in the aisle way to tell him to get back in the ring. Goldberg refuses and leaves, implying that he refused to go along with the script. Another attempt at a "worked shoot" that basically tells the audience the rest of the show is fake so don't worry about that, but this is real. If wrestlers can just walk away from attempted moves, why should the audience care about the main event when the title is on the line? Nash wins the match, but the way this was presented was an absolute train wreck.

Booker T defeated Jeff Jarrett for the WCW Heavyweight title and these two had some really good matches, but this contest was diluted with several run-ins, ref bumps, and too man swerves. Watching this event again for this review, I found myself wondering how a company that had Vince McMahon on the ropes just a few years earlier could fumbles that momentum in such a disastrous fashion. The way the cruiser weights were used, the terrible "worked shoot" angles, and the booking that minimized the talent was unbelievable at times, which is why the company went out of business roughly six months later.

The career of Jock Samson

Remember VHS tapes? Those clunky bricks that were put into a VCR and had to be rewound before they were returned to the video store or there would be the dreaded $1 rewind fee? For many diehard pro wrestling fans, that bulky form of media will always be special, regardless of the advancements in technology of DVD, Blu-Ray, and now online streaming of sports entertainment content. It might be something as simple as taping a live pay-per-view over an episode of the Golden Girls or as savvy as using two VCRs to bootleg obscure Japanese wrestling footage, but the VHS format played a major role for fans.

In some scenarios, it can always play a big factor for professional wrestlers as well. Long before the grappler known as Jock Samson laced his boots, buttoned his satin jacket or secured his cowboy hat to head to the ring, he was just a youngster wondering around a video store in the late-80s. Among the aisles of  snacks for sale and movies for rent, he found himself starring as the cover of a VHS that had two mammoths ready to face off. No, it wasn't one of the countless films from the classic Godzilla franchise, it was a shot of the marquee match of Wrestlemania III, Hulk Hogan vs. the legendary Andre The Giant. The two larger-than-life figures memorized him.

A few decades later, Jock Samson is known as one of the loudest, rowdiest, and entertaining figures in his tri-state area. A self-described "redneck," Jock brings a combination of a brash persona and a gritty in-ring style that makes him standout from the current crop of independent competitors.

"I grew up enjoying wrestlers personas, their characters, and how they expressed they themselves. I loved watching guys like Hogan, Piper, Flair and Dusty talk people into the buildings. I never cared if they were any good in ring or what their work rate was, I only wanted them to talk trash. Talking trash is my favorite thing to do in my life," Jock said while he sipped a beer in his backyard. "I talk trash to everybody my wife, neighbors, or friends. Its funny that people don't cut as many promos as they used too. They'd rather do a bunch of flips than talk folks into the seats"

With infuriating the crowd one of his specialties, Sampson made it a habit over the course of his 15-year career to pay attention to the details of a live audience in order to ensure the biggest reaction during the in-ring action of his match, something he considers somewhat of a lost art within modern wrestling.

"Each crowd is different and wants different things. You need to listen to the crowd and decide how you'll approach your match that certain evening," he explained.

A native of a small town in south eastern Ohio, Jock doesn't look to be anything other than himself when he steps into the ring ropes, citing that it's much easier for him to perform as the salt of the earth guy he actually is than to attempt to present something too over-the-top when he walks through the curtain. With solid in-ring technique and the ability to draw jeers from the audience on the mic, Jock has zigzagged across the Buckeye state and into neighboring states to bring his unique of rural wrestling to different cities. One such place is the International Wrestling Cartel, one of the longest running organizations in the Pittsburgh area. Originally promoted by one of the godfathers of professional wrestling in the steel city, Norm Connors, the IWC is now owned by Justin Plummer, who more recently brought events to a drive-in just outside of the city so that fans can safely watch the action in their cars while audio is pipped through the speaker system. One of the featured stars of that organization, Jock antagonizes Plummer as a part of The Regulators, a group consisting of talented grapplers, Chris LeRusso, Dan Murphy, and David Lawless as the stable looks to make sure that the promotion follows all the local rules for running events during the pandemic era. Jock, being the true heel that he is, claims he plans to win the IWC championship and take it to the capital building on Pennsylvania to deliver it to the desk of Governor Tom Wolfe.

 "We have a group of some the most under utilized guys in all of wrestling in Western, PA. Each and every one of my guys are as talented, if not more, than anybody around," Jock said of his stablemates.

With memories like his favorite match of his career being a bull rope match against The Duke in his home state of Ohio, an homage to the previously mentioned Dusty Rhodes, and the chance to share the ring with "Hacksaw" Jim Duggan, another one of his favorites, Samson still lives a relatively simple life, both inside and outside of the wrestling business. When he's not lounging in his pool or watching classic wrestling footage, an occasional social media clip will show him arguing with wife his Linda about a variety of household tasks. But, even Jock has a soft side, as one of the only things he enjoys more than wrestling is spending time with his 6-year-old daughter, Scarlet. Despite countless matches in front of countless audiences, Jock Sampson keeps his goals simple.

"I want to make as much money as I can before I get out and I also want to become the IWC Champion before 2020 is over"

Jock Samson  isn't eloquent with words or a connoisseur of lucha libre, but his goal each match is to entertain those that put their hard-earned money down for a ticket to a professional wrestling event. Regardless of he incites cheers or jeers from those in attendance, Jock looks to generate an emotional from the audience, the same way that VHS cover resonated with him all those years ago at the video store.

The career of Delmi Exo

Delmi Exo confidently strides to the ring with enthusiasm in her eyes, as her lengthy dark hair contrast her bright smile, she knows she was tailor made for the squared circle. Despite her joy of make up and the ability to sew, she makes all her own gear that she's attired in before she pummels opponents, Delmi is a pretty face, but she's definitely not just a pretty face. In fact, during much of her youth, she found herself spending hours following the adventures of super heroes in comic books, eagerly thumbing through the colorful pages to find out the conclusion of the adventure. Similar to the majority of modern pro wrestling shows, she was also drawn to action movies where pyro surrounded the protagonist as he battled the villain.

Professional wrestling seemed like the perfect blend for her, as real life characters in colorful costumes fought the heels with morality or personal pride on the line in the pursuit of a championship. But, even though Delmi wanted to try to enter the unique world of sports entertainment, she wondered if there would be a place for her? Before the featured sports of the current era, the early 2000s still presented women as more of a mid-card spectacle than the potential main event so Delmi had her doubts about becoming a wrestler.

"I didn’t think I could be one because I was a girl and I saw how they were mostly models, even with Lita and Trish. The day my sister went to check out the wrestling school and signed up, I signed up as well and have been by her side ever since," she said.

The two sisters had always spent time together, both to enjoy their love of wrestling and comic books so it made sense that they jump into this adventure together, but they soon realized a rather harsh reality check. The pyro on screen for their favorite wrestler's entrance and all the glitz and glamour that went along with pay-per-view was far away from their introduction to professional wrestling.

"I trained in a barn when I first started. It was hot in the summer and frigid in the winter. Something I really learned in the beginning was to be humble. Also safety, anytime I had to learn a move my trainer always said to not be reckless," Delmi explained.

The dusty barn offered no frills as the ring and dirt-stained canvas provided a chance for her to learn the basics and practice the fundamentals of the sport. Delmi's real-life sister Ashley Vox, who would go on to form a tag team with her after their pro debuts, was right by her side as the two siblings completed the tedious process of landing on the canvas in the safest way possible. The musky squared circle didn't make them feel like stars, but it gave the sisters a chance to discover their natural poise for the grappling arts. Their athletic and physical ability translated very well to headlocks and body slams. Despite how well-versed the sisters are as sports entertainers, they maintain that flying head scissors aren't used to settle sibling disputes.

In the five years since Delmi stepped into that dilapidated barn, the sports she enjoyed so much as a kid has taken her to several different states, performing for many well-known independent organizations, including Shimmer, Rise, Shine, and many others. Among all of that, she considers winning the Shimmer tag team titles with her sister as one of the highlights of her career, but also recognizes the value of traveling to compete in front of different audiences as she evolves and an athlete. The long hours of travel and late night commutes back home after an event are worth it to her because she cites the ability to experience a new place as well as the learning experience of each match as some of the most rewarding aspects of her career.

"I’ve been able to pick up little things from people here and there, learn different styles. I also love getting to explore cities and hang out with everyone. I’m really happy with how far female wrestling has come. It makes me happy to be apart of it and keep the movement going for women."

Last September, Delmi achieved one of her career goals, as he did a tryout for the opportunity to go to Japan for the women's group Marvelous Pro and train with the legendary Chigusa Nagayo. The chance to travel to the country with such a storied history of professional wrestling gave her the chance to expand her in-ring knowledge and also enjoy the culture of another part of the world. Some might experience a level of culture shock or unfamiliarity in a foreign country, but Delmi found herself more focused and determined than another other point in her career. She knew that the Joshi system had produced some of the all-time great women's athletes in the history of the sport and she wanted to make the most of the opportunity to learn as much in-ring knowledge as she could while she was in the country. 

"Wrestling in Japan was like a dream. I was living and training in a dojo. Each day was challenging and exciting. I’ve loved Japan since I was little because I’m an anime nerd and love the culture. I felt a giant weight on my shoulders knowing a lot of my peers dream to go to Japan. I wanted to make them proud and not take it for granted," she said.

Shortly after she returned from Japan earlier this year, the pandemic shutdown most of the United States and paused pro wrestling in many areas, but Delmi keeps herself busy with a variety of art projects, her trusty Batman comics, and TikTok content that entertains fans with her tribute costumes of the legends of the industry. Obviously, Delmi has a bright future in the industry, but perhaps the most important aspect of her story is the power of dedication and what can be accomplished when those with a dream believe in themselves enough to accomplish the goal.

Colby Corino event

Two years ago, I penned an article about Colby Corino, the second generation grappler that had quite literally grown up in a squared circle, running around empty ECW venues before the doors opened for that night's mayhem. At the time, Colby had just reemerged onto the independent circuit, refreshed and healthy, as he prepared to live up to the potential that so many saw in him from such an early age. It was easy to cheer for the young wrestler because he genuinely sounded dedicated toward the goal of putting his talents to use inside the ring ropes, not squandering the opportunities he was provided.

Since that time, the blond-haired technician has not only stayed on a healthy path, but he made strides that got him noticed and represented the family name very well, logging hundreds of miles on weekend trips to events for the chance to hone his craft. Pennsylvania, New York, Michigan, and Chicago were just a few places on the map for him as he zigzagged along the east coast and into the midwest to establish himself as someone to watch on the indy scene. Along with a brief appearance on 205 Live in early 2019, Colby elevated his profile with stellar work in Evolve as a part of the Unwanted Stable with indy standout Joe Gacy and the freshly-signed AEW competitor, Eddie Kingston. Despite the notoriety and gaining more exposure through those opportunities, Colby recognizes the importance of continuing to polish his game to achieve the biggest platform possible.

 "I’m very satisfied with everything I’ve done in the last two years. I’ve wrestled on 205 Live, RAW Underground, Evolve, wrestled at the last ever Warped Tour for Game Changer Wrestling, and so much more, but those things just feel more like steps in the right direction rather than achieving my goals. I felt I’ve grown so much as a performer in the last two years and I can’t wait until everyone sees what I can do," Colby explained.

In the midst of watching his stock in the professional wrestling world increased, he experienced something that completely eclipsed standing in a giant arena full of screaming fans for a WWE taping or soaring through the air at an Evolve event, as his son, Orion Steven Corino was born happy and healthy on May 8, 2019. The newest Corino definitely has sports entertainment in his DNA, as he often plays in the ring at Carolina Wrestling Academy, where Colby helps as a trainer with other veteran coaches. As much as he gets an adrenaline rush from inside the ring ropes, nothing compares to the role of family man for him.

"It was the greatest thing that has ever happened to me. My perspective on the business aspect of wrestling completely changed for the better and his presence in my life motivates me and gives me so much drive to succeed for my family so we can live a comfortable life. I think I adjusted to father hood pretty well. I’m a homebody anyway, so having a whole little family of my own to share my life with is pretty great," Colby said.

In a moment that was a major contrast to the mayhem that usually takes place in the ring, Colby and his dad, former ECW and NWA champion, as well as current WWE Performance Center coach, Steve Corino were sitting in the backyard to enjoy the warm weather. During the course of the conversation, Steve, who has a roadmap of scar tissue to decorate his forehead as a reminder of his days in the ring, sipped on a coffee when he made a suggestion for his son's birthday. Considering that Colby is most at home inside the squared circle, why not bring the square circle to his home? With a variety of connections through the previously mentioned Carolina Wrestling Academy and
Premier Wrestling Federation, Colby realized he could get all the equipment that he needed to produce an event in his own backyard.

Thus, the concept of "Colby's Backyard Birthday Brawl" was announced for this Saturday with plans to stream the closed set production live on independentwrestling.tv for fans around the world to be able to watch safely for the comfort of their own home. But, Colby isn't taking even his birthday celebration lightly, as he considers the ability to follow proper safety protocols to be the most important aspect of this event. Furthermore, he hopes that the blue print he puts forward can be an example for other independent groups, as many struggle to maintain their business model during the economic crunch of the pandemic.

"Running a show during a pandemic definitely makes things a bit more stressful, but if the alternative is no wrestling at all, we’ll do whatever we have to to work around the obstacles. Some of the measures were taking are not opening the show to the public and exclusively streaming the show on IWTV, obviously doing the show outside in an open air environment, requiring masks for everyone not in the ring, enforcing social distancing as much as possible, having a sanitation crew to sanitize the ring in between matches, requiring all performers get tested for COVID before coming, and having sanitation stations on site. It sounds like a lot of hurdles but independent wrestling is in shambles at the moment, and the ones left standing in the rubble can’t wait for someone else to rebuild it. It’s up to us, and I hope this show is a step in the right direction," he commented.

Trying to focus on the more entertaining aspects of the sports in such a bleak year is challenging, but Colby looks to bring together a talented cast of Carolina stars, including The Ugly Ducklings, accomplished veteran George South, and many others to give the fans a show they can enjoy while he spends his 24th birthday with his friends and family.

"Fans can expect a fun night of wrestling. I am putting my trampoline and pool next to the ring, so expect craziness and probable shenanigans. There may be some names on the show that some fans may not recognize, but they will definitely remember their names after watching. This is the first show we’ve ever streamed live on IWTV and everyone is very excited to show out what we can do. I hope fans give us a chance to entertain them.  My birthday wish is that people tune in and just enjoy wrestling for a night. We can’t wait to perform for you, and I hope you can’t wait to watch us. I’m so excited to just be able to wrestle," he said.

So, while the term "In Your House" will always be a part of the wrestling fan lexicon, Colby Corino will quite literally invite fans in his house through the power of the internet to celebrate his birthday. For Colby, the production will be highlighted by cake and drop kicks, but it also is an example of how someone can overcome obstacles and in their life and find true happiness. This Saturday Colby Corino celebrates his 24th birthday in the sport that he loves surrounded by the friends and family that he loves, in a showcase to entertain the fans that have supported him on his journey in the professional wrestling industry.

The Retribution stable

Over the past few weeks, the vigilante stable, Retribution has crashed WWE shows at the Performance Center, throwing bricks through the doors of the facility, interfering with the broadcast, and even destroying the ring on Smackdown. The bold antics have been enough to spark some intrigue in the rather bland product of the pandemic era, but you have to wonder, will there be a payoff to this angle or is it going to be a major letdown?

The reason I ask this is because, much like Raw Underground, the writing team appears to favor anything out-of-the-box recently in an attempt to boost sluggish ratings and most of it is more or less their attempt to throw anything against the wall to see if it sticks to stabilize viewership. Granted, the majority of these tactics like Raw Underground with its countless camera cuts or Tozawa booked as a comedy act seem more like desperation than anything else from management to try to avoid the negativity associated with the decline in numbers.

In theory, Retribution could be a stable that ushers in a new and fresh look to the WWE landscape, but its reveal and just as important, if not more so, the follow-up to it could determine if the angle picks up steam or falls flat. There continues to be speculation online about who the members of the stable might be, and it's logical to expect this stable to be used to introduce new faces, but this can't be just NXT wrestlers that move up to the main roster because they don't have the star power among the main WWE audience to generate a buzz about the group. Furthermore, a crew of just NXT wrestlers would basically be a retread of the original Nexus storyline, and we all know how well that got over long-term, considering none of them had the chance to become stars with the initial angle.

In my opinion, the Retribution stable will need someone recognizable to be involved in the group to generate some hype around it and thus be able to put a spotlight on the lesser known members. I saw some speculation online that perhaps CM Punk might be brought back into the fold, especially because his stint on the now-defunct WWE Backstage show got him involved in the WWE environment again without anything too direct, which could've helped mend some of the animosity between the two sides. Punk said in the past that he would be willing to talk to the office if it was the right opportunity, and since his UFC career didn't take off the way he hoped, it's possible that he was away from the ring long enough to allow for some of his hostility toward the industry to fade. Plus, with the mega TV deals now a major revenue source for the company, they might be able to offer him a deal that could persuade him to work a limited schedule.

From a storyline respective, CM Punk as the leader of a rouge crew of wrestlers makes sense because it could be his way to get "retribution" toward the company that he publicly spoke against for the way he thought he was mistreated during his run there. The circumstances for it are right, as the WWE has the previously mentioned TV money to throw enough cash at him to make him consider a return, the product obviously needs a spark that his return could deliver, especially after the public disagreements between the two sides, and Punk has the leverage to work a schedule that could make a return to the company at least possible.

Don't get me wrong, do I think CM Punk will be the leader of Retribution? No, but it's not impossible either. For those that discount this option because of the way Punk left the promotion, keep in mind that Ultimate Warrior, Stone Cold, Brock Lesnar, and even Bruno Sammartino eventually made their way back to WWE. As is usually the case in business, cash in the key and there could be a lot of money involved for everyone, particularly a way to build some hype around the company again if Punk is back to seek revenge with a stable of NXT wrestlers. As I penned in an article last month, I really think that Punk had the talent and was over enough to bring pro wrestling back into the main stream conversation with the notable run he had in 2011, but management squashed it because it wasn't a part of their corporate agenda. That sets up for his involvement in the Retribution stable and it would undoubtedly draw better numbers for Raw.

Now, if Punk isn't involved, there still must be someone will legitimate star power to put over the rest of the stable as a credible threat to the company. So far, the vignettes have been rather tacky and considering that Linda McMahon donated $6 million dollars to the Trump campaign in 2016 and had a spot in his cabinet, you have to wonder if the nature of these segments were an attempt to spoof some of the discontent of current society. NXT has a stellar roster and there's speculation that this stable will consistent of some of those stars, but remember that NXT is the lowest viewed show on WWE TV so those competitors don't have the same exposure as the roster of Raw or Smackdown. If the Retribution reveal is just a group of vaguely known NXT stars, it might be a rather flat moment for the Raw and Smackdown audience. If there's someone with star power as the figure head, it can give the storyline more depth and that makes it possible for a better follow-up after the reveal. As mentioned, arguably the most important aspect of the entire angle is how the group will be used after they unmask on television. The Nexus angle didn't make any long-term stars because the entire stable was more or less used as a way to give John Cena opponents. After Cena defeated them, they didn't have a direction to go on TV. Those from the original Nexus that eventual got over were repackaged before they made progress to be seen as a star in the WWE. Considering the typical shift in direction of Raw in recent months, it will be interesting to see if management actually has a specific plan about where the angle will go or if it's booked week-to-week depending on the ratings, but if WWE brass wants the group to have any mileage after the reveal then it must be presented as a credible stable on WWE TV. That being said, if I had to guess, I would say that this angle probably won't have a conclusion that makes its members bigger stars because the booking the past several months hasn't done much to solidify any new stars for the company.

Raw Underground

In the midst of a global pandemic and ratings that have dipped to a record low, WWE brass introduced the concept of "Raw Underground," a fight club gimmick ripped directly from 1999, two weeks ago. The results and the feedback have been mixed at best.

First, I have to say to present something so out-of-the-box rather abruptly projects a sense of desperation, as ratings have slipped below two million viewers. This goes back to something I wrote earlier this year about the lack of a live crowd in the pandemic era, it exposed much of the WWE product for it's lack of substances without the state-of-the-art production value to camouflage programming with the sizzle of all the smoke and mirrors that goes along with WWE live events. Granted, it doesn't help that Roman Reigns, the star they organization has continuously banked the most on, can't be there because of rightful health concerns, but without the previously mentioned smooth production value that pans the camera around full arenas to make the product look major league, some of the more glaring flaws in company philosophy have shown through. Another aspect I've written about extensively in recent years is the 50/50 booking that doesn't actually allow performers to progress or be showcased as bigger stars. Plus, most of the product was put on autopilot as the WWE machine churns out content with the same formula, which led to mediocrity and complacency on WWE TV.

There are several examples, and it will sound too negative, but an objective look at the situation shows those mishaps are the basis of the problem for the lack of legitimate star power, despite the fact that the current roster might arguably have the best in-ring talent in the history of the company. As talented as Dolph Ziggler is and as much as he probably should've been given better chances to run with a better spot on Raw, he's more or less glorified enhancement talent because he's often booked against top guys in an attempt to make them look good. The problem is, it was done so often that those angles lost any value for the champion because it was obvious that Dolph didn't have any chance to actually win the title. He was booked against Braun Strowman as only a way to make Braun look strong and then he worked a feud against Drew McIntyre that not only made him look foolish, but his value as a contender was reduced to zero when he couldn't beat Drew in a match where he could pick the stipulations. Sure, that gimmick was used to attempt to sell the possibility that Ziggler could use his pick to get enough of an advantage that he could win the title, but if the writing team is going to book something like that and then Dolph loses, what value does he have as a challenger on the show? Furthermore, how could he retain any type of star power after that? The whole scenario is so predictable that the audiences knows they don't have to tune in to see the result, and they obviously didn't based on the recent ratings.

Another recycled angle is that Randy Orton was booked against the Big Show prior to the Drew feud. How many times has a heel beat down the Big Show to attempt to get them over for a title match? Remember when Brock literally did the exact same thing a few years ago? Considering the Big Show is usually only brought back for a short-term feud to get someone else over in the same type of angle that was done repeatedly before, isn't there a point where that situation is also too predictable to retain viewers? Speaking of Randy Orton, it's debatable if he should be in the top feud on Raw because while he's tremendously talented, he sometimes mails in performances, depending on the opponent. If I had to guess, I'd say he will be motivated to work with Drew, but how many stellar Orton matches have happened in recent years? That's not meant to bury him either, but considering how talented he is, he doesn't have the extensive list of classic matches to him name that you might expect of someone at his level. The bottom line is, will McIntyre be a bigger star after these matches against Orton?

The tired cliches of WWE programming are ultimately why management is trying something completely different with the Raw Underground setting, but the concept is flawed on a fundamental level. The problem with worked MMA is that it looks blatantly phony and it's a situation where the audience will roll their eyes at something that is so obviously fake because it goes to a level that it's insulting to watch. The concept of MMA within a WWE context actually neutralizes the advantages that pro wrestling has over mixed martial arts. Since sports entertainment is predetermined, the performers can ensure the paying customer gets a good show with the intention that they get their money's worth. Sure, some pro wrestling shows fall flat, but the intention is to try to deliver a solid three-hour pay-per-view etc. If you follow the UFC, it's well-known that there are times that highly-anticipated cards are changed because of injuries or there's occasional lackluster main events on pay-per-view. Finally, pro wrestling is a work where there is cooperation between competitors to avoid potential injuries. It can't be understated how important that is because if an athlete is on the shelf, regardless of it's within sports entertainment or MMA then they can't draw money, which is the entire point of the business side of sports.

The WWE simply can't get away with the countless camera cuts to try to hide the fact that the "worked shoot" matches are obviously staged and it looks so tacky. Keep in mind, from an MMA prospective, fans can watch similar action in the UFC and see a slow motion replay of a legitimate knockout so how is Raw Underground going to try to sell the action as a shoot when the camera is clearly trying to avoid how far away the strikes are in the ring? Furthermore, you have to wonder what exactly the selling point is for Raw Underground? Is it that Raw Underground is the "real fighting" on the show? If that's the case then why should the audience care about the previous two hours of scripted fighting on the same show? The previously mentioned Dolph Ziggler was on par with The Brooklyn Brawler just a few weeks ago, but he got a win on Raw Underground so why couldn't he use any of those skills against McIntyre? If the presentation is supposed to be that Raw Underground is the "legitimate" competition on the show then management is telling the audience that the scripted matches aren't as important. It's ironic that WWE's sports entertainment numbers are in a slump when they've spent the past few years pushing the fact that MMA is more important than the actual pro wrestling on the shows. Ronda Rousey and Brock Lesnar were presented as more important than the typical wrestlers because of their MMA background. Maybe fans would be more enthusiastic about watching sports entertainment if management emphasized the stars of it instead of trying to get wrestling fans to tune in for something other than the pro wrestling industry.

The Pope of Greenwich Village

The first article that I penned for this site late last year was about Robert De Niro's debut as a director, A Bronx Tale, the 1960s street saga based on Chazz Palminteri's one-man stage show. As mentioned in that original review, I discovered the film when my dad put a copy that he taped from HBO into the VCR. This time, I'd like to discuss another movie that I originally watched from a home recorded copy, The Pope of Greenwich Village. Another street saga, this 1984 release shifts to another famous location in New York, the Greenwich section of Manhattan. With the screen play written by Vincent Patrick, adopted from his novel of the same name, the film blends together tense moments of uncertainty with occasional comic relief, as two wise guys find themselves lost in the shuffle of the hustle of the streets.

Directed by Stu Rosenburg, who has the classic "Cool Hand Luke" on his resume, the production brought together a tremendously talented cast, including the two main characters, Charlie and Paulie, played by Mickey Rourke and Eric Roberts respectively. At the time the film hit theaters, Rourke, a sharp and charismatic actor, was on an upswing with titles like 1982's Diner and the Coppola-directed Rumble fish on his resume. Eric Roberts, the brother of famous actress, Julia, played the role of Charlie's clumsy sidekick perfectly to give the narrative more depth as the film progressed.

The opening scene finds Charlie swaying to the rhythm of Frank Sinatra's "Summer Wind" as he files through his closet to pick a snazzy suit to wear for his shift as a manager at a high-end restaurant. In a slight example of foreshadowing, his carefree jam session set to Frank's suave voice is interrupted by his search of several pairs of his Italian-made dress shoes to look for extra cash to make a payment to one of the loan sharks waiting at the restaurant. As he strolls into the eatery, a co-worker gives his supervisor the heads-up that the crusty owner of the establishment plans to check tabs that night to make sure the waiters aren't excluding items on the bill in exchange for better tips. This is where we're first introduced to Paulie, Charlie's third cousin, who naively disregards the same warning from him. Roberts' character decides to skip the high-priced items on the bill, which the owner obviously notices and fires both cousins since the manager didn't catch the underhanded tactic first. The confrontation outside of the establishment when Charlie angrily informs Paulie that his mishap resulted in the pair of cousins getting their walking papers sets the tone for their dynamic in the film. Charlie is a hustler trying to stay above water with hopes of owning his own restaurant someday. Paulie immaturely tries to explain his rational for skipping items on the check before the audience sees that he legitimately feels bad that he costs his cousin the job.

The next scene finds a distressed Rourke at his kitchen table shuffling through bills and late notices in the apartment he shares with his girlfriend Diane, played by  Daryl Hannah, who went on to work in dozens of roles in TV and film, including the 2003 cult favorite, Kill Bill. Adding to his financial struggles are alimony, child support payments, and credit card debit. Unwavering, Diane assures Charlie everything will work out for the best, prompting Sinatra's "Summer Wind" to rejoin the film as we find the freshly unemployed cousins playing stick ball in the neighborhood the next day. The good times were short-lived, as his visit to the bank for a loan was denied and when he arrives home, more pressure was heaped upon him with the news that Diane is pregnant. Back to bop around the village, Paulie tells Charlie about his next outlandish venture in an attempt to hit it big. The dim-witted waiter explains that he bought into a race horse that was conceived through "artificial inspiration" without realizing that he misspoke on the terminology while he makes himself a comically large sandwich. Paulie claims the thoroughbred has the "champion gene," but the out-of-work waiter needs to score some big cash to bet with, revealing his next narrow-minded scheme.

The two meet Barney McMillian, an eccentric and edgy clock dealer, in a bar. The Irishman explains his work repairing clocks gave him the tools to pick locks. Before the trio can discuss details of a heist of the safe of a shipping company, the hard-nosed officer that patrols the streets tows Paulie's car, despite his pleas to accept a ticket without getting the car impounded. Finally Charlie agrees to the heist, with the mounting financial pressures in his life as the determine factor.

During the next scene the audience is introduced to Jack Kehoe's Walter "Bunky" Ritter as he shuffles through the crowded sidewalk into the local mafia hang out. Similar to Kehoe's character in the film, Serpico, "Bunky" Ritter is a crooked cop on the take, paid to drop off mob collections in exchange for a piece of the pie. Detective Ritter meets with "Bed Bug" Eddie Grant, the local kingpin, to discuss details for his next pick up. "Bed Bug" is portrayed by Burt Young, who famously played Paulie as Sylvester Stallone's pal in Rocky. Despite the boxing corner man as probably his most well-known role, the Eddie Grant character shows that Young has depth to his acting repertoire, replacing the good natured Rocky role with a sense of danger on-screen as a ruthless mob ruler.

The tense introduction of "Bed Bug" Eddie is contrasted in the next scene when the patrolman that had Paulie's car towed was back on the street writing tickets when he stopped into the bar to use his position of authority to get a free drink after he used the bathroom. While the cop was taking care of business, Paulie slipped in the bar and put a packet of horse laxative in the cop's whiskey. The gluttonous patrolman emerges from the restroom, downs the free drink, and goes back to the street to gleefully write more citations. Within seconds, the stomach tremors hit him and he attempts to waddle like a penguin back toward the bathroom before his digestive track can't offer any more resistance. Paulie rushed to a pay phone and called in an officer down, prompting squad cars to swarm the street, only to find the diarrhea-stricken cop holding his stomach. As an Irish folk song crescendos, Paulie proclaims to the public that the cop defecated on himself.

Back to business, Paulie, Charlie, and Barney meet up that night to break into the shipping company's offices to crack the safe, hoping to score the $150,000 inside. As fate would have it, as those three prepare to begin work on the safe, Bunky Ritter is shown at the apartment he shares with his mom getting ready to go pick up the same money. Geraldine Page, an actress that had a 40-year career through the stage, film, and television, was nominated for an Academy Award for her role as Mrs. Ritter. Page does such a stellar job with this character, as she authentically presents a no non-sense character, but still brings a caring side to it. Different from Kehoe's role in Serpico, Detective Walter agreed to the collections as a way to ensure a retirement fund for himself and his mother, who worked as a housekeeper for several years. Bunky's actions might not be legal, but his intentions are noble, a recurring theme in the narrative of the film.

It's revealed that Bunky keeps a wire on him during all meetings about the collections as an insurance policy for his safety, and as he drives to the office for the pick up, he acknowledges the other detectives involved in the bribes. Unaware of Bunky's impending arrival, Barney is cracking the safe while Paulie sips on a coffee and watches the parking lot. Tense drama builds as the former waiter tells his accomplices that someone is walking up to the building. With the lights out, the trio hide as Detective Ritter enters the office that has equipment strewn around the room since the building was being remodeled. The tools don't phase him, but the hole drilled into the safe is a red flag. Unsure of how recent hole was made, Bunky uses his detective skills to see how warm Paulie's coffee was. Immediately, Bunky takes out his gun, knowing the fresh coffee meant someone was still in the room. As he backs up and yells for the person to reveal themselves, he fires a shot before he accidentally falls down an unfinished elevator shaft. The trio attempt to check on him, but realize that Walter is dead, with Charlie retrieving the tape that was used to record the audio from the wire the cop wore to the meetings. Despite Charlie's objections, Barney finishes the safe job, garnering the $150,000 that Paulie promised would be there.

Charlie found the detective's arrival too suspicious so he confronts his cousin about what else he knew about the situation. With a little pressure, Paulie admits that the shipping company is run by Eddie Grant, which meant they just stole from the local mafia crew. Charlie is almost hysterical as he questions why his cousin would want to steal from the "Bed Bug." Again, we see the naive side of Paulie because he thought that including his cousin in the heist would make up for getting him fired, but it actually put his life in danger.

The news of the safe cracking and the aftermath have a ripple effect throughout the film, as word of Detective Ritter's wire makes his fellow officers concerned about their future if their involvement in bribes is revealed. Two gruff cops visit Mrs. Ritter to attempt to search their apartment for the missing recordings. Again, Geraldine Page does such an incredible job in this scene, mixing her grief by clutching a rosary with a tone of toughness, as she aggressively puffs on an unfiltered cigarette and sips a whiskey. When the cops try to intimidate her with the threat of trying to withhold Walter's pension, she promptly kicks them out of her house before she tearfully hold the rosary close to her, the wall of grittiness finally tumbles down from the waves of grief at the death of Walter at the office. At the same time, Bed Bug Eddie gets word from the street that Paulie and an unknown partner were the ones that stole the cash. A member of Bed Bug's crew knows Paulie, but Uncle Pete as the waiter affectionately calls him, insist his nephew isn't a safe cracker. Eddie Grant wasn't the only one to take the news hard, as Charlie visits Diane at the studio where she teaches dance classes and tells her that he landed $50,000 from the robbery. Diane is livid that Charlie allowed his cousin to get him in another jam, and an argument ensues before Charlie leaves, the situation with her unsolved.

Eventually, Paulie is at the stables to check on his horse with the "champion gene" that he plans to race soon, wagering the cash he lifted from Bed Bug's safe. He was faced with a game of chance sooner than expected, as Uncle Pete and a few of Eddie Grant's goons, including Frank Vincent, who made a career of supporting roles in mafia dramas, including Casino, Raging Bull, The Sopranos, and others, were there to meet him. Uncle Pete takes a walk with his nephew, informing him that someone identified him as one of the thieves. Bed Bug Eddie had a reputation for slicing people up, and Pete tells Paulie that the only way for him to leave the stables alive is to tell him who his partner was in the safe job. Paulie begs for a reprieve, but Pete assures him there are only two options in this scenario. As the tension builds, Paulie leaks the information that Barney cracked the safe, but doesn't mention Charlie in an attempt to protect his cousin from the wrath of the Bed Bug. As Uncle Pete hugs Paulie, the previously mentioned Frank Vincent approaches and cuts off Paulie's thumb, the penalty for robbing the head of the mafia crew.

With Barney revealed to be the partner, the crooked cops are sent to retrieve him, but the savvy clock dealer was a step ahead and escaped through a side door. Later, Barney gives Charlie his share of the robbery and asked him to mail it to him after he escaped the city. During this conversation, Barney's motivation for the heist is explained, as he plans to use the extra cash to provide for his wife and care for his special needs child. Again, not exactly legal, but a noble cause.

Charlie finds himself in a cash flow problem of his own, as he returned home with flowers for Diane to smooth over the earlier argument at the dance studio. A message from her on the answering machine tells Charlie that she took $45,000 of the money for their unborn child and decided to leave him. Enraged being the victim of his own theft case, Charlie begins smashing the furniture, pummeling the refrigerator and breaking chairs. The next morning, with a half empty bottle of wine next to him, Charlie is awoken by a faint knock at the door. When he answers, his cousin is standing there delirious with his hand wrapped up from the Bed Bug form of justice. Only after rambling on about his decision to give up Barney as the partner does the medicated Paulie ask what happened to all the broken appliances. Upon hearing the news that Diane ran off with most of the cash, Paulie rants for a while before the reality of his missing appendage sets in when he looks at his hand. In one of the most memorable lines of the film, Paulie proclaims, "Charlie! They took my thumb!" collapsing to the floor after taking too many pain killers before he arrived.

Despite the lovable dork's mistakes, Charlie immediately tends to his cousin, as the next scene shows him feeding Paulie soup. To make up for the theft, Paulie will have to serve coffee at the mafia hang out and within days, the Bed Bug interrogates him as to the number of people involved in the robbery. After Barney skipped town, another measure of revenge was being plotted, and after tense questioning, Paulie finally cracks, naming his cousin as the third participant in the robbery. As was usually the case, the new coffee server had a plan to get his cousin out of this predicament. With his race horse, "Starry Hope " set to run at the track, he bought two tickets for Miami as an escape plan for the cousins after they hit it big on the horse bet. Unaware that the Bed Bug knows about him, Charlie bets Starry Hope across the board with his remaining share of the theft, a safer bet than his cousin makes, who put everything on the horse to win. After an exciting race, Charlie's place or show bet pays off, as he lands $20,000 from the horse's second place finish.

To celebrate the victory, the two stop at a bar where Paulie nervously confesses to Charlie that he had to give up his name to the mafia crew. Totally irate,  Charlie screams at Paulie and throws trash cans through the street, storming off as Paulie tearfully tries to explain the tickets to Miami are a way to leave. As Charlie listens to Detective Ritter's wire tape again, he realizes he has evidence and leverage that proofs of Bed Bug's involvement in crime. There's a montage that shows Charlie getting ready for an eventual showdown with the kingpin. His finest suit, a manicure, and a hair cut prepare him as he walked into the mob club for the confrontation. He sits across from Eddie Grant and explains that the Bed Bug will give him a pass on the robbery because he has a tape that can link him to the police corruption in the city. Implying that he plans to severe Charlie's hand, Grant claims, "Nobody but the Pope could walk out of here with this hand." Without hesitation, Charlie's response is a nod to the title of the film, "This might be your church, but right now, I'm the Pope, I'm the Pope of Greenwich Village because I have a tape."

Just as it looks to be seconds away from a physical confrontation, Paulie shows up to serve coffee. A tense stare down takes place between Grant and Charlie, as the mafia leader looks to signal his henchmen. As Bed Beg confidently finishes the expresso in split second, he suddenly grabs his throat and charges through the door and down the street as most of his crew follow him. Paulie exclaims, "Lye! I packed his expresso with lye!" The abrasive chemical rendered the mob leader useless, allowing Charlie the chance to escape. Paulie stood up for him cousin, despite Charlie's claims that he had things going his way before the expresso ended the conversation. Once again, "The Summer Wind" can be heard as the two walk down the street, presumably on their way to Miami to relax on the beach and enjoy their winnings from the horse race.