Here are your quick and dirty, editorial-free WWE NXT results for June 17. 2020. This week’s episode featured matches for the Women’s and NXT Tag Team Championships, the set-up for a major championship main event, and more. Make sure you’re here tomorrow for the complete Best and Worst of NXT column.
NXT Results:
1. NXT Tag Team Championship Match: Imperium (c) defeated Breezango. Breezango dressed as Imperium for their entrance, and used a remix of Imperium’s theme. Indus Sher and Oney Lorcan and Danny Burch brawled at ringside, causing a distraction. Fandango rolled up Marcel Barthel, but Fabian Aicher was the legal man. Aicher hit Fandango with a DDT and pinned him.
– Dexter Lumis infiltrated a Velveteen Dream interview to plant a cartoon he’d drawn of the two of them. Dream found it, called it a misunderstanding, and asserted that he’s a solo act.
2. Damian Priest defeated Killian Dain with The Reckoning.
3. Aliyah defeated Xia Li. A drunk and depressed Robert Stone got up onto the ring apron and puked into the ring, causing a distraction that allowed Aliyah to roll up Li and pin her after two attempts.
– Timothy Thatcher stretched students with his “Thatch as Thatch can” style wrestling lessons.
– Bobby Fish and Adam Cole took Roderick Strong to a therapist (Kyle O’Reilly in a costume) to help him get over his fear of Dexter Lumis and being kidnapping in a trunk. Roddy ran away.
– Adam Cole was asked about Karrion Kross, but was interrupted by Keith Lee. Lee told Cole his time as champion is limited and broke the hourglass Scarlett gave Cole on behalf of Killer Kross last week.
– Cole came to the ring to talk about his NXT Championship reign and said he might want to take Lee’s North American Championship as well. This brought out Lee, and both men were interrupted by Johnny Gargano. Finn Bálor then interrupted, saying he’s coming for Lee’s North American Championship, and then Cole’s NXT Championship. William Regal (on the video screen) announced that next week Lee would defend against Bálor and Gargano in a triple threat match, with the winner moving on to face Cole in a “winner take all” match.
4. Dakota Kai defeated Kayden Carter by submission with a Koji Clutch.
– A hype video for Mercedes Martinez aired.
5. Bronson Reed squashed Leon Ruff, literally and figuratively, with a top rope splash. After the match, Reed called out Karrion Kross for next week.
– Santos Escobar, along with Raul Mendoza and Joaquin Wilde, talked about why he took off his mask and changed his name on last week’s episode. Drake Maverick interrupted, said he had more guts than brains, and attacked. Maverick got beaten down 3-on-1, culminating in a brutal driver through a table to the floor that got him stretchered away to the Local Medical Facility.
– Damian Priest vs. Cameron Grimes, Bronson Reed vs. Karrion Kross, and the triple threat match for the North American Championship are all next week.
6. Women’s Tag Team Championship Match: Bayley and Sasha Banks (c) defeated Tegan Nox and Shotzi Blackheart. Blackheart had Banks in the Cattle Mutilation, so Bayley introduced a steel chair. Nox took away the chair, but that got the referee’s attention and allowed Bayley to help turn the submission into a Banks Statement to give a submission win to the champs. After the match, Io Shirai ran in and attacked Bayley and Banks.
At this moment, I know you need me, and although I want to capitalize on that need, I need you to reflect, focus and institute significant and sustainable changes in your outlets. Georgle Floyd is the news cycle now, but black bodies have been a casualty to white supremacy for hundreds of years. Too many Black people have died at the hands of police officers. Is this finally the moment of change? Think for a minute, why now?
You need my voice, insight and ability to help you navigate and understand our exploding racial powder keg. But most of all, you need my stories, my insight and my perception to speak to the moment. My question is, where will you be when I need you after this moment has passed?
Today, you fill your pages and websites with our bylines and content, hoping to infuse perspective and color into predominantly white content. You mine our pain with op-eds explaining systemic racism and the unyielding murders of our fathers, brothers, lovers, sons and daughters.
Will you still love us when the news cycle shifts? Or will we hear what we’ve heard so many times before? Crickets.
Will you be there to offer us the coveted jobs, with full-time benefits and paychecks that pay the bills? Or are your mastheads so full of white faces that you can’t see us staring at you?
I’ve worked on staff in several television and radio newsrooms and gotten plum assignments as a freelance writer. I’ve even been fortunate enough to have stories published in prominent outlets and have been a journalist for eleven years. But I’ve seen firsthand the extreme racial disparities in the media. I’ve been the only person of color on a web team or in a newsroom. I’ve seen how few people of color are employed full-time at many organizations. I’ve rarely seen people who look like me inhabit the coveted seats of power.
You may ask: Why should we care?
These positions give writers like me the freedom to continue our craft, establish stable careers and support younger writers. It also provides us with the fantasy to explore our communities and the world at large—not just when one of us is struck down in cold blood.
Ebonye Gussine Wilkins‘ work focuses on media inclusion and better representation. She helps corporations, nonprofits and individuals assess their content and revise or create better work to reflect the communities they serve. Wilkins explains it like this: “Part of preventing this kind of scramble at the last minute would be to hire writers of color much earlier,” she says. “Hire them more regularly, pay them proper rates, not the bottom of the barrel rates, and give them an opportunity to write about things other than just ‘black issues.'”
In other words, editors, you’re the gatekeepers. It’s not enough for your outlets to hire the “one.” The token African American, Asian, Native American, or person of Latin origins to sit in your newsroom and write, edit and assign all the stories about people in underrepresented communities. One is not enough.
Solomon Jones recently wrote an op-ed for the Philadelphia Inquirer about being the only Black male news columnist. He described the issue as a problem that exists at most major outlets. “It is whiteness — the structures and social phenomena that produce white privilege — that causes outlets like The Inquirer to publish racially offensive material,” Jones wrote. Adding, “I truly believe it is not always intentional. However, when your editors are overwhelmingly white when you are self-congratulatory in your white liberalism, and when you routinely ignore the input of black people, you end up with headlines like “Buildings Matter, Too.”
This month, Hearst Magazines named its first Black editor-in-chief. Samira Nasr to helm Harper’s BAZAAR. She is the first black editor-in-chief in the history of the 153-year-old Hearst-owned publication. Let that sink in for a moment.
Condé Nast beat Hearst eight years ago when Keija Minor was appointed as the first African American editor-in-chief of a Conde Nast publication in 2012.
But let’s not get too excited about Condé Nast. Amid ongoing allegations of racism and unequal treatment at Bon Appétit, editor-in-chief Adam Rapoport resigned. Days later, Anna Wintour, editor-in-chief of Vogue since 1988, artistic director for Condé Nast, and Vogue‘s publisher, since 2013, released a letter of apology for the lack of diversity at Vogue.
“We have made mistakes too, publishing images or stories that have been hurtful or intolerant. I take full responsibility for those mistakes,” Wintour wrote. “It can’t be easy to be a Black employee at Vogue, and there are too few of you. I know that it is not enough to say we will do better, but we will — and please know that I value your voices and responses as we move forward.”
Jonita Davis is an Indiana-based writer who covers social and cultural topics. Her work has appeared in The Washington Post, The Guardian, Vox, Sisters from AARP, and others. She explained that outlets that had previously ghosted her are now clamoring for her stories. She says that as much as she has “FOMO” aka “fear of missing out,” she’s too pissed to take the assignments.
“If you can’t go to your staff now to cover protests and all the issues happening now, then maybe that’s a problem,” Davis says. “If you have to go running and looking for Black writers, then you don’t have a diverse staff. Instead of publications looking to this moment as a call to action to change things, they’re patting themselves on the back for hiring Black freelancers.”
Just in case you don’t know the rates for freelance writers at major outlets – they range from the rare outlet that pays $1 or $2 a word to $100 for thousands of words – which is not enough to survive on.
So, here we are, and here are the facts. Real and lasting change comes from hiring people of color for full-time writing, editing and management positions that pay good salaries with benefits. The truth is, it’s great that Black voices are being heard now, but it should have happened long ago.
The question is simple. But, the answer is far more complicated. You need us now. But will you still want us tomorrow?
Rebekah Sager is an award-winning journalist with over a decade of experience covering news, lifestyle, entertainment, and human-interest stories. She’s contributed to Playboy, Cosmopolitan, Vice, The Hollywood Reporter, GOOD, and more. She’s profiled Billy Porter, Ru Paul, Kathy Griffin, Amber Rose, Danny Trejo and the founder of Kind Bars, and the co-founder of the Black Lives Matter movement, Patrisse Cullors to name a few. Sager is currently working on a book about her years working in media called “Clickable & Sharable,” a Black girl version of “Bridget Jones Diary,” meets “A Devil Wears Prada.”
Writer, producer, and comedian Dan Harmon has struck gold in live-action and animation, giving the world both Community, which he created on his own, and Rick and Morty, which he co-created with Justin Roiland. The latter is the primary talent behind the mind-bending sci-fi comedy, doing both the titular voices, but don’t underestimate Harmon’s contributions to one of animation’s craziest programs. And that’s one reason why, even though there are no details about it, you should probably be stoked to hear Harmon’s working on a new animated comedy for Fox Entertainment.
This comes from Deadline, which reports that Harmon has been tapped to work on a show that will premiere on the network in spring of 2022. Fox, of course, is cartoon-crazy, having been home to The Simpsons for over 30 years, Family Guy for over 20 (minus a lengthy hiatus in the early aughts), and Bob’s Burgers for nearly 10. Will all three be around when Harmon’s mystery show rears its head? Oh, probably. Perhaps ditto Fox’s new shows, Bless the Hearts and Amy Poehler’s Duncanville, as well as the forthcoming Housebroken and The Great North.
Again, there is no details about what Harmon’s show will be, what genre or sub-genre it will infuse with jokes, nada, nothing. But Harmon has a great track record, so perhaps we’ll get six seasons and (maybe) a movie, à la Community, or a ludicrous number of promised episodes that will roll out slowly, à la Rick and Morty, even the wait times for the latter may start to get shorter.
Hulu’s come a long way. What began as just a way to watch cable TV without actually paying premium prices for the cord has morphed into a platform with an impressive streaming catalog — a one-stop shop for prestige originals, blockbusters, classic comedy series, and so much more. There’s a lot to love on Hulu, but its movie lineup is one of its strongest features. We don’t really need to do much more in the way of hyping it up, so we’ll just let you scroll through our picks for the best films on Hulu and leave you with this warning: your watchlist is going to get full real quick.
It’s hard to quantify a film as stylishly inventive and socially aware as Bong Joon Ho’s comedic thriller. There’s a reason this film won so many Oscars. It flits between instilling empathy for a family struggling to crawl out of poverty by increasingly deceptive means and the clueless elite whose house they eventually infiltrate. Bolstered by some terrific performances and a gripping script, the less said about the story, it’s twists and unexpected turns, the better. Just do yourself a favor and watch it.
A master assassin (Uma Thurman) is betrayed by her former associates and left for dead, only for her to awaken from her coma and vow to take uncompromising vengeance. Even if one isn’t a fan of Quentin Tarantino behind the camera, it’s impossible to say that watching his movies isn’t a distinct experience. Each piece of the Bride’s journey, while very different, fits together perfectly throughout the two films. Tarantino’s recognizable comedy, music selections, and slight self-indulgence come through in Kill Bill, which has just the right (and an excessive) amount of tongue-in-cheek and fake blood, respectively.
The second film in Christopher Nolan’s Dark Knight trilogy is undoubtedly its best. Not only does Christian Bale fully immerse himself in the role of Bruce Wayne/Batman, playing the tortured-billionaire-turned-vigilante with a singular conviction, the film also boasts Heath Ledger’s Joker, a maniacal villain worthy of sharing the screen with our hero. The film marks one of Ledger’s final roles before his death, but it’s a viscerally gripping portrait of a man burdened by past trauma and driven by his madness for chaos and destruction. Sure, we’re all rooting for Batman to win, but we can’t deny the fun in seeing Ledger blow sh*t up for two-plus hours.
Barry Jenkins follows up the success of Moonlight with this adaptation of a James Baldwin masterpiece. Told in a nonlinear style, the film recounts the romance of Tish and Fonny, two young Black lovers living in 1970s New York. When Fonny is accused of a heinous crime, Tish and her family fight to prove his innocence. The story is heartbreaking and hopeful at the same time, and Regina King puts in an Oscar-winning performance as Tish’s devoted mother.
This Sundance Grand Jury Prize-winning documentary tells the unbelievably inspiring story of Hatidze, a bee-hunter in North Macedonia who represents a dying breed of ecological custodians. Hatidze and her ailing mother live on a remote mountain range, where she peacefully coexists with the bees whose honey is her livelihood, but when new neighbors arrive to disrupt this fragile harmony, Hatidze must fight for her simple way of life. It’s a moving, intimate portrait of an inspiring woman, and a larger commentary on how our greed and ignorance can irreparably damage our surroundings.
As flashy and over-the-top as the sequin-spandex numbers that graced the ice back in the ’80s, I, Tonya manages to straddle a thin line. It’s both a biopic of one of the most notorious female athletes in the history of figure skating and a raucous comedy intent on mocking everything troubling about American culture at the time. Margot Robbie is brilliant in her role — playing a woman tortured by talent and her inability to capitalize on it — and you can literally hear Allison Janney chewing every scene she’s in as Harding’s narcissistic, chain-smoking mother. Plus that parrot bite is as funny as you could hope.
Tom Hanks, Sam Rockwell, and Michael Clarke Duncan star in this prison drama with touches of the supernatural. Duncan plays John Coffey, a gentle giant-type accused of raping and murdering a child. He’s innocent of course, but he’s also got some special abilities that both baffle and amaze his guards, including Hanks’ Paul Edgecomb. The film focuses on the struggle these men face in carrying out their duties, despite how much they come to respect and believe in Coffey’s gifts. It’s moving, to be sure, and a great turn from Duncan.
Olivia Wilde’s directorial debut is this coming-of-age ode to friendship starring Beanie Feldstein and Kaitlyn Dever. Feldstein plays Molly, a politically ambitious high schooler, who resolves to have one night of teenage fun before graduation. She ropes her best friend Amy (Dever) into her plan, and the two navigate a host of wild mishaps to make it to the biggest party of the year. It’s fun and heartfelt and a surprisingly confident first take from Wilde.
There are forbidden love affairs and then there’s this epic romance from French filmmaker Celine Sciamma. Filled with sexual tension and secret rendevous, this period piece centers on a young painter named Marianne who lives on the island of Brittany and is commissioned to complete a portrait of an aristocratic noblewoman named Heloise before she’s set to be wed. The two women form an intimate bond, one that tests their sense of self and their willingness to sacrifice for love.
Adam McKay’s controversial biopic lands on Hulu with its impressive cast of Oscar-winners including Christian Bale, who undergoes a mind-blowing transformation to play former Vice President Dick Cheney. The film follows the build-up to Cheney’s White House appointment, as he gains power first as a Washington insider, then as the man pulling the strings of the Bush administrations. Amy Adams plays his supportive, just as morally compromised wife, Lynne, with Sam Rockwell turning in a hilarious performance as Bush himself.
Viggo Mortensen and Kathryn Han star in this feel-good drama about an unconventional family’s attempts to stay together despite outside forces closing in on their way of life. Mortensen plays Ben, the father to six children all living in a remote, wooded area. The kids keep a strict schedule, learning on their own, surviving in the wild, eschewing traditional schooling and activities for Ben’s regimen, which pushes them to think for themselves and find their own purpose. When Ben and the kids are forced to leave their utopia and interact with estranged family members in the real world, his teachings and their way of life is challenged in surprising ways.
Boots Riley’s directorial debut comes courtesy of this dark, absurdist comedy that manages to weave themes of class and capitalism into a bonkers tale about a telemarketer living in Oakland who figures out a way to use his “white voice” to make sales. As he moves up the ladder, selling while hiding his identity, he’s pulled into a conspiracy that forces him to choose between cashing in at humanity’s expense or joining his friends in a rebellion against the system. Lakeith Stanfield gives a riveting turn as Cassius Green, Cash, the kid at the center of this bizarre story, and Tessa Thompson gives a commendable performance as Cash’s radical feminist girlfriend, Detroit.
Set during the touring years of The Beatles’ career, from 1962-1966, director Ron Howard crafts an intimate portrayal of the world’s most popular band with the help of both Paul McCartney and Ringo Starr, along with widows Yoko Ono and Olivia Harrison. Featuring 4K restorations of some of the band’s most memorable concerts, this documentary is a must for any film lover, Beatles fan or otherwise.
John Krasinski’s breakout horror flick has made its way to Hulu. The film stars Krasinski and his wife, Emily Blunt, as a couple trying their best to raise their family in the middle of an apocalypse where the slightest sound might attract other-worldly creatures intent on hunting them down and killing them. It’s a thrilling turn for both actors, with twists you don’t see coming and a satisfying ending.
Michael B. Jordan, Sylvester Stallone, and Tessa Thompson return for round two of this boxing drama reboot. Still training with Rocky Balboa, Adonis Creed (Jordan) tries to bounce back after a dangerous beatdown, resolving to face off against the son of Viktor Drago, the man who killed his father. The film’s tension is heightened, the hits more violent, and Jordan is as confident as ever in his leading man status.
Susan Sarandon and Geena Davis star in this women-on-the-run tale of revenge and the chase for freedom. Davis plays Thelma, a ditzy housewife who’s nearly raped in the parking lot of a roadside bar, and Sarandon plays Louise, her sharp-tongued best friend who shoots the would-be rapist dead before the pair flee cross country. Trying to avoid capture by the police even while committing petty crimes to drum up the cash needed for a border run to Mexico, the real thrill of this cat-and-mouse game is in watching these two women go to the mat for each other. It’s feminist art that inspired plenty of movies in the years that followed.
Australian director Jennifer Kent follows up her surprise success, The Babadook, with another dark tale, this time one that follows a young woman on a path of revenge. Aisling Franciosi plays Claire, an Irish convict sent to Tasmania in 1825 who chases a British officer (Sam Claflin) through the wilderness intent on making him pay for the crimes he committed against her and her family. Along the way, she recruits help from an aboriginal tracker and the two navigate racial tensions and prejudice on their quest. Franciosi is magnetic as Claire, a woman who refuses to let the horrible abuses she’s suffered break her and Claflin seems to delight in playing the villain of this story.
Will Smith stars in this sci-fi dystopian flick that feels particularly eerie, considering that his character spends a majority of the movie battling a plague that’s eradicated much of earth’s population. Smith is a scientist left to find a cure when everyone on the planet either dies or gets turned into zombies. What saves this from being another cliched apocalyptic circus is Smith, who has so much charisma, even when his screen time is mostly spent hanging out with a dog and testing specimens in a lab.
Helping to close out a decade of memorable teen films on a dark note, Heathers is a savagely funny deconstruction of the frivolousness of popular cliques that helped set the tone of many dark comedies that would follow in its wake. The plot involves a popular group of girls known as The Heathers who invite Veronica Sawyer (Winona Ryder) to join them, guaranteeing that she would gain popularity by association. Eventually, Veronica finds herself teaming up with a dangerous sociopath (Christian Slater) in an attempt to break the Heathers’ tyrannical hold on the school.
Loosely based on the ground-breaking manga of the same name, Akira is considered a landmark in Japanese animation, as well as one of the best animated films ever produced. Set in a dystopian future in 2019, a teenager named Tetsuo gains tremendous telekinetic powers after a motorcycle crash, eventually going mad with power before bringing the military-industrial complex to its knees. A live action adaptation has been in the works in some form since 2002, but remains in development purgatory for the time being.
Chloe Grace Moretz stars in this inventive horror flick from Matt Reeves. Moretz plays Abby, a child vampire who secretly lives with her guardian and befriends a bullied boy named Owen (Kodi Smit-McPhee). Abby and Owen form an intense bond, with Abby promising to protect him from his bullies and Owen eventually coming to accept her vampirism, but not before Abby and her guardian are forced to do some terrible things to survive — and keep her existence quiet.
Tom Cruise is joined by Superman himself, Henry Cavill in this latest installment in the action franchise. Cruise returns as Ethan Hunt who leads his IMF team but is joined by Cavill’s CIA Agent, August Walker, who’s tasked with monitoring the group after a mission gone wrong. Hunt is tracking some missing plutonium before a terrorist group called The Apostles can weaponize it against the world but he’s thwarted by a surprising enemy.
Eva Khatchadourian (Tilda Swinton), who’s unwilling and unable to properly care for her troubled son Kevin, watches her life unravel as her husband (John C. Reilly) ignores their problems and Kevin grows more and more sociopathic and violent. The story jumps around in time, showing Swinton’s character as both a new mother who blames her son for ruining her life and as a woman who eventually blames herself for what becomes of her son. Swinton proves once again that she’s the actress that indie movies need for complex characters that live their lives in grey areas. At its core, We Need To Talk is about the importance of proper parenting, communication, and probably therapy. And it’s not for the faint of heart.
The war of the Fyre docs kicked off earlier this year with Hulu releasing their surprise flick just days before Netflix’s planned exposé. Both films rehash the same basic plot: a young entrepreneur scams thousands of millennials and investors out of millions of dollars, but Hulu’s movie takes a closer look the aftermath and damage caused by Billy McFarland and Ja Rule, in addition to interviews and close looks at the events of the Fyre Festival disaster with a critical eye.
Natalie Portman leads this cast of badass women investigating a natural phenomenon that is slowly invading Earth. Portman plays Lena, a biologist who leads a team of women consisting of a psychologist (Jennifer Jason Leigh), a scientist (Tessa Thompson), and a paramedic (Gina Rodriguez) into “The Shimmer,” a quarantined zone mutated by alien DNA that seems to be transforming matter at will and spreading further each day. Past teams, including one led by Lena’s husband (Oscar Isaac), have disappeared in The Shimmer and Lena goes searching for a clue as to what happened to them and how she can save her husband — who returned changed from his mission. The entire journey is filled with bizarre happenings tied to meta-commentary about evolution and the human condition but honestly, the coolest thing about this movie is its cast and the kick-ass characters they play.
Pen15‘s Maya Erskine and ‘ Jack Quaid star in this modern rom-com about a pair of friends, who agree to suffer a summer of wedding invites together. Alice and Ben have been pals since college, but when their mutuals start getting hitched, and they’re left without dates to the happy nuptials, they make a pact to be each others’ “plus one.” What begins as a chance to score free booze and food quickly spirals into a neverending series of interactions that remind them how lonely they both are and force them to confront their hidden attraction.
A charming, unconventional story about what it means to be a family, Hunt for the Wilderpeople follows a juvenile delinquent named Ricky (Julian Dennison), who is adopted by a couple living on a farm in a remote region of New Zealand. After Ricky fakes his suicide and escapes into the bush, his (reluctantly) adopted father Hec (Sam Neill) goes looking for him, and after a series of mishaps, the two are forced to survive in the woods together for months. It was released during SXSW in 2016 (you can read our review here), and after rave reviews from critics the world over, it’s gone on to become the highest-grossing film in New Zealand history.
Before the Tina Feys, Amy Poehlers, and Maya Rudolphs of the world made Saturday Night Live a female-led powerhouse, comedian Gilda Radner starred on the sketch comedy series. She’s an icon, an absolute legend in the world of stand-up, and she played her bigger-than-life characters on the show with a kind of quirky abandon that made you laugh at them and care for them all at once. This doc looks back at her career, her struggles in an industry that wasn’t always accepting of her gender, and her brushes with more serious issues, like illness and eating disorders. Despite those serious topics, it’s a breezy, feel-good watch for comedy lovers of every generation.
Coherence is one of those low-budget sci-fi stories that is extremely tough to explain without either giving too much away or requiring an extended entry. Essentially, a group of friends sifts through their own issues and insecurities during a mind-bending paradoxical experience. Taking place almost entirely in the same room on a single night, the characters struggle to find answers just as much as the viewer. It’s a challenging yet enthralling film, perfect for those who love to overthink things.
A decidedly unusual twist on the giant monster movie, Nacho Vigolando’s Colossal follows Gloria (Anne Hathaway), an unemployed writer who moves back to her hometown after her boyfriend Tim (Dan Stevens) breaks up with her. After moving into her childhood home, Gloria’s heavy drinking starts to take a toll on her before she starts to realize that she may have a significant connection with a towering monster that spontaneously appears over Seoul, South Korea.
Recent Changes Through June 2020:
Removed: Zombieland, Good Will Hunting
Added: Thelma & Louise, I Am Legend
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@RobertStoneWWE “distracts” @XiaWWE to allow @WWE_Aliyah to get the pin! #WWENXT pic.twitter.com/xVN0GTAX9V
