The DVDR ran out of space just as Paulie was about to answer Max Kellerman's first question. I just caught that part on a rebroadcast. It's always funny how uncomfortable HBO seems about four-letter words in their broadcast, considering how they rarely repackage their fights for other media -- hell, they barely even rebroadcast them on their own channels beyond the first week of airing -- and never repackage them with the interviews anyway. But it's funny to see HBO-employee spines stiffen at the first "shit" or even .... "fuck" to escape the bruised/friction-burned/bleeding lips of a man who's just been punched in the face over and over for the last 45 minutes ... a few minutes before the network airs some R-rated blockbuster or POLITICALLY INCORRECT or TRUE BLOOD. By the way, the easiest way to tell made-for-HBO content from the theatrical-intended movies they show? The made-for-TV stuff is letterboxed. Oh, cable television, why do you play with my girlish affections so.
Anyway, the fight: I was expecting Diaz, Jacobs and Guerro to win their fights, and you can easily argue that Diaz squeaked out his win, but those score cards? There's been a remarkable number of great fights that have ended with unequivocally bullshit scoring; Cotto-Clottey being another big recent one. I think I've been cured of my boxing addiction; I'm done watching everything I can of the sport every week. I'll still watch fights by the handful of world-class fighters left in the sport, men who don't need massive amounts of promoter leverage to defeat Opponents who are [or simply might prove to be] tougher than tomato cans in the ring.
So buh-bye, Versus' Thursday-night nickel-plated Golden Boy showcases! See ya, ESPN2's FRIDAY NIGHT FIGHTS! We'll always have Paris, HBO BOXING AFTER DARK! In retrospect, I feel like a corporate-comics nerd who should have gotten wise years ago, and I won't be surprised if SHOBOX: THE NEW GENERATION turns out to be the DARK HORSE PRESENTS of boxing and I'll stop wasting time on that show too. To continue the comix metaphor: I'm now a "check to see if there's anything in my pull box once a month, maybe" boxing nerd; if it wasn't for Showtime's super-middleweight tournament promising one or two monthly chances of seeing GƶtterdƤmmerung in 10-ounce gloves, I probably would already be at the "only goes to a comics shop when a big stunt/event makes the mainstream news, but winds up not buying anything" stage of boxing withdrawal.
Every year it's the same; HBO and the other networks admit that they didn't air the most competitive, exciting boxing cards they should have aired the previous year, and swear to do better this year. The promoters concede that they probably shouldn't have protected their fighters with gross mismatches -- I guess those fights serve their clients as showcases and maybe highlight-reel fodder for later commercials to promote fights with boxers the more casual fan has heard of .... if there actually are any casual boxing fans left at this point. Anyway, everyone vows to do better in the new year, things go pretty well into the Spring, sometimes early summer, and then the march of tomato cans and "Champlin judges"* begins again.
I'm still not wild about Mixed Martial Arts -- although 90% of my resistance to the sport would immediately evaporate if they dropped all of the pro-wrestling-ish crap from its presentation and focused entirely on what happens in the cage -- but at least their judges aren't obviously corrupt. They might be -- they probably are -- but I don't think I've seen a MMA fight yet that ran long enough for the decision of who won to be put into their hands and find out. And either the MMA announcers [most of whom should either be beheaded or just mildly tranquilized before broadcast] are less burned-out on overselling mismatches as being competitive than their boxing peers, or MMA really does bring it for virtually every fight they make.
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* Charles Champlin was an L.A. film "critic" who lovedlovedloved Hollywood. The story is probably apocryphal, but it's too funny not to use: When someone once suggested that Champlin accepted bribes for positive reviews, a colleague rhetorically demolished the idea by asking "Why would the studios buy what they already own?"