Imagining a world full of superheroes, probably doesn’t lead one to the conclusions drawn in the many, many adaptations of mainstream comics offered in TV and film today, where hope and optimism pave the way for progress. That reality would probably be a bit closer to what Amazon’s The Boys offers in its cynical, blood-soaked first episode, “The Name of the Game”: set in our current state of late-era capitalism, it presents a world where heroes have become a byproduct of society, rather than an embodiment of what it aspires to be.
There’s plenty to like about the “The Name of the Game”: the few fight scenes are absolutely fantastic, and the world-building is first-rate – but it’s not a guarantee The Boys can truly entrench itself as the true antithesis to the mainstream superhero story.
This transforms the deification of superheroes into much more sinister than aspirational; though time will tell whether this idea contains enough depth to build an entire series around (or be able to excise some of the comic’s deep flaws, which are on full display here), “The Name of the Game” is a strong introduction to this strange, hyper-violent world.
As a strong counter to the Marvel and DC cinematic universes, The Boys goes out of its way to convey its cynicism in its first hour, eliminating the layer of remove often offered from the actual physical and moral consequences of having heroes who save the world. “The Name of the Game” makes this world feel alive and parallel to our own, where the best superheroes (or “Supes”) of the world have consolidated their brands under the behemoth Vought International, who – on their face, at least – act as publicists and managers for their 200+ plus powered clients, led by The Seven (themselves an assemblage of nods to iconic mainstream heroes, like an Aquaman knockoff named The Deep).
To give context and weight to this premise, The Boys smartly focuses itself on a non-hero: Hughie Campbell (Jack Quaid), a retail employee whose girlfriend was brutally killed when A-Train, The Seven’s version of the Flash, accidentally runs through her (he later notes to a friend that he swallowed her molar “like it was a bug on a windshield”). Angered by Vought’s offer of a measly settlement and binding non-disclosure agreement, a saddened Hughie seeks vengeance; and finds it waiting for him, in the form of Billy Butcher (a gleeful Karl Urban, rocking a terrible English accent), a stranger with a penchant for “spanking the [super-powered] bastards when they get out of line.”
Centering Hughie in the narrative makes a natural entry point for world-building: as he navigates his first experience in the superhero industry, he quickly realizes the moralistic dreams of the supposed protectors of his world is built on a false premise (as if the movie posters, branded products, and utter lack of bad publicity wasn’t a massive hint). And it’s in those moments where “The Name of the Game” really feels like it has a grasp on something substantive, beyond just grounding the “heroic” acts of superheroes in empty nihilism. At one point, Hughie’s father (Simon Pegg) tells him “he’s just not a fighter” – when The Boys pushes against the lines drawn between pedestrians and superheroes (in ways other than the saccharine “anyone can be a hero!” message), it can make for pretty affecting material.
However, The Boys initially seems held back by some of its source materials more indulgent, misogynistic bents: the two driving events of “The Name of the Game” are completely engineered by violence against women, which is, at the same time, realistic and exploitative. As broad device for storytelling, it seems natural the scales would be tipped against the women of this world, super-powered or not, but “The Name of the Game” centers its entire hour around two violent acts: one where a woman dies, another where the primary female protagonist (a young female superhero named Starlight) is sexually assaulted by her peer.
The Boys had a problem with this during its 72-issue run: whether it was Starlight’s sexual assault (or repeated threats thereof), or using the murders of a gay man and a trans woman for the basis of plot arcs, these horrible acts against marginalized communities often only seemed to exist to give their male characters some semblance of humanity, an 80’s action movie vibe that’s entirely distonal with the modern world The Boys (the series) sets itself in.
It’s hard to ignore how much “The Name of the Game” foolishly plays itself into that same corner early on: though the death of Hughie’s girlfriend at least gives the story a bit of noir edge, the sexual assault of Starlight feels grossly exploitative, an all-too-accurate recreation of Harvey Weinstein-isms that feels appropriately uncomfortable – but at the same time, portends a lack of self-awareness that could be extremely limiting (and disappointing) if it is the defining ethos of the series.
(seeing there are six male executive producers – including Ellis and Robertson), with only two of the 12 writing credits attributed to women, makes me even more nervous about how The Boys will handle some of the stories it may draw on in the future.)
The other half of “The Name of the Game” centers on Starlight, the big-eyed, small town hero finally getting her big break as part of the infamous The Seven. Erin Moriarity’s performance may just be the very best of the series (though Antony Starr’s few scenes show he hasn’t lost that Banshee touch): she threads the needle between the many trite character beats offered her in the series premiere – a performance that stands out even more after the aforementioned sexual assault (a scene that is interesting in theory, and borderline exploitative in its deployment), where Moriarity gives Starlight a sense of resilience in the face of great trauma, a rather moving portrayal of someone trying to keep a straight face while everything inside them burns and anguishes.
She shows pain, but not overwhelming weakness or melodramatic depression: though it is extremely frustrating that the only way My Boys knew how to show that strength is by her character being raped, the early collection of scenes suggests that experience is not going to be the whole of Starlight’s character. If The Boys wants to truly right some of the wrongs in the source material, it begins with Starlight – and finding something beyond “she’s mad about being forced into oral sex” is deathly important in building out a three-dimensional person, an essential component to making this series work.
Without Starlight’s character, there’s not a whole lot for The Boys to moor itself to: there’s an incredible stacking of the proverbial deck against superheroes in this first hour, and she is the lone character who exists outside that cynical bubble. Her journey is bound to be the most important of this first season, a character who will ultimately reveal just how dark and bleak this series is willing to go. On a narrative level, we can already tell there’s no hope for sunlight or happiness for many of our characters: Starlight is a wild card in this equation, giving her the position as an important proxy in giving definition to The Boys‘ sensibilities.
There’s plenty to like about the first episode of The Boys: the few fight scenes are absolutely fantastic, and the world-building is first-rate. And it doesn’t feel like The Boys is emptying its creative deck in the first hour, either: be it Antony Starr’s performance as Homelander, or the larger narrative at play with Vought’s political machinations, there is plenty of potential hinted at during the show’s very busy first 60 minutes.
But the show’s title may end up being more representative of the show than it should, even if it sheds some of the misogynistic, redundantly bleak aspects of its source material. If this is just another story of men fighting other men over who is right until the end of time, The Boys is never going to be able to entrench itself as a fundamentally different take on the superhero ethos, no matter how effective this first hour is at stripping away the inherent emotional, sexual, and moral sterility of the iconic stories it’s satirizing.
- I’m very interested to see what gets adapted into this show (already renewed for a second season, by the way): the pilot suggests there are such big changes being made to the core formula, and I think many of them could be for the better – though I do wish The Deep wore a mask he said couldn’t be removed because of an “Atlantean” curse. Plus, The Boys has an incredibly deep bench of entertaining small characters, and I’m intrigued to see what fits into this revisioning of the series.
- There is a superhero in The Seven named Translucent, whose whole character is “asshole who hangs out naked in the bathroom.” Charming.
- Antony Starr is barely in this episode as Homelander, but goddamnit, I can’t wait to see the different shades he’s going to give this character. Those who haven’t seen his performance on Banshee have no idea what they’re in for.
- Though he’s given the least desirable role in the premiere, Chace Crawford’s portrayal of The Deep is powerful, in its toxic masculinity and casual abuse of power. He’s just personable enough to make the inevitable turn later on a bit more sinister and revealing than the writing gives it.
- It’s been a while since I read an issue of The Boys – was Translucent a character in the original series? I have absolutely no memory of him, if he was.
- There’s a lot of room to explore the gender and racial tensions of say, a city being assigned a black superhero to protect them, or how the public views a woman superhero of tremendous power as somehow lesser than her male counterparts. Jury’s out on whether The Boys will engage with any of these ideas, though.
- Vought’s rep Madelyn (a wonderfully cast Elisabeth Shue) pitches the mayor of a city on bringing in one of their (more “urban-friendly”) heroes for the cost of $300 million a year. When he tries to negotiate, she has Homelander blow up his plane (which has a child on it). Pretty cut and dry personification here, but it gives appropriate stakes to the core conflict: these people have so much money and power, they don’t give a fuck about wiping elected officials (and their families) off the face of the earth.
- The Boys begins with an invisible dick joke, and hinges a climactic moment on someone getting electrocuted through their asshole (and also features a shot of a hero shrinking like Ant-Man, and diving headfirst between a women’s legs). Just in case you’re wondering why I’m worried about the show’s “edgy” tone moving forward.
- There’s little-seen of Queen Maeve, the leading female in The Seven – it’s impossible to get a grasp on the character, save for the telling “don’t let them see you like this” line to Starlight in the bathroom, a cliche phrase that still carries a hefty amount of emotional weight to it in that scene.
- Very interested to see how the television series adapts the “Compound V” story – needless to say, it is much more integral to the story than its pair of offhand references here might suggest.
- Best fake hero names in the first episode? I’m going with Black Noir and Nubian Prince (which is exactly as cold and exploitative a name as it sounds).
- Welcome to reviews of The Boys! Reviews of each episode will publish through the day today and tomorrow. I’ll be reviewing each episode after I watch it, so please be considerate and don’t spoil anything for future episodes in the comments below.
Greatest Royal Rumble Matches: Kurt Angle vs. Chris Benoit
WWE Championship: Kurt Angle vs. Chris Benoit
WWE’s annual Royal Rumble pay-per-view is famous for its over-the-top main event, but there have also been many legendary single and tag team matches over the years that wound up overshadowing the titular 30-man brawl. One such match came during the Ruthless Aggression Era when two of the greatest wrestlers in the history of professional wrestling, squared off in what would be a technical showcase between two mat technicians. Of course, I’m referring to the 2003 Royal Rumble WWE Championship match between Kurt Angle and the Rabid Wolverine, Chris Benoit.
The match between Benoit and Angle isn’t just one of the greatest matches in WWE history— it is hands-down, the best match of 2003— a non-stop classic that doesn’t get the full recognition it deserves.
This match took place on January 19, at the Fleet Center in Boston. It was the sixteenth annual Royal Rumble and it unfolded during the pinnacle of the first WWE brand split. Monday Night Raw placed a heavy emphasis on soap opera drama while Smackdown focused more on technical wrestling. And if this wasn’t evident at the time, it became crystal clear during the 2003 Royal Rumble pay per view. In short, there was a huge difference in quality between the Angle/Benoit match which headlined the Smackdown brand and the primary match for Raw which saw Triple H and Scott Steiner fight for the World Heavyweight Championship. It was no contest. The Smackdown brand came out on top thanks to the sheer talent of Benoit and Angle; two world-class competitors in their prime and arguably at the time, two of the best wrestlers on the planet.
For roughly twenty minutes the Canadian Wolverine and the U.S. Olympic Gold Medalist went to war in a non-stop physical encounter which simmered with an amazing series of transitions from the Ankle lock to the Crippler Crossface. Needless to say, both men pulled off every single one of their special movies, multiple times throughout the match. Benoit attempted a diving headbutt on Angle, only Angle avoided the move and attempted an Angle Slam on Benoit which Benoit countered. Later when Benoit applied the sharpshooter on Angle, Angle in dramatic fashion, slowly made his way to the edge of the ring and touched the ropes to break the submission. Their chemistry was off the charts and the action in the ring kept the audience at the edge of their seats, as did the incredibly convincing near-falls which were executed to perfection. At one point, both men laid on the mat unable to get to their feet which almost resulted in a double count-out. It as a back and forth battle that had spectators believing anyone could win at any given moment.
WWE had built Benoit up as a babyface, and despite being the underdog— with the crowd behind the Canadian wolverine, many believed he would finally hold the belt over his shoulders. By the time Benoit executed a diving headbutt, nobody in the arena was left sitting on their chairs. In the end, however, Benoit applied yet another Crippler Crossface on Angle, only to have Angle counter it into a modified ankle lock, forcing Benoit to submit to the hold. It was a clean finish that featured a rare submission from the famously resilient Benoit.
The match exceeded any expectations and in the end, both men received a standing ovation. And while Benoit didn’t win, he walked away as the man who stole the show. Thankfully, it wasn’t the end for him but only the beginning. Over the course of the next year, he would rise in the ranks of the WWE roster and in 2004, he would win the WWE Championship at WrestleMania XX against Shawn Michaels and Triple H in a triple threat match.
As Kurt Angle said when asked about his career-defining match: If you want to learn and understand the art of pro wrestling, you need to watch the 2003 Royal Rumble World Championship match.
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Up next….. Royal Rumble in January 2019. 16 years ago I had the privilege of defending my WWE Championship at the Royal Rumble. This is how the match was explained verbally to those who haven’t watched it. “Professional wrestling in its purest form is as beautiful as ballet, as elegant as a ballroom dance and as captivating as a theater. By purest form I mean technical wrestling, which in today’s world is almost non-existent. The fiery chain wrestling, involving great chemistry, in-ring psychology and dream like story telling is something that happens when all the stars align.” This match was one of my best performances of my career. If you haven’t seen it, give it a look. #itstrue #wwe #championship #royalrumble
Angle vs. Benoit can be viewed as the single greatest non-Rumble match in the history of the pay per view. Watching it again after all these years proved to be just as thrilling— even if I already knew the outcome.
- Ricky D
“Crisis on Infinite Earths” Concludes By Going Big… and Going Home
Crisis ends, and DC’s television universe looks towards a bright future.
After three hours of thrilling cameos, bold narrative design, and clumsy dramatic crescendos, “Crisis on Infinite Earths” returned to air its final two episodes, concluding what’s been arguably the most ambitious experiment on a broadcast network post-LOST. Its final two parts – aired as the ante penultimate episode of Arrow, with Part V serving as the Legends of Tomorrow season premiere – are much like the three that aired in December; equally ridiculous and resonant, able to transcend an undercooked central premise with a combination of heart and humor unlike anything else in the superhero genre.
Equally ridiculous and resonant, Crisis on Infinite Earths transcends an undercooked central premise with a combination of heart and humor unlike anything else in the superhero genre.
“Part V” particularly benefits from being able to serve two critical roles: it serves as both a testament to the core characters of the DC-CW universe and their continued legacy on the network, as well as a poignant reflection on the impending departure of Green Arrow. And despite the obvious similarities, it would be a little simplistic to call Crisis on Infinite Earths the Endgame of the DC Universe: through characters like Sara Lance, Black Lightning, and The Flash, Crisis – and Part V in particular – is a reminder that even 500+ episodes into its universe, there’s still a bright future ahead for its super powered paragons.
That being said, let’s be honest: “Part IV” is a hot goddamn mess, rush through a web of silly plot twists and unnecessarily drawn-out scenes, that builds to one of the most laughably incoherent action climaxes of recent memory. Watching the heroes fight anti-matter ghosts was bad in “Part I” – by the time we get to the end of “Part IV,” and Ollie the Spectre is trading energy beams with the Anti-Monitor while everyone else stands around punching the air, the conceit of the whole endeavor almost falls flat on its face.
The only reason it doesn’t is because of what comes before it; though it is understandable to criticize “Part IV” for the strange collection of brief flashbacks into Oliver’s past (experienced by our paragons as they exist within the Speed Force), there’s a certain balance between chaos and clarity that’s found in the random assortment of moments The Flash, Supergirl, and company experience. The Speed Force is an unruly, uncontrollable force, and “Part IV” establishes the difficulty of their ability to even exist in such a state: given that, it makes sense that much of what we experience in the Speed Force is unsatisfying, or feels like it is missing out on key moments.
There’s no doubting how clumsy everything around it is: from the Monitor’s origin story, to the inexplicable beard Ray Choi grows, much of “Part IV” feels like filler material, hamster wheeling its way to its final two minutes, where the paragons…. look up a CGI hill, and think really hard about what they’re the paragon of? While the notions behind the final moments of “Part IV” are certainly noble – the idea that the super friends’ greatest powers are not their physical attributes – the execution is sloppy at best, and teeters towards being utterly ludicrous in its most critical moments.
But when the Anti-Monitor’s siege is (temporarily) defeated, Crisis on Infinite Earths drops the entertaining, if superficial conceit of unpredictable cameos and absolutely insane world building and turns towards deifying Green Arrow. And though it falls utterly flat in landing its emotional beats in “Part IV” (admittedly, it’s hard to take anything seriously after the Climactic Collection of Stares), once Crisis leaves Arrow to move to Legends of Tomorrow, all the pieces begin coming together, to deliver a rather touching homage to the long shadow cast by Stephen Amell’s impending departure.
By centering on The Flash and Sara, two characters who spend most of the episode refusing to believe Oliver doesn’t exist in this new universe (where every character in the DCTV universe has been integrated into one world), “Part V” is able to grasp an emotional thoroughline “Part IV” is way too busy to find. Especially with Sara Lance; as she reflects on her journey from philandering sister, to dead assassin, to captain of a MF’in time ship, Crisis finds resonance in Oliver’s departure, and how that has a rippling effect on every hero left behind.
Even more interesting is how the subtext of Sara’s reflections give voice to the anxiety of uncharted seas lying ahead for the minds behind the DC television universe: without their original protagonist, their dramatic bedrock of nearly a decade, there is a changing of the guard happening on both sides of the camera. Positing Sara as the de facto protagonist moving forward is a logical move: her journey to becoming a true leader on Legends of Tomorrow might be the single most satisfying arc of this entire dramatic experiment, something “Part V” openly acknowledges as it begins to fill in the landscape of its new shared universe.
By the time “Part V” ends (which, let’s be honest, it takes a long time to get to), there’s a Hall of Justice, a Super Friends table, a brand new conflict for Supergirl to face, and plenty of intriguing new threads for its new and returning series to explore in the coming months and years. The impact of Crisis will ripple through the DC televerse for years to come, and that’s an exciting creative kick start for some of its long running series: though sometimes Crisis certainly feels more interesting to dissect than it is to actually experience, the impact of its conclusion offers infinite potential to rejuvenate series like The Flash, and a fresh slate for shows like Black Lightning, the new Lois and Clark series, and the upcoming Stargirl to begin building a new, more refined foundation on.
Though the minute-to-minute quality of Crisis on Infinite Earths is wildly uneven – and ultimately, it comes up dramatically short in its climactic moments – it is undeniably one of the most exciting television events in recent memory, a crossover that should be lauded for its sheer ambition, and heartfelt delivery. Though the Arrowverse will be losing its bedrock when Arrow departs the air at the end of January, “Part V” proves the new, post-Crisis universe is clearly in good hands heading into the new decade.
It is not surprising the two MVP’s of the entire crossover are both Legends of Tomorrow regulars: Brandon Routh pulling dual roles before his own swan song from the universe (“Wait… there was a Super-me?”) and Caity Lotz absolutely fucking chewing scenery in the final half of “Part V”.
Best moment of the crossover? I mean, it’s gotta be the scene with Ezra Miller and Grant Gustin, right? Extremely impressed how they kept that cameo under wraps. The Doom Patrol dance is probably a close second, though.
Swamp Thing cameo!
The sidelining of Constantine in the final two parts is a bummer, though I guess having a dude who can access the world of the dead might make the whole eulogizing Green Arrow thing weird.
Gotta say it: it sucks there was no Felicity in “Part IV” or “Part V”.
Mick Rory the author continues to be the greatest subplot of the DC universe.
Unfortunately, Batwoman sticks out as the weakest part of the new Super Friends lineup. I want to like Ruby Rose in the role, but it’s just not working for me, at least so far.
It is no surprise the best episode of the five-part series is the Legends of Tomorrow season premiere.
Royal Rumble: The Most Over The Top Moments
The Best of the WWE Royal Rumble
While WrestleMania might be considered WWE’s biggest pay-per-view of the year, the Royal Rumble is arguably the most popular. It is the official start of WrestleMania season as the main events come into view. More than that, the actual Royal Rumble match is one of the most exciting WWE has.
The essential premise is that two wrestlers start in the ring. Then, another wrestler enters every 90 seconds, with a total of 30 wrestlers involved. There are no count-outs, pinfalls, or submissions. The only way to be eliminated is by going over the top rope and both feet hitting the floor.
What makes it blast to watch is the unpredictability of the match. The complete roster of wrestlers involved is rarely known, so most numbers have the potential for a surprise entrant. Even if fans think they know who is going to win, how it plays out is rarely as predictable.
Some of the most unique moments in WWE history have happened in a Royal Rumble match. Hopefully, this year won’t be an exception.
Kofi Kingston: Royal Rumble MVP
Superstars like John Morrison and Shawn Michaels have pulled off off some impressively acrobatic moves in a Royal Rumble match. But Kofi Kingston has carved out a name for himself as one-man highlight reel.
Consistently, Kofi has produced some of the biggest saves from elimination moments. From walking around outside the ring on his hands to chair hopping from the commentator’s desk back to the ring, Kofi has found the most creative ways possible to keep going.
His leap from the barricade to the ring apron at Royal Rumble 2014 remains one the most athletic moments in WWE history.
Asuka Wins The Royal Rumble
In 2018, WWE changed the game by having the first Women’s Royal Rumble match. 30 female wrestlers both past and present entered, leading to some historic moments. One of the coolest was seeing Trish Stratus and Mickie James, two in-ring rivals, face off in match they helped build to.
The eventual winner was Asuka, which was both the expected and the hoped-for outcome. Asuka was in the midst of her juggernaut run that started in NXT. It was a huge win for her.
It meant Asuka was going to WrestleMania to face Charlotte Flair or Alexa Bliss.
Unfortunately, it was followed by another huge moment that overshadowed hers when Ronda Rousey made her debut. Through no fault of Rousey’s, WWE’s choice to have her appear at that second somewhat stepped on the importance of Asuka’s win.
Stone Cold Rules The Royal Rumble
More than a few wrestlers have become two-time Royal Rumble winners. This includes the likes of Shawn Michaels, Randy Orton, Hulk Hogan, and John Cena. But only one man has won the match three times.
Stone Cold Steve Austin.
He won the Rumble back to back in 1997 and 1998, then again in 2001. Of all the great moments in the history of the Royal Rumble, Austin’s record-setting third win is a big one. Even if that record ever is tied or broken, probably by Randy Orton, Austin will always be the first to achieve it.
Shawn Michaels And The One Foot Save
Being eliminated from a Royal Rumble match requires two components. The first is going over the top rope and the second is both feet touching the floor outside the ring. Keep in mind, the key word in the second component is “both.”
In 1995, Shawn Michaels changed the game with a one foot save. It was the first time any wrestler had tested the limitations of the “both feet touching the floor” rule quite so literally.
It was a successful test, too. Shawn Michaels also became the first wrestler to enter at number one and win the entire match. Before him, the earliest entry to win was Ric Flair at number three. |In reality, Michaels wasn’t the only number one entry to win. Chris Benoit also pulled it off in 2004, though WWE is unlikely to mention that one.
AJ Styles Debuts At The Royal Rumble
There was a time that one of the top wrestlers in the world to have never worked in the WWE full time was AJ Styles. Well, until Royal Rumble 2016. That’s when unfamiliar music hit and Styles entered the arena. The pop from the audience was one of the biggest ever.
The confused look on Roman Reigns’ face sold the moment. That being said, the camera stayed on his face longer than it did the entrance.
As great as the debut was, it would have been better if AJ had won the Rumble. Instead, Triple H won. Not the most surprising person to go over in a Royal Rumble match but Styles main roster debut was still one of the hottest moments of the year.
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