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‘Wu-Tang: An American Saga’: Hulu’s Latest Doesn’t Bring the Ruckus

Hulu’s latest series is part rose-eyed biopic and part cliche gangster drama, neither of which are particularly effective.

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Wu-Tang: An American Saga is one of 2019’s stranger creations; presenting itself as a semi-autobiographical retelling of the legendary Staten Island rap collective’s origins, Wu-Tang: An American Saga is really an urban melodrama in the vein of Power or The Wire, albeit one without the understanding of self the aforementioned shows pertain. Like the super group whose story it is fictionalizing, Hulu’s latest drama is a mess of contrasting styles, ideas, and approaches as maddeningly inconsistent as the Wu catalog. Equally earnest and self-righteous, Wu-Tang: An American Saga‘s best moments are often its quietest, haunting interludes between musical sequences and trite gangster story lines; unfortunately, those moments are spread too thin across its first three episodes to hold the whole experiment together.

Equally earnest and self-righteous, Wu-Tang: An American Saga‘s best moments are often its quietest – unfortunately, those moments are spread too thin across its first three episodes to hold the whole experiment together.

Co-created by the RZA (him and Method Man also serve as executive producers, with most members of Wu-Tang Clan noted as “Consulting Producers”) with Alex Tse (whose previous credits include co-writing 2009’s Watchmen film), Wu-Tang: An American Saga centers its story around a young Bobby Diggs, stuck between the drug world that keeps the family bills paid, and the music world he so desperately wants to break into. Played by Moonlight‘s Ashton Sanders, the character of young RZA forms the foundation of the series, positing young Bobby as the connective thread between the many different characters and happenings in Wu-Tang‘s fictionalized version of 1991 Staten Island.

Problem is, so many of those characters and situations feel like echoes of 30 years of material from New Jack City to Empire; though there’s an undeniable understanding of the show’s fictional versions of Bobby, Sha, Dennis, Cliff, Ason, and company, Wu-Tang insists on drawing out their origin story from the same blueprint as its obvious cinematic influences. Which in a way, feels a bit self-aggrandizing; in its attempts to feel gritty and realistic, the influence of the show’s subjects on their portrayals seeps through the material, which at times, places its characters inside genre cliches in strange, self-glorifying moments.

That lack of separation from subject to screen is impossible to ignore; it only feels like half the conversation is being had, so reluctant to observe its subjects rather than deify them through cliched material. Take the character of Ason (aka a young Ol’ Dirty Bastard): Wu-Tang‘s first three episodes effectively portray Ason as the unhinged, lovable radical with crazy dreads that was his public image around fans; TJ Atom’s performance is wonderful, capturing the freewheeling joy that was the foundation of Ason’s unusual creativity and personality. But Ason was also a serial abuser, a rampant alcoholic and drug addict, and most likely suffered from undiagnosed mental illnesses (plus other traumas, like the time NYC cops took shots at him for effectively no good reason) that eventually led to his death in the middle of Wu-Tang’s New York studio.

Though Wu-Tang: An American Saga has every right not to engage with that part of his story, there’s a feeling of massaging ODB’s legacy through this show that I feel with every character, refusing to explore even the ideas of inner conflict and morality that makes the exercise feel… well, a bit masturbatory at times. Having the foreknowledge of their success, and their well-known influence on American culture is baked right into the series, an unspoken framing of every scene that allows its creators to not really engage with their own legacy on an interesting level.

Wu-Tang An American Saga

For better or worse, it feels like a Wu-Tang album; one that straddles the line between honest storytelling and reinforcing its own worst habits, one willing to go on strange diatribes (the second episode has some strange, randomly inserted animated bits) and unsatisfying diversions, all in what feels like cherry-picked personifications of its characters. The most frustrating of these isn’t even Ason – it’s Shameik Moore’s Sha, an absolute miscalculation of performance and character that drags down the entire Wu-Tang affair.

Quite frankly, the way Raekwon comes off in Wu-Tang is dumb: in their attempts to paint him with shades of gray, the series simply leaves him as a big blank. Considering how integral he is to one of the show’s central mysteries – the first episode begins with him spraying bullets through the windows of a young Ghostface’s home, before stashing the gun at RZA’s family home – Wu-Tang‘s inability to explore Sha in three dimensions sells many of its big dramas short. Sha is meant to be conflicted, torn between his job, his dreams, and his childhood friends – but the show, and its audience, already know how the story ends, and Wu-Tang takes no chances at trying to define Sha beyond his actions, which just make him an empty vessel for the show’s lesser, more stereotypical elements.

When Wu-Tang is able to divorce itself from the friendly self-authorship of its story, there are signs Wu-Tang can find its voice at the strange intersection between 90’s gangster epic and musical biopic; sequences with Bobby’s attempts to buy a drum machine, coupled with Dennis’s hidden relationship with his boss’s sister are genuine attempts to bridge the gap between humans and legends, rare side plots that give Wu-Tang some sense of identity beyond simply mythologizing their origin story.

Wu-Tang An American Saga

I just wish there was more of that, and less of the show’s attempts to emulate so many of its cinematic influences (or in the case of Method Man, shows he’s already been on), in order to build empty melodramatics around its characters, themselves largely a collection of archetypes Wu-Tang doesn’t want to add any unique, or unflattering, shades to. People simply are who they are because of their environment, Wu-Tang argues, at times even suggesting Bobby is the only one with a vision beyond the ghetto, beyond the short life spans and long jail sentences that have plagued generations of young black people (though in the rare moments where Wu-Tang does lean heavy into those sociopolitical elements, it does have a bit of spark), and nearly consumed the lives of the Wu-Tang Clan before they made it.

Whether the events of Wu-Tang: An American Saga are factual, are irrelevant: what matters is how those stories are adapted to the screen, and how the clear influence of its subjects colors their on-screen portrayals. Unfortunately, most of Wu-Tang‘s first three hours are too consumed by that thought to have anything interesting to say on its own; it’s rather happy to indulge itself in the habits and rhythms of other fiction, with the strange undercurrent of never letting its characters exude any kind of real, inner conflict about their inherent destinies. With time, maybe Wu-Tang will find that; but there’s little sign this series is more than a handful of evocative rhyming sessions, a few revelatory moments of discovery, and a whole lot of cliched storytelling and one-dimensional characterizations, in what amounts to an underwhelming adaptation of a quintessential American story.

Other thoughts/observations:

  • Dave East co-stars as a young Method Man, and holy shit, does he do a great Method imitation.
  • There’s so much dichotomy between the show’s performances: where as Sanders’ RZA is so artfully constructed with subtle looks and physical performance, Siddiq Saunderson’s Dennis (aka Ghostface) feels like a gangster caricature, showy and large in all the wrong ways.
  • There’s a speech given in a flashback about the “light” and the “dark” that is so laughably amateurish, one of a couple examples of Tse and RZA flimsily opining to the audience.
  • another subplot introduces and disposes of a flashy character in the span of an hour, a cheap dramatic cash-in I really wish the show would’ve avoided, because it falls flat and swallows most of the third episode whole.
  • Ultimately, these first three episodes are not very good – but I’m going to be sticking with the first season, because I’m curious if those few elements of promise can be drawn out into something powerful. I’ll check back in after the season finale.

A TV critic since the pre-Peak TV days of 2011, Randy is a critic and editor formerly of Sound on Sight, Processed Media, TVOvermind, Pop Optiq, and many, many others.

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The Mandalorian “Chapter Two: The Child” Muses on Morality Whilst Getting Muddy

The Mandalorian Season 1 Episode Two Review: “Chapter Two: The Child”

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The benefit of The Mandalorian‘s soon-to-be weekly releases is that it gives times to ruminate on the preceding episode. Case in point: Werner Herzog’s mysterious “Client” is clearly part of the “Imperial Remnant” — in new Star Wars canon, the fractured factions of the formerly very centralised Galactic Empire. It makes sense that these groups would be so disparate in the ensuing power vacuum, and now Herzog’s already ominous “good to restore the natural order of things after a period of such disarray” is far, far more terrifying for the state of the galaxy.

That sort of information percolates at the back of the mind when watching The Mandalorian’s “Chapter 2: The Child,” which draws on the audience’s existing knowledge of Star Wars to elevate the piece far more than the first episode. While “The Child” is squarely focused emotionally on character relationships, there is significant interplay between viewers and the screen through Rick Famuyiwa’s direction of showrunner Jon Favreau’s script, creating dramatic irony, visual symmetry, and a certain degree of fan-service. Indeed, the first few minutes of the surprisingly short thirty-minute episode is almost a condensed redux of R2-D2 and C3-PO’s escapades on Tatooine in A New Hope. There’s even a Jawa sandcrawler!

In the same way that Rogue One’s chaotic man-to-man confrontations help set the tone for that film, the Mandalorian slugging people while his burgundy armour glints amongst the orange hues of the canyon encapsulates the grimily poetic atmosphere that “The Child” possesses.

Unlike the Jawas capturing R2-D2, or Luke Skywalker being knocked out by Tusken Raiders, the Mandalorian acquits himself much more successfully against his Trandoshan ambushers. Director of Photography Baz Idoine and his team’s coverage of the melee combat is engaging and clear. The cinematography keeps the impacts of the twirls, slams, and shoves centrally framed in mostly full and medium shots, as the Mandalorian wields his long blaster like a staff, then snipes the assailants as they run towards his bounty in a particularly satisfying long shot.

The Mandalorian walks in front of child.

It feels quite similar to the combat in Rogue One, which shouldn’t be surprising given that Idoine previously worked as the second unit director of photography. In the same way that Rogue One’s chaotic man-to-man confrontations help set the tone for that film, the Mandalorian slugging people while his burgundy armour glints amongst the orange hues of the canyon encapsulates the grimily poetic atmosphere that “The Child” possesses. It makes stabbing through muddy, matted hair beautiful.

This review has held off necessarily spoiling the big reveal at the end of the last episode for long enough. If you’re somehow reading this and haven’t seen “Chapter One,” (insert Jedi mind trick) this is not the review you’re looking for.

Fifty-year-old baby Yoda is adorable! Disney’s got its latest sold-out toy just in time for Christmas. So the Mandolorian now has himself a baby “Yodaling” to keep track of at all times; its innocent eyes observe both the delight of dune frogs and the brutality with which Mando kills and literally obliterates enemies. In the aforementioned fight scene, editor Andrew S. Eisen intercuts between shots of the Yodaling watching serenely, but also shots from the Yodaling’s perspective.

Focusing in on the Yodaling’s viewpoint throughout the episode is probably Famuyiwa’s best decision as director — not only because it makes the puppet feel real and not a prop, but the child is a constant reminder that bounty hunting (and killing) has a ripple effect on others. Part of Star Wars’ appeal has always been fancifully designed characters shooting some mooks, and although The Mandalorian indulges in this pleasure, it also seems to be slowly deconstructing mythic qualities. Actions have consequences, and this Yodaling acts as a yardstick to measure Mando’s morality against.

The Yodaling watches the Mandalorian

This all lends itself to the ambiguity pervading the “Chapter 2: The Child.” There are many wide shots where Mando walks through valleys and across the rocky outcrops with a floating pram in tow, with Mando and the Yodaling spread far apart, visually illustrating an emotional gulf between them. As the episode wears on, however, their physical separation in scenes closes until Mando is not-quite gently rocking the sleeping baby. He could be abruptly attempting to coddle as an awkward parent, but he also could also just be making sure his prize still is alive so it will “survive and bring [him] a handsome reward” (when Kuiil says this, does he mean emotional fulfillment or money?). As is often the case with Mandalorian bounty hunters, the question of intent is left to subtext and nebulous silence.

Actually, apart from a few grunts here and there, Mando says nothing at all for the episode’s first ten minutes. In lieu of talking, the handheld cinematography, with its close-up shots or momentarily going out of focus when Mando is disorientated, tries to convey the bounty hunter’s mental state. It’s also interesting to see the armour itself act as an evolving symbol for Mando as person. Where in “Chapter One” the addition of the shoulder plate suggested a form of exterior wholeness, “Chapter 2: The Child” sees Mando continuously fixing an increasingly tattered and fractured suit. Mando’s scarred childhood, as shown in “Chapter One,” clearly still torments him, and his emotionally suppressive stoicism may just have been broken through by meeting this baby.

The muteness is also ripe for some cartoonish, exaggerated visual comedy to break the solemnity. Mando setting the Yodaling down, only for the baby to immediately trot over, is like watching the antics of Jerry and baby Nibbles from Tom and Jerry. And after an action sequence recalling Indiana Jones and the Last Crusade’s tank climbing, Mando then mimics Wile E. Coyote as he falls off a sandcrawler. Pedro Pascal’s comic timing whenever he cocks his head in disbelief or sighs deeply is hilarious. Even composer Ludwig Göransson has some fun, playing a ridiculously triumphant trumpet piece as Mando’s convoy trudges slowly through pouring rain. As in “Chapter One,” “Chapter 2: The Child” modulates its tone expertly to naturally weave these extremes in.   

Mandalorian and Yodaling walking in the sunset.

Part of that may be because the story is so pared back, and the location is evocative enough to bleed into and dictate the wistful atmosphere. Famuyiwa lets the stunning red palette of the landscape’s geological formations and sunsets take prominence throughout, and it lends visual consistency. Tangentially, “Chapter 2: The Child” comes as close as Star Wars ever has to observing the principles of theatre laid down in Aristotle’s Poetics, taking place on — and never shifting from — the red planet Arvala-7 (unity of place) and having the single driving dramatic action of leaving the wasteland behind (unity of action). That it ditches Aristotle’s rule that a drama should only take place across a single day validates Kuiil’s claim last episode that one needs a Blurrg to traverse the terrain.

Speaking of Kuiil, he might just be the nicest character in Star Wars thus far. For the second episode in a row, he declines Mando’s earnest offer of payment, saying, “you are my guest and I am therefore in your service.” The service that comes with hosting ends, however, and therein lies the difference. As he says, “I have worked a lifetime to be finally free of servitude.” It is possible that we or Mando will not see nearly enough of Nick Nolte’s loveable character going forward, but the impact he has had on Mando is quite profound — especially Kuiil’s faith in his guest’s abilities, despite never having met a Mandalorian. After Mando returns with the goods needed to barter back parts that were stolen from his ship, he says, “I’m surprised it took you so long;” if the Yodaling is a test of morality, then Kuill is a kind, humanising force for Mando.

Kuiil and the Mandalorian talk.

Therefore, the fact that this idiosyncratic, wise, old Ugnaught cannot remotely understand a phenomenon of The Force demonstrates the extent of the impact the Jedi Purge in the aftermath of Order 66 (Revenge of the Sith) had on eradicating not only Force users, but knowledge of its existence as well. The Yodaling’s Force sensitivity is not a surprise. Surely the use of Yoda’s species was to clue the audience in as soon as possible, because otherwise they could have used many other species, as was done in The Clone Wars’ “Children of the Force” or Rebels’ “The Future of the Force.”

The purpose of accentuating the dramatic irony in this story is as yet unknown, but the reliance on an awareness of Star Wars’ wider canon is intentional. Anyone with knowledge of Darth Sidious’ attempts to raise and experiment on an army of Force-sensitive children would probably suspect the same aims for Omid Abtahi’s “Dr. Pershing.” However, the Sequel Trilogy is the real looming spectre for The Mandalorian. “Chapter Seven” releases on the same day as The Rise of Skywalker, so it’ll be interesting to see whether there are any direct connections. However, while the galaxy is vast, the knowledge that the First Order eventually rose up, and that Luke Skywalker’s attempts to establish a new Jedi Order failed, makes this story of the Mandalorian and his child a potentially very tragic and futile one. So we should enjoy the quiet moments while they last.

Other Thoughts/Observations:

That said, Padawan Ezra Bridger from Star Wars Rebels is currently out there and presumably surviving in the post-Return of the Jedi period where The Mandalorian is set. So maybe this will be a happy ending if Ezra lasted through the terrors of the Empire!

If I recall correctly, Yoda died at 900 years old, and said he had been training students for 800. So he must have been at least a Jedi Knight by 100 years old. Maybe the next 50 years for the Yodaling will be full of rapid growth? It already has wrinkles!

On that note, how long are Yodaling foetuses stuck gestating in the womb? Actually, scratch that — I don’t need to know.

The assassination of IG-11 in “Chapter One” obfuscated my thinking, but there are at least three factions after this baby: Herzog’s group who hired Mando, whoever hired IG-11, and the group protecting the child that the duo eliminated.

Also, Mando’s prejudice against droids (and everyone’s) makes sense given that number of Confederacy droids annihilating everyone during the Clone Wars, including his home as seen in the flashbacks (benefit of Disney Plus: The Clone Wars is available to rewatch).

Can somebody please adapt Lone Wolf and Cub? Please?

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Apple TV+’s The Morning Show Both-Sides Itself Into Prestigious Irrelevance

The Morning Show’s mix of flashy performances and one-dimensional writing makes for one of 2019’s more intriguing misfires.

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The Morning Show Review

One of Apple TV+’s early projects was a Whitney Cummings-helmed comedy firmly rooted in the #MeToo movement – unsurprisingly, it was canceled when Apple executives balked at the idea of hosting such politically charged content.

Then Hillary Clinton’s press secretary walked in with a #MeToo-themed drama based on a CNN’s anchor’s poorly-reviewed book, and Apple said: “Here’s $300 million.”

Everything about The Morning Show bows at the temple of Late Sorkin, shows whose neutered centrist politics bleed through indulgent monologues, carelessly crafting limp arguments and diatribes around events nakedly parallel to our own world.

The strange optics are a rather apt reflection of Apple TV+’s The Morning Show, one of the more confounding high-profile dramas in recent years. Comparisons to Aaron Sorkin’s HBO disaster The Newsroom might seem lazy and obvious, but there’s really no comparing it to anything else. From shot composition to dialogue and performance, everything about The Morning Show bows at the temple of Late Sorkin, shows whose neutered centrist politics and indulgent monologues, carelessly crafting limp arguments and diatribes around events nakedly parallel to our own world.

The Morning Show

It, unfortunately, begins with one of 2019’s worst pilots, a grating 63-minute introduction to its world of morally compromised broadcast news players. As it builds out its world of producers, lackeys, stars, and C-suite executives, The Morning Show‘s first (and most of its second) hour painfully imitates the worst Sorkin-isms with glee, a series of painfully overt character introductions and an overwhelming feeling the script is about five years behind on the many conversations it wants to have about gender, power, political conflict, and the state of broadcast news.

At the center of it all is Jennifer Aniston, relishing in the decidedly two-dimensional Alex Levy, host of the eponymous show-within-a-show. When the delicate balance she’s found between being a mother, a star, and a serious contributor to the morning show culture, is disrupted by sexual misconduct allegations against her co-host Mitch Kessler (Steven Carell, doing the best he can with it all), it becomes an inflection point in her career.

To her credit, Aniston justifies the hype of her streaming debut; her committed performance allows her to run the full emotional gamut of Alex’s life, grounding her with an emotional restraint I only wish carried through to the writing. Both to its benefit and detriment, it writes around its star, offering Aniston all the room in the world for showy, dedicated, awards bait. And though it carefully avoids falling completely into a series of tropes and cliches about women almost having it all – and what they’re willing to sacrifice to achieve it – there’s no denying how the basic notes of her character are pounding over and over in early episodes, to dull effect.

The Morning Show

The same goes for Reese Witherspoon’s Bradley Jackson, a woman whose Libertarian opinions and rough edges have stalled her career as a try-hard journalist… for a conservative news outlet (twist!). In the pilot, Bradley gets fired for yelling at someone during a protest against the coal industry, a speech that absolutely belongs in the Both Sides-ism Hall of Fame. Experienced and naive, whip-smart but held back by her own intelligence, Witherspoon’s overbearing presence as Bradley combines with some of the show’s clumsiest writing, an unremarkable attempt to subvert expectations on multiple levels.

Jackson’s character begins to come together by the third hour (once Jay Carson, the show’s creator, was fired and no longer credited on scripts), after she’s thrown unexpectedly into the mix by an Alex Levy power move; “unexpected” in that Bradley didn’t see it coming, though it is painfully obvious to even the most casual observer where the first 110-plus minutes of plot is heading. But it’s a painful road to get there, one full of asides about blue-collar upbringings and frustrations with the left and right (centrism, baby!), with the obligatory tinges of bad mom drama and professional insecurity.

The Morning Show

Bradley’s character becomes an unfortunate mouthpiece for all the issues The Morning Show is woefully equipped to handle; the fossil fuel industry, what’s wrong with broadcast news… and in “That Women,” abortion, when she accidentally (or…??) reveals what the show treats as a Deep, Dark Secret of her past… and then immediately drops as an actual plot halfway through “That Woman,” folding it into the background noise that is the capital-d Drama surrounding the fictional Morning Show.

(This happens on her second broadcast, I might add, during her attempt to subtly undermine the wickedly facile dialogue being fed to everyone from cue cards and teleprompters.)

The benefit of having such a large, talented cast and prestigious directors (Mimi Leder and Lynn Shelton direct three of the first four hours) does allow The Morning Show to occasionally stumble into being quite watchable. There’s strange chemistry to the cast, and it combines with the sharp direction to breathe life in between the many instances where The Morning Show trips over itself with bloated plots and repetitive character beats.

The Morning Show

There are a number of scenes in the third and fourth episode that are genuinely compelling, in a sadistic kind of way: the writing and performances are so confident and dedicated to what they’re trying to say, even when it is blindingly obvious The Morning Show is ill-equipped to catalyze on the many compelling ideas it throws into the mix. It can be fun to watch, an incongruous relationship between style and substance that is occasionally intoxicating in the sheer ludicrousness of it all.

But mostly, The Morning Show is just tiring in its dissonance, and its clear horniness for moderation and careful reinforcement of systemic norms – it is more interested in getting participation trophies for being in complex sociopolitical conversations, than actually having a concrete point of view on anything (it’s like the anti-Superstore in a lot of ways). The first four episodes are a confluence of elements, brash lead performances clashing with the naturalistic work of the show-within-a-show characters around them, all trying to convincingly deliver the dramatic equivalent of sugar-coated chalk. There are certainly some tasty, addictive qualities to The Morning Show; but those delicious morsels are overwhelmed by the bitter, archaic nature of its central narrative and episodic flow.

It is certainly fascinating to watch a show consistently jump in the deep end without knowing how to swim – it’s just not entertaining to watch The Morning Show flounder around helplessly scene after scene, a creative misfire of epically-budgeted proportions.

Other thoughts/observations:

$300 million and those are the best opening credits you could come up with? Dots?

It is interesting how Steve Carell is listed among the main cast; he is not in these first four episodes very much – and when he is, it offers some of the show’s most uncomfortably strained writing.

This show constantly cuts to a shot of a clock alarm going off at 3:30 am. Literally every day that passes on the show, we get Bradley or Alex slamming the alarm off. WE GET IT.

Mark Duplass co-stars as the longtime producer of The Morning Show; of the show’s collection of idiotic male characters, his Charlie is rather carefully constructed. It is unexpectedly strong, and stands in interesting contrast to Billy Crudup’s Cory Ellison, a network executive Crudup clearly relishes in making a brash, exaggerated performance.

There’s a subplot about a simpleton weatherman (the always-welcome Nestor Carbonell) and the young producer he’s hooking up with. She’s apparently from a rich, influential family? It kind of feels like this show’s 2019-ified take on Sports Night’s Jeremy and Natalie.

Yes, there is an episode that ends with an acoustic version of Kelly Clarkson’s “Stronger”… spoiler: it is the episode that has a Kelly Clarkson cameo.

Karen Pittman chews up scenery as Mia, a very pragmatic producer, and Bradley’s guiding hand.

The second episode focuses pretty intently on Alex’s role as a mother… and then her daughter basically disappears without mention? I’m sure they’ll come back to it, but boy does The Morning Show like to go on tangents and forget its many, many, many side plots.

Oh man, there is an awful, awful scene where Martin Short plays an unnamed director, who talks with Mitch about what they’ve done, and how they can try and return respect to their names. And then Mitch reveals he knows the director is an “actual rapist,” and presumably decides not to make a documentary with him? It is so weird and distonal, and feels like The Morning Show presenting a weird moralistic litmus test to Mitch.

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A Brief History of Survivor Series: A Cornerstone of WWE

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History of Survivor Series

Relive Some of the Biggest Moments in Survivor Series history

There are a few pay-per-views that are mainstays of WWE’s annual slate of offerings. SummerSlam. Royal Rumble. WrestleMania. Kids grow up dreaming of wrestling at these shows, and Survivor Series is one of them. The classic Survivor Series match is a five-on-five elimination bout, featuring a variety of top stars as well as up and coming wrestlers. It provides an important showcase for WWE’s talent, some of which don’t always get pay-per-view time.

Survivor Series
Hulk Hogan’s Best Survivor Series Team

Besides that, it’s a lot of fun for fans to watch.

Over the years, Survivor Series has produced a number of career-defining moments for the talent involved and those moments can mean everything. This is the pay-per-view that kicks off the build-up to WrestleMania, the ultimate goal for all WWE wrestlers.

The 2019 event is even more interesting than past iterations because of its incorporation of talent from NXT for the first time ever, pitting their champions against Raw and SmackDown. If fans were looking for a statement as to how seriously WWE is taking NXT as its own brand, matching NXT against their long-standing brands accomplishes that. Let’s look back at some of the most memorable moments of the event.

Survivor Series NXT
Triple H with his NXT Champions

Bret Hart’s Survivor Series History

Many of the biggest moments in Survivor Series history happened outside of the actual namesake match. One of the most infamous moments in WWE history, The Montreal Screwjob, happened at Survivor Series 1997. Knowing Bret Hart was leaving WWE and wanting to make sure he didn’t take the belt to WCW, Vince McMahon ordered a fast count during Hart’s match with Shawn Michaels.

Hart’s response was infamous and understandable, his long feud with both McMahon and Michaels only coming to a relatively recent end.

Hart had a part in another big moment, this time at Survivor Series 1996. One year before The Montreal Screwjob, Bret Hart faced off against a young wrestler name Stone Cold Steve Austin who was looking to make a name for himself. Thanks to this match, he would do it. While it’s not often recognized as such, this match was the start of Austin taking the wrestling world by storm and building a legendary career that fans still talk about.

Notable Survivor Series Debuts

A WWE franchise player, The Undertaker himself debuted at Survivor Series 1990, starting arguably the most legendary run for any gimmick in wrestling history. The next year at Survivor Series 1991, The Undertaker would go on to defeat Hulk Hogan for the World Championship and cement his legacy as ‘The Phenom.’

Royal Rumble
The Undertaker vs. Hulk Hogan at Survivor Series 1991

The Undertaker wasn’t the only wrestler to debut at the venerable pay-per-view. The Shield, a faction that would go one to produce three major singles champions, made their first main roster appearance at Survivor Series 2012. They came through the crowd and destroyed both John Cena and Ryback on behalf of CM Punk. The legendary Sting made his first WWE appearance at Survivor Series 2014, attacking Triple H and setting up a WrestleMania match between them.

WrestleMania
Sting vs. Triple H at WrestleMania

Sole Survivors

Asuka also achieved glory at Survivor Series 2017 as part of her build-up to WrestleMania. She was a member of the Raw Women’s Team, putting in a typically dominant performance. Asuka was the sole survivor, winning the match for her brand and eventually going on to win the first Women’s Royal Rumble match.

Survivor Series WrestleMania
Asuka Victorious at Survivor Series

Unfortunately, she didn’t win her match at WrestleMania, a loss that took months and months to recover from. Now, it seems like she’s finally back on track alongside Kairi Sane as the Women’s Tag Team Champions.

Many big names have been sole survivors, as well. Roman Reigns, Kofi Kingston, Andre the Giant, and Lex Luger have all held that distinction. The likes of Ric Flair, The Rock, and Dolph Ziggler have been sole survivors on two separate occasions each. Randy Orton holds the unique distinction of being a three-time sole survivor, though that’s no surprise for ‘The Viper.’ He is nothing if not a survivor.

Now. Then. Forever.

The big four pay-per-views will always have a special place in the hearts of WWE fans, and Survivor Series is no exception. While every moment on screen plays a role in building a successful wrestler, showing up and showing out in big moments like this set the tone for the rest of the year.

Some of the biggest names in WWE history have made their names at Survivor Series, possibly even more so than WrestleMania. Survivor Series was created to play off the success of Andre the Giant versus Hulk Hogan at WrestleMania III. Both men led their own teams at the inaugural event, featuring some of the biggest talents of their time.

That continues today as modern talent use this traditional pay-per-view event as a means of launching careers. It’s one of those events young wrestlers grow up dreaming about.

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