
The winds blow once more on the eldritch battleground of the Thunder Dome! What contest have the laughing gods willed to satiate their thirst for the blood of heroes? The mighty god of mullets and war hath cast forth two champions - who shall emerge as the chosen?
It's been a while since I did one of these Thunder Dome contests (not since late June). I just felt like I had to post one tonight for some reason. I used to do this all the time at the old Manhole, but lost interest in doing it for a while. It gets hard churning out these contests every week. Now that I've had a reasonably long break, I can finally do another. The Thunder Dome is basically a contest in which I pit two individuals from television, films, comics, or cartoons against one another. The final result of the battle is all down to me, of course. Otherwise it wouldn't be any fun. Before the Kumite can begin, a little background on our competitors.
Chuck Norris is a six-time undefeated World Professional Middleweight Karate champion. In 1997, Chuck Norris became the first man in the western hemisphere to be awarded the 8th degree black belt in Tae Kwon Do - the first in 4,500 years or so. Like Steve McQueen, Chuck was a racer as well. In 1991 he won the World Off-Shore Powerboat championship and later set a world record by racing around the great lakes in a 38-foot scarab boat. When you combine this with his humanitarian work, what you have is true Renaissance man (with a mullet).
And what sort of Renaissance man would Chuck be without dealing out regular ass whuppins?Chuck's roles are simple men, men who love their country and don't take "nyet" for an answer. They aren't the kind of men who step on toes, they're the kind who step on necks. What is it that makes these men so badass? Is it their soft-spoken, God-fearing nature? No. Is it their feathered hair? No. I think it has something to do with their names. Whether its Colonel James Braddock from the "Missing in Action" series, Matt Hunter in "Invasion U.S.A.," or Colonel Scott McCoy from the "Delta Force" movies, you're always dealing with characters whose names reflect an almost inborn ability to snap necks, explode Vietcong villages, and drop a dry (albeit lame) quip when it's all said and done. Chuck's movies are some of the most excellent examples of schlock cinema ever produced, most notable among them being "Missing in Action 2: The Beginning." Not only is the title priceless, but the action is a collection of non-stop "hell yeah" moments.
As far as combat skills, we know Chuck is the baddest man in the Western Hemisphere. This is his greatest strength. In armed combat, we've seen chuck employ nearly every implement known to man, including Mac10s, M60s, rocket launchers, grenades, assorted pistols, and a flamethrower. There isn't much Chuck Norris can't pick up and instantly know how to use to kill people.
And as everyone knows, Chuck Norris tears cure cancer. Too bad he has never cried.
Patrick Swayze is a dancer (an asset in the Dome?). He was trained at the Harkness and Joffrey Dance School in New York. His first professional appearance was as a dancer for Disney On Parade (oh, but it gets better, folks). In 1983, Swayze starred in "Uncommon Valor," the story of a group of Vietnam vets who return to Vietnam to rescue their POW compatriot. And in 1984, Swayze starred in the famously bad, but undeniably shlockingly great, "Red Dawn." Both of these films predated Chuck Norris' "Missing in Action" series as well as his "Invasion USA" pic, which were arguably rip-offs of "Uncommon Valor" and "Red Dawn" respectively (although, without a doubt, Norris' movies are superior). A particularly foolish wag might point to this and say "hey, Norris is riding Swayze's coattails!" But such a person would indeed be foolish. Them's fightin words in Norris Country.
It is not exactly clear at which point Swayze began sporting his famous mullet. Perhaps Swayze was attempting to copy the look of Norris. Who can say? In 1987, Swayze's mullet became a national sensation in "Dirty Dancing." Swayze's portrayal of the hunky goy dance instructor Johnny Castle certainly did wonders for Swayze's sex appeal, but did it improve his bad ass standing? The answer is a resounding NO. Ah, but a little film released in 1989 would redeem what badassity was lost in "Dirty Dancing."
"Road House" is the story of Dalton, a buddhist bouncer with a hidden past. If you have never seen this film, I urge you to rent/buy/download/steal it somehow and watch it now. This is probably one of my top ten favorite movies of all time. It is exemplifies the 1980s white trash oeuvre better than anything. "Road House" alone places Patrick Swayze in the pantheon of movie badasses. He rips out a guy's throat. With his bare hands.
BUT. Swayze went on to star in "Ghost," and worst of all, "To Wong Foo, Thanks for Everything! Julie Newmar." If the former didn't make a ghost of Swayze's badassity, then the latter did. And buried it deep under ground. Could that badassity which he so clearly exuded in "Road House" be revived?
Outcome:
Norris and Swayze are dropped into the Dome unarmed. Norris is sporting his trademark too-tight jeans, giant belt buckle, and cowboy hat. Swayze too is garbed in sterility-inducing jeans - as well as a sleeveless flannel shirt he likes to call "Dalton." To make things more interesting, the Dome has been morphed into a redneck dive bar. It suits Swayze just fine. This is not by any means unfamiliar territory to Norris either. How many times has Walker roundhoused a man brandishing a cue stick in a honky tonk? "Too many to count,"
Norris mumbles to himself as he sizes up his opponent. Sensing an opening, Norris lunges at Swayze with a flurry of punches. Swayze, employing his
Disney On Parade agility, bobs and weaves each punch, sending Norris' fists into a row of dangling beer mugs. The mugs are utterly smashed, the glass pulverized into perfectly cut diamonds by Norris' precision fists.
Norris pauses for a moment to massage his hand. "You were great in Donnie Darko," Norris adds before once more lunging at his foe. Swayze, once more employing his dancer's agility, cartwheels backwards, coming to a rest next to the jukebox. Swayze elbows the machine. The strains of the Righteous Brothers' "Unchained Melody" fills the room.
Oooooh, my-yyy looo-oove.... As if the laughing gods of the Thunder Dome were toying with their champions, the room is plunged into darkness. Above, the room is lit only by the spinning light of a disco ball. Tiny fragments of light swirl about the room like the winding gyre of an event horizon. "Now we're talking," says Swayze. "You're in my world now, Chuck."
Swayze floats across the floor, employing every known dance device as he moves. Norris, not used to this tactic, is unsure of his next move.
The lights are...strangely hypnotic, he thinks,
strangely inviting. Norris shakes himself, but the lights...the lights continue to spin and entrance him. Swayze dances towards Norris, moving seamlessly from a pirouette to a toe kick across Norris' neatly trimmed beard. The blow takes Norris unawares. Staggering back, Norris steadies himself on a bar stool. The blow hasn't done much damage, but it has shaken Norris from his trance. "You just did a damn fool thing, Pat."
Swayze, still on the attack, launches into a barrage of jazz hand slaps. "Jazz hands!" Swayze laughs maniacally. Norris, now prepared, deflects each blow with the precision of a skilled master of Tae Kwon Do. Detecting an opening, Norris delivers a solid blow to Swayze's body, sending him flying back onto a shoddily made bar table. Laying sprawled on the pulveried table, Swayze sees the steely-eyed Norris standing over him. He only has to think for but an instant of what to do - and acts. A boot, meant for Swayze's skull, comes down in a wide arc, but meets only cheap plywood. The resounding *crack* beneath Norris' boot echoes even above the strains of the Righteous Brothers crooning. Swayze, now back on his feet, remarks glibly, "I see you're not one for footwork."
Norris, infuriated at this remark, acts with the vengeful fury of a mullet-wearing Norse god. Spinning his leg around effortlessly, Norris leaves the imprint of his boot on the side of Swayze's face not once, not twice, but thrice. Swayze staggers back. His good looks are ruined. Norris is quickly upon him, Swayze totally at his mercy. "Norris, please, don't kill me! This is insane!" Swayze collapses to the floor, his hands extended in surrender. Something moves within Norris.
Could it be mercy? Norris stops dead and looks into the eyes of Swayze. There is genuine fear there; fear of being smote by the power of Norris. Norris turns and makes for the door. His fear ebbing, Swayze calls after him: "If you leave the Dome you forfeit, you'll lose, Chuck!"
Norris strides confidently through the door of the bar and into the parking lot. The night is cool and cloudless. Swayze continues to call after Norris, now half laughing, "You'll lose Chuck! You'll lose!" Norris continues walking into the dirt parking lot, a cool breeze blowing gently through his lather-rinse-repeat mullet. He stops dead and produces something from his pocket, a small remote. Norris pulls a small antenna from the device and rests his thumb on the polished stainless steel switch. He pauses for a moment. He can still hear Swayze laughing, "You'll lose, Norris! You'll lose!"
His thumb flips the switch, sending a gout of yellow, red, and chimney orange flame into the night sky. The bar is obliterated in a sea of plasma, spraying burning wood and shattered glass in all directions. Without flinching, Norris lowers the antenna and pockets the remote. "No,
you lose."
Oh, snaaap! Chuck Norris had the place rigged with explosives all along! Don't mess with Norris, man! Norris wins, hands down!