In 1957 Roland Barthes famously said, “The virtue of all-in wrestling is that it is the spectacle of excess. Here we find a grandiloquence which must have been that of ancient theatres”. In fact the histories of professional wrestling and theatre are deeply intertwined, from the music hall where wrestling pioneers such as George Hackenschmidt and Eugen Sandow plied their trade to the contemporary showbiz performance of the WWE.
Nick Ahad’s Glory, produced by Britain’s leading radical theater company Red Ladder in Spring 2019, both builds on this legacy and swerves it.
I caught it in Leeds, Red Ladder’s home city, in a dusty old industrial space, the Albion Electric Warehouse, which had been transformed into a chilly, rundown gym: no “grandiloquence” here! It tells the story of faded wrestling star Jim Glory, a bigoted but not entirely unlovable throwback to the days of Big Daddy and Giant Haystacks. Under his wing he takes an unlikely trio of Dan (a Chinese British young man, fighting back against the racism he experiences in his father’s chip shop), Ben (an ex-squaddie, traumatized by his experiences in Afghanistan), and Sami (a Syrian refugee, who arrives in the UK having endured an unimaginably horrific journey). The three battle with each other, their desire to be wrestlers and, indeed, their own demons.
Glory is both all about wrestling and nothing about wrestling.
On the one hand, the actual physical combat in Glory is pretty impressive, orchestrated by fight director and wrestling fan Kevin McCurdy. Indeed, the Albion Electric Warehouse audience (predominantly theater rather than wrestling fans) was visibly shocked at the brutal slams and punches. Glory also confirmed wrestling’s theatricality: its liminal identity as both a sport and not a sport, a theatrical spectacle and not a theatrical spectacle. At one point Jim turns to the predominantly artsy crowd and claims wrestling as “our Uncle Vanya”; the “our” here connotes Northern working class, perhaps male and white. Glory, and I suggest professional wrestling more generally, confronts what we define as art, as theater, as legitimate.
But wrestling also makes for a compelling backdrop for Glory.
During its history, wrestling has both validated offensive racial stereotypes and challenged them. Glory uses this tension. Director Rod Dixon, to whom I chatted before the show, cites the unique actor-audience interaction of professional wrestling, which makes it the perfect “vehicle to challenge the refugee narrative.” An uncomfortable example: Jim grabs the mic and makes up a story about Sami coming to “take your jobs and your women.” He tries to lead the audience in a chant of “Send him back, Send him back.” This deeply provocative moment exploits the fact that there is no fourth wall in wrestling, jolting audience members to have the shock of experiencing narratives currently advocated by mainstream British newspapers.
When I asked him to define Glory’s genre, Dixon described it as a “State of the Nation comedy,” and certainly in these uncertain times, seemingly defined by discord — particularly racial discord — the tough, challenging Glory stands as both a depressing revelation of Britain’s endemic bigotry and a hopeful beacon of potential friendship.
Watching Glory, it occurred to me afresh that the most beautiful thing about professional wrestling, despite its appearance, is its reliance on cooperation and collaboration. The Squared Circle is a space of learning and meeting. For Ben, Dan and Sami, wrestling provides a forum to overcome xenophobic prejudices and deal with their histories. Watching them celebrate in the ring at the end, I left feeling that wrestling might symbolize some political hope in troubled times.
Poffo’s first wrestling opponent, in this biography, was his father. But the story starts earlier, with his father’s record for situps, recorded in a single-panel newspaper cartoon. Poffo also wrestled with his brother, Randy Savage.
The Poffos created International Championship Wrestling, an independent professional wrestling promotion that, according to Wikipedia, operated from 1978 until 1984. A portion of the comic biography covers that period, Poffo’s first period as a superstar.
When the ICW closed and Savage went to WWF/WWE, Savage became a superstar; Poffo languished on the second tier until his “Genius” character took off.
It’s unusual to read one of these comics and see the wrestler depicted with so much humility — but Poffo exudes this humility. At FortuneBaynia, a regional wrestling event where Poffo both signed autographs and wrestled, he read a poem before the match in honor of his brother, now deceased.
The comic suffers, as many of these Squared Circle Comics suffer, from being more a text-with-illustrations than a comic book. In Scott McCloud’s terms, these comics are “text-specific.” The pictures could dissolve and the content of the comic would remain largely legible, unchanged. But as a first draft of history digestible in one sitting, they are fun.
Squared Circle comics continues its wrestling biography series with a look at Bruno Sammartino. The story begins in Italy, and the bulk of the first issue of the series is set in Italy and then Pittsburgh.
Taken together with the biography of Nicolai Volkoff, the first thing that this series of comic biographies teaches me is the number of immigrants who took on roles that filled the imagination through careers in the wrestling ring.
A lot of recent scholarship focusses on what Joy T. Taylor calls “racialized performances staged by World Wrestling Entertainment” [in “You Can’t See Me,” or Can You?: Unpacking John Cena’s Performance of Whiteness in World Wrestling Entertainment]. These broad stereotypes do work “facilitating the transformation of European immigrants into Americans” [Bond Benton, “Lamination as Slamination: Irwin R. Schyster and the Construction of Antisemitism in Professional Wrestling”]. This critical-cultural work is significant and powerful, but I think the immigrant stories of Sammartino and Volkoff offer us a window on the cultural work wrestling did for these immigrants and for their communities.
For Volkoff and for Sammartino, wrestling was social mobility, and mobility made visible for their communities. I wonder whether anything has been written about that?
Anyway. Part one of this series is available so far…
EDITOR’S NOTE: There is a spoiler here for NXT UK and is marked as such.
This past Sunday night was WWE’s first ever all women’s pay-per-view called Evolution. While other promotions feature an all women roster (Shimmer and Shine most notably), this is the first time WWE has put all the focus on their women Superstars. The event was held in Nassau Coliseum on Long Island, NY, a venue with a lot of wrestling history. I personally saw my first wrestling show in this very arena. While there is no former WWE show to compare this too, it is interesting to note that this show was held less than a week before WWE Crown Jewel, another one of the Saudi Arabia shows that bars women from competing. I was at Evolution in person, so my review will be from an in person point-of-view.
The crowd at Evolution was a nice mix – I saw fans of all ages, genders, and races. There were women cosplaying as their favorite superstars – I noticed women as Alexa Bliss, Nikki Bella, Carmella, Becky Lynch, Ronda Rousey, Asuka, and Trish Stratus. There were also tons of shirts for women superstars, some from WWE Shop, and others from back in the day or from independent sites. The merchandise tables only had merch from women superstars, in both men’s and women’s cuts. Sadly, they did not have anything from their new Curvy Collection (women’s cut shirts in plus sizes).
SPOILER: During the pre-show, the audience at home saw footage and interviews from the red carpet, along with promos for the upcoming matches. The audience at the Coliseum saw Rhea Ripley defending the NXT UK Women’s Title against Dakota Kai. While the NXT UK show has not showed Rhea winning the title, her holding the belt is known to the WWE Universe. The match itself was short, but fun. The crowd seemed fully invested in the match, and I am personally excited to see more of Rhea once her title defenses start to air on the WWE Network. My rating: B+.
The show opened up with rock legends Nita Strauss (in the ring) and Lzzy Hale (on the ramp) shredding their guitars with Lzzy also singing about Evolution. It was hard to hear from my seats in the 200 level, but the crowd popped when they realized who was performing.
The first match up was the tag team match of Trish Stratus & Lita (Team Bestie) versus Alicia Fox & Mickie James (with Alexa Bliss). Lillian Garcia, former ring announcer, was here to announce this match. Trish came out first to a huge pop from the crowd, followed by Lita who got an even louder pop. Alexa then came out to cut a brief promo making fun of Lita and Trish’s age. Alicia and Mickie came out to Mickie’s music. During the match Lita and Trish both received “you still got it” chants, and when Alicia Fox botched a save there was one of the loudest boos of the night. Lita performed a Twist of Fate on Alicia, followed by a moonsault on both Alicia and Mickie. Mickie was then on the receiving end of a Chick Kick from Trish, who then pinned Mickie for the win. For the most part the legends in the ring looked good, with the exception of a Stratusfaction that looked sloppy. Fun Fact: Trish debuted 18 years ago in Nassau Coliseum. My rating: B+.
Courtesy of WWE.
Next up was the Women’s Battle Royal. Each woman had her own entrance, which was a welcomed departure from former battle royals. Lilian Garcia came back to announce this match as well. Every woman came out by herself, with the exception of The IIconics. The IIconics cut a promo on their way to the ring, and this saw them as the first ones eliminated. The new stars circled around the legends, and then the all-out brawl happened. One thing I noticed about the audience was that there were no “Rusev Day” chants for Lana, nor did any of the other women get their significant others mentioned (something the crowd normally does). Some of the bigger pops from the match were when: Mandy Rose eliminated Sonya Deville; when Nia and Tamina gave a shout out to their cousin Roman Reigns; when Ember Moon eliminated Asuka; and when Zelena Vega appeared again towards the end to try to eliminate Nia and Ember. The crowd popped when Nia won, though I think they would have been happy with any of the three final women winning. Fun Fact: Michelle McCool became the first Diva’s champion in Nassau Coliseum. My rating: B+
Next up was the finals of the Mae Young Classic: Toni Storm versus Io Shirai. Toni was in the 2017 Mae Young Classic, coming up short in the semi-finals. This match was a chance at redemption for her. Io was looking to make a name for herself in WWE, after taking the Japanese wrestling world by storm. Before either entered the ring, there was a shot of Jessika Carr on the screens. Jessika is the first woman referee WWE has, and received a nice pop from the crowd when she was shown. Both women received healthy pops from the crowd, and I would estimate the crowd was 50/50 on who they wanted to win. These women received the first “this is awesome” chant of the night. After a lot of back and forth that made both women look strong, Toni won. Both women were very emotional after, especially when Triple H, Stephanie McMahon, and NXT Trainer Sara Amato came out to give both women roses. In one of the sweetest moments of the night, Toni and Io were hugging and crying in the ring, even as Toni helped Io to her feet. You could tell there was true respect and sportsmanship from both women. My rating: A+
Courtesy of WWE.
The 3 versus 3 match was next up. Riott Squad came out first and they were all dressed as horror movie villains. Then Sasha came out, followed by Natalya then Bayley. There was a small pop when Bayley’s Buddies came up. The crowd was firmly behind Sasha, Bayley, and Natalya, though there was a small boo when Sasha’s hometown Boston was announced (unsurprising because the event was held in Yankee territory). When Natalya and Sasha Banks performed the Hart Attack there was a nice pop, and it was a great reference to Natalya’s late father. After a back and forth match, Liv Morgan of the Riott Squad got hit by a triple finisher – first a power bomb from Natalya, followed by a dive by Bayley, then a frog splash from Banks. Banks pinned Liv for the win. The match made every woman in it look strong, which is always a nice thing. My rating: A.
The NXT Women’s Title match was next. The match itself, Kairi Sane versus Shayna Baszler, is a rematch of the finals of the 2017 Mae Young Classic. Jessica Carr was back to referee the match. The crowd was roughly 70/30, for Kairi. This match took the crowd a bit to warm up to, but once they got into the match, they got loud. Shayna holding Kairi up by her arm and then dropping her to the ground got one of the bigger pops, as did Kairi doing an elbow drop to Shayna on the ground. The latter move got an “NXT” chant from the crowd. Shayna’s fellow Four Horsewomen, Jessamyn Duke and Marina Shafir, got involved in the match, helping Shayna win and become the first 2x NXT Women’s Champion. Kairi did not tap to Shayna’s submission hold. Rather, she passed out and could not answer the ref’s call. My rating: A+.
Courtesy of WWE.
The hottest match of the night was Becky Lynch versus Charlotte Flair for the Smackdown Women’s Championship in a Last Woman Standing match. The only way to win was to incapacitate your opponent so bad they could not get up for a ten count. The crowd was firmly behind Becky, with the loudest boos of the night going to Charlotte as she entered. According to a friend who was watching at home, the Network made it seem like the crowd was booing Becky and cheering Charlotte during the pre-match package. Despite booing Charlotte when she came out, the crowd did cheer with her chops and when she cleared off an announce table. The crowd was so against Charlotte that there were times my friend and I thought the crowd would riot if Becky didn’t leave with the belt. Some chants included “boo the woo” and “you deserve it” when Becky was burying Charlotte. The match ended with Becky power bombing Charlotte through a table, incapacitating Charlotte for a 10 count. Rating: A.
After this match there was a graphic shown for WWE Crown Jewel that was booed so badly they took the graphic down after only a few seconds. This showed a lack of foresight on the production team – the crowd did not want to see a graphic for a show women cannot compete in during Evolution.
The final match was Ronda Rousey versus Nikki Bella (with Brie Bella). The crowd was firmly on Ronda’s side during the entrances, while during the match there were some “let’s go Ronda/let’s go Nikki” chants. From my seat this was the only time I heard sexist chants going on. A group of men were chanting “Cena left you” to Nikki, as well as yelling “beat her [Nikki] like Cena should have.” This was the only time I felt uncomfortable during the event. Thankfully, my friend Pat yelled at them to “shut the eff up.” The match itself was great, though I would have put it before Charlotte and Becky. Nikki looked strong, getting Ronda with the Rack Attack 2.0. Ronda ended up winning after getting Nikki in the arm bar, despite numerous interferences from Brie Bella. My rating: A-.
Overall Evolution was one of the better PPVs and cards I have seen in a while. There was a feel of an NXT event to it, with the way the ring was set up (no LED screens on the posts or ringside). The barriers were the metal ones instead of the thicker ones. I fully enjoyed myself, and hope this was not a one off event. Seeing the women leave it all in the ring was wonderful and this event celebrated women of the past, present, and future. Overall PPV rating: A-.
For those unaware, All In, which took place at the Sears Centre Arena just outside Chicago, IL on September 1, 2018, came about because of a tweet posted on May 16, 2017 by Dave Meltzer of the Wrestling Observer. In the tweet, Meltzer denied that an independent wrestling promotion like Ring of Honor (ROH) could ever sell out a large arena like Madison Square Garden. Former World Wrestling Entertainment (WWE) Superstar turned indie darling Cody Rhodes decided to prove Meltzer wrong, teaming with Matt and Nick Jackson (collectively known as The Young Bucks) to organize the biggest independent wrestling show in at least 20 years, if not more. Cody and the Bucks took a huge chance on this show, because it held the potential to be a disaster of epic proportions, especially if the trio failed to fill the venue as promised. Luckily for them, a reported 11,263 rabid wrestling fans heeded the call, filling the Sears Centre to capacity and making All In both a resounding success and a historic (not to mention potentially game-changing) event that took the professional wrestling world by storm.
As Uproxx’s Brandon Stroud pointed out, Cody and the Bucks put together a show that celebrated the past, present, and future of professional wrestling. They made sure to book matches and performers that offered a little something for everyone, from casual fans to the smarkiest of smarks to the curmudgeonly old school types who lament the death of kayfabe and feel that people like Joey Ryan (who practically stole the show with his brief appearance) are “killing the business.” Over the course of five hours, All In turned the National Wrestling Alliance’s (NWA) World’s Heavyweight Championship into the most important title in wrestling, showcased some of the best professional wrestlers in the world, provided a platform for several young up-and-coming wrestlers who deserve wider recognition, paid homage to the stars of the past, and entertained fans with some incredible wrestling. In other words, it was a great show from top to bottom, serving as a nice antidote to the homogenized—and frankly stale—product offered by WWE (though even that has its place in the world of professional wrestling).
The show itself was preceded by All In: Zero Hour, an hour-long preshow event that aired live on WGN America and kicked off with a quick but brutal match between Southern California Uncensored or SCU (comprised of Frankie Kazarian and Scorpio Sky) and The Briscoe Brothers (Jay Briscoe and Mark Briscoe). Though somewhat sloppy at times, the match was fast-paced and entertaining, and it served as a good way to start the whole event because it perfectly encapsulated the feeling of All In: exciting, fun, hard-hitting, different, and not always pretty (the Briscoes were famously deemed too ugly for WWE). SCU picked up the win after Kazarian reversed a springboard doomsday device and hit Mark Briscoe with a vicious powerslam before successfully pinning him.
This was followed by the Over Budget Battle Royal, which featured some of the top stars from ROH, Impact Wrestling, and the indie circuit. The match was characterized by fast and furious action, but every single participant got a spotlight thanks to some great storytelling. Indeed, the frantic and fun battle royal showcased the friendship between Chuck Taylor and Trent Barretta, the tenacity of newcomer Marko Stunt, the power of Jordynn Grace (the only woman in the match), and more. Of course, the match’s ultimate purpose was to get Flip Gordon (repeatedly excluded from participating in All In by Rhodes) onto the main show. ROH mainstay Bully Ray (aka Bubba Ray Dudley) appeared to win the match but was ultimately eliminated by Gordon, who was disguised as masked wrestler Chico El Luchador. Thus, Gordon earned a title shot against ROH champion Jay Lethal later in the night (more on that in a bit).
All In proper began with three preliminary matches, starting with a thrilling singles match between MJF and veteran indie wrestler Matt Cross, who also portrays fan-favorite character Son of Havoc on Lucha Underground. After some exciting back-and-forth action, Cross hit MJF with a pitch-perfect shooting star press and emerged victorious. After that, Arrow star Stephen Amell faced “The Fallen Angel” Christopher Daniels (the third member of SCU) in a brutal contest that saw Amell jump from the top rope only to crash through a table on the floor. Despite some minor botches here and there, Amell acquitted himself well and delivered a respectable performance. It helped that he was in the ring with a knowledgeable veteran like Daniels, one of the best wrestlers of the past 20 years. Following the table spot, Daniels rolled Amell back into the ring and nailed him with the Best Moonsault Ever to win the match. Next up, Chelsea Green, Madison Rayne, Britt Baker, and Tessa Blanchard competed in a four-corner survival match that constituted the only women’s match on the card. All four women gave it their all throughout the match, and the crowd responded to their efforts by cheering wildly and chanting “This is awesome!” more than once. Blanchard eventually won the match after hitting a hammerlock DDT on Green, and while this was the absolute right choice, the ending still felt somewhat off (it seemed like either Rayne or Baker were supposed to break up the pin but missed the cue). Nevertheless, this was a truly exhilarating match that culminated with all four women celebrating together in the ring.
The crowd was still buzzing as a video package played to set up the next contest, which saw Cody Rhodes challenge Nick Aldis for the NWA World’s Heavyweight Championship. Rhodes made his way to the ring accompanied by an entourage that included his wife Brandi, his dog Pharoah, and coaches Diamond Dallas Page, Glacier, and Tommy Dreamer. Aldis, meanwhile, walked to the ring alongside Sam Shaw, Shawn Daivari, and Jeff Jarrett (who received a cool reception from the crowd). The match felt like an extended homage to the NWA matches of the past, complete with an injury angle, a blade job by Cody, a run-in by Daivari (who ran straight into a Diamond Cutter delivered by DDP), and a lot of old school grappling from bother performers. It also featured plenty of drama and powerful storytelling. For instance, near the end of the match, Aldis climbed to the top rope to deliver a diving elbow drop on an unconscious Cody, only for Brandi to throw herself on top of her husband’s prone body and take the brunt of the move. This sacrifice allowed Cody to recover and hit Aldis with a Disaster Kick followed by a Cross Rhodes for the win. The post-match celebration was possibly the most emotionally powerful moment of the night, as a tearful Cody clutched the belt that his father, Dusty, helped make famous.
The next match wrapped up one of the longest-running storylines on the Bucks’ YouTube series Being the Elite and led to All In’s funniest (and possibly best) moment. “Hangman” Adam Page faced “Bad Boy” Joey Janela in a Chicago Street Fight that remained mostly confined to the ring and the surrounding area but still managed to be both vicious and innovative. Each man unleashed and endured brutal punishment during the encounter, though Janela absorbed most of it and was visibly bruised and battered by the end of the match. At one point, Janela’s valet, Penelope Ford, entered the ring and showed off her impressive athletic skills as she tried to save her man from Page’s devastating assault. However, even this was not enough to stop Page’s rampage as he continued to pummel Janela throughout the match, which ended when Page laid out Janela with a Rite of Passage off the top of a ladder through a table in the middle of the ring. After the match, in a moment that recalled The Undertaker’s entrance, the arena lights went out and a video of Joey Ryan, killed by Page several months earlier (watch Being the Elite for the full story), appeared on the screen. A bloody and seemingly deceased Ryan lay in a hotel bed, but then his penis started moving, indicating there was still life in the body (seriously, watch Being the Elite). At that point, a procession of men dressed in inflatable penis costumes solemnly marched to the ring followed by Ryan, who emerged to thunderous applause. Ryan performed his patented YouPorn Plex on a stunned Page, who was then carried from the arena by the Dick Druids (for lack of a better term) while the crowd cheered. Side note: Professional wrestling is amazing.
Up next was the ROH title match between Gordon and Lethal, who wrestled as Black Machismo, a gimmick centered around Lethal’s spot-on “Macho Man” Randy Savage impersonation. Savage’s brother, Lanny Poffo (who previously wrestled for WWE as “Leapin’” Lanny Poffo and The Genius), even accompanied Lethal to the ring. The match started with Lethal and Gordon performing an extended homage to the Savage/Steamboat match from WrestleMania III via a sequence of moves that recalled that seminal match. It was an impressive performance from both men, who managed to balance the wackiness and the drama almost perfectly. About halfway through the match, Lethal “woke up” from his daze and wrestled the rest of the match as himself. From that point on, the action ramped up as both men hit big moves on their opponent and, in true ROH style, kicked out of multiple finishers. Gordon showed a lot of heart and was clearly the crowd favorite, but nonetheless he failed to earn the victory. After an intense battle, Lethal hit his signature move, the Lethal Injection, to defeat Gordon and retain the ROH title. After the match, the two competitors shook hands in a show of mutual respect but were interrupted by a returning Bully Ray who was looking for a measure of revenge against Gordon. Bully Ray beat down both men, but thankfully Chicago’s own Colt Cabana came out to make the save, teaming with Gordon and Lethal to put Bully Ray through a table via a triple powerbomb.
This triumphant moment was followed by two dream matches, starting with “The Cleaner” Kenny Omega taking on Penta El Zero M (aka AAA and Lucha Underground star, Pentagon, Jr.). Back in 2017, during a six-man tag team match that took place at PWG’s Battle of Los Angeles (BOLA), Omega squared off against Penta for the first time ever in a brief confrontation that only left fans wanting more. Thankfully, Cody and the Bucks were more than willing to give the people what they wanted, and they booked Omega vs. Penta in a singles match at All In. The two competitors faced off in a thrilling encounter marked by some truly hard-hitting action, with each man throwing their most devastating moves at the other throughout the nearly 20-minute match. Omega hit Penta with several V Triggers (one of his signature moves), while Penta retaliated with several wicked chops and a devastating package piledriver on the ring apron. Yet, despite their best efforts, neither man could put the other away. That changed, however, when Omega managed to finally hit Penta with One-Winged Angel after repeated failed attempts. This allowed Omega to come out on top, much to the delight of the fans in attendance, who remained loud and rowdy throughout the entire encounter.
The next dream match saw “The Villain” Marty Scurll battle “The Rainmaker” Kazuchika Okada one-on-one. The story of the match was that Scurll wanted to prove he was main event talent by beating one of the very best wrestlers in the entire world. Okada, meanwhile, abandoned his recent crazy gimmick (which he adopted after losing the IWGP Heavyweight Championship to Omega) in favor of his seemingly unstoppable “Rainmaker” persona for the match at All In. Even with this development, the match proved grueling for both men, who hit each other with everything they had as they struggled to pick up the win. Scurll looked like a top contender throughout the contest, holding his own against a massively overpowered opponent. At the same time, Okada demonstrated exactly why he is considered one of the greatest wrestlers of all time, appearing charismatic and tough while executing some of the most exciting moves ever seen in a professional wrestling ring. The match also featured some excellent storytelling, as each man got to strut their stuff and bust out their signature moves in some exhilarating ways. For instance, Scurll has recently been dogged by chants of “205,” a reference to WWE’s 205 Live and his less-than-heavyweight stature. At one point, Okada made “205” gestures with his right hand as a prelude to hitting Scurll with his finisher, the Rainmaker, but this momentary act of hubris allowed Scurll to grab Okada’s fingers and “break” them using one of his own signature moves. Ultimately, Okada came out on top after nailing Scurll with two consecutive Rainmakers, but Scurll left the ring looking like a main-event-caliber performer.
The show concluded with a chaotic six-man tag team match in which New Japan Pro Wrestling (NJPW) star Kota Ibushi teamed with the Bucks against Rey Fénix, Bandido, and legendary luchador Rey Mysterio (who came to the ring dressed like Wolverine of the X-Men). Sadly, the match was pressed for time and the performers had to hurry to hit all their spots, marring the flow of the contest somewhat. Nevertheless, it was a fun encounter that featured a couple of fantastic sequences, most notably a one-on-one face-off between Ibushi and Mysterio that, like Omega/Penta at BOLA, left the crowd wanting more. Everyone else got a moment to shine, though Bandido benefited the most from the match; it was a perfect venue for him to strut his stuff and show the crowd exactly why he is currently one of the most buzzworthy wrestlers around. The match ended when the Bucks hit Bandido with the Meltzer Driver and pinned him for the win. Afterward, all the performers embraced and celebrated together while the crowd roared their approval. As the luchadors walked to the back, Cody, Brandi, Omega, and Matt and Nick’s families came to the ring. Cody and the Bucks then delivered an impassioned speech about how All In represented a revolution in professional wrestling, and they credited the massive crowd with helping to make it happen. After some concluding remarks from Omega, the performers retreated backstage to a standing ovation from the rowdy crowd.
It remains to be seen if the show is indeed the game changer that Cody and the Bucks claim, but one thing is certain: All In felt like something different, something that absolutely has the potential to alter the professional wrestling landscape, long dominated by WWE and its brand of sports entertainment. That Cody and the Bucks managed to book an independent wrestling show that sold out a large arena and attracted 11,263 people suggests that wrestling fans are hungry for a change and want something more than what they get from WWE programming. Indeed, the crowd responded enthusiastically when Matt and Nick teased the possibility of a second All In (title suggestion: “All In – Too Sweet”), suggesting that any potential follow-up show would likely draw as many people as the first. The runaway triumph of All In also demonstrates the power of social media holds over professional wrestling because Cody and the Bucks accomplished this historic feat largely due to their savvy use of platforms like YouTube and Twitter.
Ultimately, All In shined a light on the larger professional wrestling world beyond the confines of WWE, which was always at its best when facing competition from other companies (such as WCW). This is why it is ultimately pointless to compare what Cody and the Bucks did to what Vince and company do on a weekly basis (a comparison that forms the basis of many All In reviews). There is room for both because they each appeal to different audiences. In the end, All In demonstrates the need for someone that can compete with WWE rather than replace it, because healthy competition brings out the best in everyone involved, which benefits wrestling fans. Regardless of whether a second show ever materializes, All In will stand as a great independent wrestling show, as well as a historic moment in the history of the professional wrestling industry.
Well, the “biggest event of the summer” has arrived, and WWE has taken over Brooklyn for the fourth consecutive year. WWE’s SummerSlam is one of the WWE’s “Big Four” (Royal Rumble, WrestleMania, Survivor Series) pay-per-views, and each year it’s being hyped as bigger and bigger, which is made evident as the show gets longer and longer.
This is usually the point in the season where the WWE starts their long-term storylines for WrestleMania, and it employs the following plot devices a majority of the time:
A return of a Superstar in action we haven’t seen in a good while.
Some type of swerve, shock, etc. involving the main event or another title match.
The eventual breakout star for the next year’s WrestleMania suffers some sort of injustice.
One of the matches of the card that the IWC (Internet Wrestling Community) is waiting for with bated breath ends up being as exciting as a wet firework.
A celebrity from popular culture gets involved with the action.
I won’t analyze the preshow, because seven hours is a lot to be sitting for, but I will be covering the main card. Instead of using the five-star rating scale, I will give the matches a 1 (okay, go grab another slice of pizza), 2 (Not bad, beat expectations and was able to keep a viewer’s attention throughout the match) or a 3 (Wow, I remember why I fell in love with wrestling in the first place) count.
Rollins (nice homage to Thanos with the outfit) and Ambrose come out to a big pop. Seth has been carrying Raw since WrestleMania 34 and has elevated the Intercontinental Championship into many a main event on Raw this past year. The show kicks off with two of the best in-ring performers to get the people out of their seats. Lots of teases between Ambrose and McIntyre while the match goes back and forth in the ring. Lots of high spots here, but a nice flow to the match. Seth gets busted open, but ends up taking the title home.
Both teams come out to decent crowd reaction after the previous match pulled a lot of emotion out of the crowd. Maybe the New Day’s gimmick is getting stale and we’re waiting for the eventual discord/heel turn for the group, but the whole “we’ve done everything except beat the repackaged Wyatt family” angle doesn’t have me sitting with clasped hands watching this slow-paced match. It ends mercifully with a DQ win by the New Day after they were accosted with rubber mallets. Yes, you read that right.
After months of the cat-and-mouse game between WWE’s next big Goliath and one of the best heels on either show, this match made viewers wonder what will happen here. A squash match? Some goofy technicality that causes Strowman to lose? A returning best friend in Sami Zayn? Strowman doesn’t need the briefcase to be a credible challenger, but Owens with a briefcase offers so many possibilities. Owens took some major bumps here and, while this was a squash match, should we really be pulling for the bully? Strowman made Owens look like a jobber, and it will be interesting if Braun cashes in later on in the show.
Is this when Becky Lynch finally gets that elusive title? Or does WWE keep Charlotte Flair in the title talk for months to come? It seems like Carmella is just an afterthought here. Charlotte and Becky did most of the in-ring work here, with the “best friends put at odds” in play here. After various near fall for Lynch, Flair comes out on top, earning her spot as the top female on Smackdown once again. The crowd went wild after Becky’s heel turn, and one can hope this turns into a great program for the rest of the calendar year between these two women pioneers.
Two of the most talented workers in the company are going head to head in this mid-card match. This match is a far cry from their TNA days. Having A.J.’s family at ringside was a nice touch and brought some real emotional investment in this match that should be a solid match technically. And it was. Pulling in AJ’s family for the big mental breakdown at the end for Joe’s DQ win brought in the all-too vaunted blurred kayfabe to end it. A.J. walking off into the crowd with his family was a unique ending.
Cue up the digs on the hometown crowd from Elias. After breaking his guitar and a lively and vocal reaction from the Brooklyn faithful, he walks off in a huff. I’m not sure what this was going to accomplish other than a restroom break.
A match eight years in the making and one that features some solid microphone work leading up this between an all-time fan favorite against arguably the top heel in the company, this was a match that could offer up some juicy possibilities. A seemingly split crowd was into this match from the outset. After a war of attrition, some old-fashioned “foreign object in the heel’s hand from his accomplice” sealed the deal for the Miz. It was very nice of Daniel Bryan to put the Miz over. Let’s hope this storyline gets a conclusive ending.
The classic “David vs. Goliath” storyline, this match was just thrown in as a filler for the card. It’s a shame, because after reinventions for both characters, each one seems to be an afterthought in WWE’s title plans. It’s been a long time since Finn was the first Universal Champion and his talents have been on the shelf, either through booking or injury, since then. The “Demon King” entrance was a nice touch, and while it’s great to see Finn take the role of champion for the LGBTQ community, the red and black face paint give him a different dimension and depth to his character. A quick squash by Balor ended this and one can hope we see the red and black facepaint in the title picture.
Two fan favorites here that are not the best on the microphone, but are pure magic in the ring, with Randy Orton slithering (pun intended) in the background, you just knew that this match wouldn’t have a decisive finish. A quick pace to this match and lots of aerial action defined this match, but its placement on the card didn’t help a tired crowd that sat through three hours of Summer Slam already. After previously failing as a main eventer, Nakamura gutted out the win despite Hardy’s best efforts. Orton made his appearance at the end, making sure this dance will go one a little longer.
This was inevitably going to be Rousey’s, arguably the greatest female combat sports athlete ever, and destined to take away the title from the best current female heel.
This was a quick display and booked as a squash. It’s going to be a while before someone takes the belt off of her, as it should be. She’s a believable dominant force and with Brock Lesnar leaving the company, her credibility will be key for the Women’s Division going forward.
Smarks’ heads must have exploded when this match was finalized. On one hand, you’ve got Roman Reigns, the next chosen face of the company who is divisive among the WWE Universe. Many folks didn’t want Reigns to win, but if he did get his preordained coronation as the Universal Championship, it means the main title being featured weekly once again.
On the other hand, Brock Lesnar, the champion that makes as many appearances as Sasquatch, may have the credibility as the champion, but has fallen out of favor with the fans due to his perceived lack of care for weekly competition. Not competing every week makes the championship belt on the company’s flagship show seems like a novelty. Every champion before him, if they were able to, competed every week on televised and non-televised events. Lesnar has made it very clear that he only works when the money is there. He is also leaving to go back to UFC to challenge Daniel Cormier for its top belt, so in keeping with time-honored traditions of dropping the belt before leaving the company. He surely couldn’t win, could he?
Enter Braun Strowman and his Money in the Bank briefcase, averting a booking travesty and sitting at ringside awaiting the winner. It was unique way to get fans into the match instead of subjecting them to Lesnar-Reigns IV. Thanks to some shrewd booking, Reigns got his win thanks to Lesnar being preoccupied with Strowman. The win let all three men involved look strong, and hopefully we will get a championship match from week to week from now on.
Overall, this was a pay-per-view that tried to keep adjusting the pace, but is not one that I would recommend to anyone on a Trans-Atlantic flight with five hours to kill. Now with Lesnar and his contract gone, hopefully WWE creative makes the Universal title the featured attraction on Raw again. The company is moving forward with Reigns and Rousey as its faces on Raw, and Styles and Flair on Smackdown, for better or worse. TWO COUNT OVERALL
I’m back with another entry into the Nylons and Midriffs series. Not exactly the same time as I promised in my last post, but ’tis life sometimes. Due to circumstances out of my control, this post is one week later than I hoped it would be. Therefore, this week I’ll discuss the events of the previous two weeks of RAW and Smackdown Live, not including the go-home shows to Money in the Bank. I’ll discuss those in my next post, to talk about everything MITB-related.
With that, let’s jump right in.
Image credit: WWE.com
I liked that in the weeks leading up to the go-home for MITB, the women were given more time than usual in segments and matches. We saw women receive attention that are typically disposable when it comes to airtime, like Lana, Naomi, and Mickie James. The primary exposure for them were matches rather than segments, and ones that were given at least a commercial break in the middle of them. This is great! I just want to see women wrestle!
And the wrestling was sound. While the pacing and sequence choreography could use some work, the female Superstars have the moves to carry matches. Fans also have new rivalries to daydream about — can you imagine Sonya versus Naomi, Sasha versus Ember, Charlotte versus Becky (again)?
And as one small aside in this section, Becky Lynch picked up a victory over Charlotte! While I have a lot of feelings about the pedestal that Charlotte has been put on during her time on the main roster, it is undeniable that at this point, having her put you over means something. I hope it signals a push for Becky in the future, because that woman is criminally underutilized for her wrestling ability.
The most bothersome thread throughout the last couple of weeks has been that WWE is confused on how to make women clear-cut heels and faces. Let’s look at two examples.
The first: Nia Jax. She only just finished a triumphant, anti-bullying feud with Alexa Bliss to win the title, but now she’s in the murky area of tweener against Ronda Rousey. She used a jobber to show off her power to Ronda while cutting a very heelish promo.
Image credit: DigitalSpy.com
Then, the next week, she quasi-injured Natalya, and acts overly concerned for her to seemingly irk Ronda, who we are supposed to believe is Natalya’s actual friend. What? Is Nia the heel or the face? Being less half-assed about Nia’s characterization would really help the fans invest in this feud, because we have schemas for face v. face, heel v. face, etc. Even if it’s silly to turn Nia heel so soon after her feud with Alexa, it would be a lot better than what we’ve been given thus far.
Second: Lana. She is a part of Rusev Day, who WWE are for some reason trying to push as heels. She teased breaking Rusev and Aiden English up when she returned to TV, only to have Aiden give her an endearing song for fans to sing during her matches. When she qualified for MITB, she celebrated with Aiden like a face. But during her dance-off with Naomi, she attacked Naomi after teasing a truce with her. How does this benefit Lana?
Last: Sasha Banks and the Tale of the Never-Ending Feud. One week on RAW, we had Ember Moon, a face, tag with Sasha Banks, a…tweener(?), and Alexa Bliss, a bonafide heel. Why??? I understand that sometimes heels and faces tag together to build tension in an ongoing feud, but a) none of these women are feuding, and b) it only works if the characters are distinct and use that to play off one another. Sasha being lost somewhere between heel and face made this trio very odd.
And then, when Bayley came out to “save” the match after Alexa left to gain victory for the face team, Sasha took the win like a face. But afterwards, when Kurt Angle told the team that they lost by DQ, Sasha instantly hated Bayley again, like a heel. Who is this feud for?! Who is the face? Who is the heel? WWE is wasting some of its best and most unique talents by damning them to purgatory. No one likes you when you’re in purgatory.
I would be remiss in my ranting if I didn’t mention my rage at the Gauntlet Match on RAW a few weeks ago. The announcers spent the whole night touting the match, spewing “historic” and other hyperboles into our ears. And it was all well and good, until we entered the third hour and there was still no match. We got to half an hour before the end of the show, still no match. We got a damned comedy segment about barbecue before we got that Gauntlet Match.
WWE insulted our intelligence by assuming we’d forgotten that the men’s gauntlet match from several weeks before lasted nearly two-thirds of the show. The women’s Gauntlet started at 9:43pm, Central Daylight Time. Twenty minutes. Less than twenty minutes. A match with seven participants, one of which who was in her hometown. This is disgraceful and unacceptable.
Photo cred: CagesideSeats.com
I am glad that we have reached the point of doing. Yes, we now allow women into previously uncharted territory. Now we need to work on the execution, and I don’t mean on the part of the wrestlers. On the part of Creative, producers, and decision-makers in WWE. They need to advocate for women to get the exposure they deserve.
We cannot tout women’s liberation if we are going to only allow women to shine as long as the men shine brighter. That is “women’s empowerment” that fits politely within the patriarchy. If WWE really wants its women to transcend the shortcomings of the past, the company needs to execute the booking of their women’s division in a more audacious way. They deserve to take up space.
Through and through, I’m still amped for MITB. My thoughts on the go-home shows are mostly positive in terms of the female Superstars, so hopefully the pay-per-view itself delivers some satisfying results.
Welcome to Nylons and Midriffs, PWSA’s new bi-weekly column on women’s wrestling in WWE. In this column, we’re going to magnify women’s wrestling on WWE’s two main brand shows, RAW and Smackdown Live. We’ll hammer out the ways the division develops in this so-called “Women’s Evolution.”
When it comes to wrestling critique, male critics, bloggers, and YouTubers often analyze women’s matches and storylines through a masculine lens, or relative to what the men are doing. And because they are the dominant voices in wrestling fandom, their opinions become the accepted critical lexicon.
But, what if we took away that veneer — the idea that women only exist because the men do? What if we only paid attention to the women’s segments, and judged the quality of the product on how they were doing?
Visibility is not merely enough to proclaim that women are equal, and yet equality is not necessarily what we should be striving for. The women’s division can become a unique entity for the company if women are allowed to be three-dimensional.
To contextualize my voice in wrestling discourse, I will always be cognizant of social implications and representation in these posts. I am coming to this column with a strong sense of civic duty to point out racist, misogynist, and homophobic undertones in this product that I love so much. In the same way that WWE has to complicate the stories they tell and the women they push in the women’s division, the online wrestling world needs to hear from fans and scholars other than straight, white men. It is my hope that, as a black woman, I can create a space for more diverse fans to speak out and feel comfortable in the fandom. Perhaps then, will we see the people and stories we crave on television every week.
In this first post, I’ll talk more generally about the state of the women’s division as a foundation; but as the series goes on, I’ll get more specific to matches and segments as necessary.
If you’ve made it this far, I hope you’re in for some soft rants, respectful critiques, and come-to-Jesus realness about the women of the WWE. This column will be split into three sections for your consideration: The Good, The Bad, and The Thorny.
I like that the heel women are given segments and promo time to build heat with the audience. Specifically, I’m referring to the work of Alexa Bliss, Carmella, and the IIconics.
Image credit: WWE’s YouTube
Alexa, previously with her “Moment of Bliss” each week and heelish ring work, is likely the top heel woman on the roster because she fully understands her character. Carmella and the IIconics (Billie Kay and Peyton Royce) hone the art of being insufferably annoying every week to the chagrin of the live crowds (and the audience’s ears).
Image credit: insidepulse.com
Even if it isn’t the ideal heel characterization they could have been given (note that there are no comparable male equivalents to them), you can’t deny, it is working. Their heat is real.
A general critique that will probably recur in this column, it seems that WWE’s writers only know how to write heel characters for the women. Pretty much all of the faces in the women’s division are vapid, and appear as faces seemingly for no other reason than they are anti-heel. They aren’t characterized as good guys. WWE simply puts them on TV every week and assumes that fans will cheer for them because they venture to thwart their heel opponents.
Women that at one time had very distinct face personas, like Becky Lynch, Bayley, and even Ember Moon, now sort of just exist as wrestlers to put opposite of more vindictive women in six-person tag matches.
Image credit: wrestlingnewssource.com
Indeed, if you pay close enough attention, some weeks the only thing that separates the heel and face women on TV is that the face women smile more and talk less. And the most over heel women are simply the ones that speak with the loudest shrill on the microphone.
What does it say that the only women that the writers seem to be able to write somewhat well are the ones we’re supposed to hate? Why can’t they create likable women, or unlikable women that offer more as characters than just being obnoxious? Sounds like something men who don’t understand women would do.
We are now setting up for Money in the Bank. The two title matches that have been announced — Nia Jax vs Ronda Rousey and Carmella vs. Asuka — have zero build. WWE is getting into the habit of throwing their women in matches, for the title or otherwise, at random with little foresight. This does nothing to help fans invest in the women or their matches.
Image credit: prowrestlingsheet.com
The point of pay-per-views (at least until this point) has been to give the fans a payoff for a build that has been developed over time on TV. If the women’s matches don’t have any build, then fans don’t have an emotional entry point into the action of the match. It also doesn’t help the wrestlers, because interacting with one another on live TV and/or having matches every week leading up to the pay-per-view gives them time to create chemistry as they continue their feud. This results in matches being lackluster and performers that are only going through the motions, hitting their spots and then leaving.
Most importantly, when WWE does this, it makes apparent to the fans that they are not invested in the so-called feuds they are writing. And if we can see that, why would we invest ourselves? You can’t build worthwhile feuds that advance a performer’s career with chance interactions backstage (Sasha/Bayley), awkward in-ring encounters (Asuka/Carmella), and painfully staged conversations at PR summits (Nia/Ronda). The women crawl through their feuds and character progression, while the men stride.
Perhaps WWE is planning to build backwards with their women’s title matches at Money in the Bank, and we will see the rivalries unfold steadily leading up to it. Regardless, I perpetually wish that women’s feuds weren’t so convoluted compared to how simple their characters are.
I’ll be back in two weeks, same time same place, to see how these feuds shake out.
The Undertaker’s WrestleMania entrance. [All media provided by the author unless otherwise noted.]
Any WrestleMania weekend experience is going to be marked by surreal moments. From the shear spectacle of the WWE’s collection of events and activities, to the overwhelming amount of professional wrestling occurring over seven days, and to the breathtaking risks and frequently draw-dropping storytelling of the performers on cards all across the weekend’s host city, it is certain that every fan attending these events will be able to take home a story of when they stood up in exclamation and awe. As an attendee of both of World Wrestling Entertainment’s major wrestling events over that weekend, Saturday night’s NXT Takeover: New Orleans and Sunday’s WrestleMania 34, I became privy to some of these moments experienced by those around me.
I attended the NXT show on my own since my WrestleMania companions were arriving late in that evening. On the way from the parking garage to the Smoothie King Center, my stride was overtaken by another man who appeared to also be on his own. He slowed down as he approached me and I was certain I was about to be asked if I wanted to buy an extra ticket or that he was going to try to engage me by telling me how nice my shoes were (this last part is a common line for grifters in New Orleans).
Instead, the man looked at me with a face full of amazement, arched his elbow and lifted his thumb in the direction he had just come from and told me “I just ran into the Miz back there!”
I, not being exactly the most socially skilled academic or wrestling fan on the planet, could only think to say, “Oh, yeah? That’s cool.” This did not deter my new sidewalk companion’s excitement. “Yeah,” he continued, “just walking around. Freaking awesome. I love WrestleMania weekend!”
From there this very excited Miz-bump-into-er sped up is gait and became part of the maddening crowd shuffling into the arena.
My seat at the Smoothie King Center for NXT Takeover: New Orleans.
I encountered a number of other varying types of fandom once inside the arena. The WWE’s most important annual event draws people from all around the world, and I was genuinely surprised at the many different types of people who had come out for the NXT show. Once in my seat I found I would be spending the following four hours next to what I can most kindly describe as someone representative of the wrestling fan stereotype: a rather large and odorous young man draped in a Matt Hardy “Mower of Lawn” shirt, who insisted to his companions that he had the inside scoop on all things wrestling. He did not, by the way, have any scoop that could not be found on the average wrestling website.
On my other side was a family of four who had made the trip from eastern Europe to attend the weekend’s festivities. When not fully engaged in the show myself, I took note of the son, the youngest member of his family, and his wide-eyed excitement at the action – it was all fresh for him and he wanted to be a part of the crowd in spite of his father’s insistence on keeping a cool demeanor.
It was an interesting placement, being wedged between these two perspectives. On my right was an example of what is commonly conceived, derivatively, as a wrestling fan – loud, obsessed, judgmental, and borderline obnoxious. On my left was a child whose every impulse was to be pulled into the carnivalesque theater of professional wrestling and to engage with it innocently, as if the whole thing were a real competition that held immeasurable stakes. When it comes to professional wrestling, these personalities are equal parts contrastive and complimentary. They are both fully engaged with the products they consume, they are both lost in the moment of the thing, and they are both, willingly or subconsciously, suspending their sense of reality and biting on the narrative being presented to them.
Viewing these two differing ends of pro-wrestling fandom was one of my personal surreal moments from that weekend. Seated uncomfortably in the 300 level of the Smoothie King Center (perhaps the most uncomfortable seat I have ever been in, and I only fly coach), I was taken aback by two personalities I have been. Looking at the young boy, I remembered when I was about ten years old and my parents took me to a tiny armory in northern Maryland to watch a WWF house show, and I saw my favorite wrestlers at the time fight right in front of me, including a match between Bret and Owen Hart, an occurrence that now I wish like hell I could have appreciated more at the time. Looking at the young man on my right I thought about how I had attended yet another house show as a teenager and saw Brock Lesnar in the opening match, before he had debuted on television, and how, being a fledgling internet smart mark, I leaned over to my friends and said smugly, “I read about this guy.”
By contrast, I spent WrestleMania 34 wedged between some old friends whom I made during the ten years I spent as professional wrestler myself. I spent most of the event exchanging thoughts with my friend Greg, an accomplished and still very active performer in the northeast who works under the ring name Greg Excellent. Greg and the promotion he founded, Ground Breaking Wrestling, were the main reasons I was able to live out my own boyhood dream of being a wrestler, and I felt it particularly poignant that I was able to attend the biggest event in the industry with him. It is a rare moment for me to see Greg or any of my close friends from the business, having stepped away from wrestling to pursue my graduate degrees in Milwaukee and now Baton Rouge, and it was another surreal moment to walk into a sea of more than 70,000 people alongside a good friend with whom I share an extreme passion for the business.
My view for WrestleMania.
Greg and I talked about everything wrestling and WrestleMania related. We discussed the sheer size and design of the event (the beautifully designed Carnivale-inspired stage was even more impressive and massive in person). We talked about the booking of the event and effective booking in general, something we have always clashed over.
We argued over the finish to Asuka versus Charlotte straight into the next morning – Greg is and will always be wrong in supporting the end of Asuka’s streak here, just to be clear. We shared our excitement for the mixed tag match with Ronda Rousey and the entirety of the John Cena/Elias/Undertaker segment, both segments which we agreed personified professional wrestling at its best with emotional storytelling and in-ring action that was exciting and intelligent. We each struggled to take in the main event of the show amongst a crowd in revolt. We even kept our conversation and debates going after the event, over burgers at an extremely busy Fuddruckers inside of a New Orleans casino (a surreal event in itself).
Some shameless self-promotion: A match between myself and Greg Excellent.
Through all of this conversation, Greg and I were actively exemplifying the spectrum of wrestling fandom. In the middle of moments like the aforementioned mixed tag match and Undertaker segments, we were on our feet and giddy alongside the other 70,000 plus people around us, stepping back into the enthralled bodies of our younger selves, oblivious and ignorant of the unreal nature of wrestling (“It’s still real to me, damnit!”).
In other moments, such as our disagreement about the Smackdown Women’s title match (in which, let us not forget, Greg is wrong), we were alternating between being internet smarks, assuming we knew what was best, and being experienced professionals within the pro-wrestling world, albeit at a much smaller scale.
We oscillated between the perspectives of the wide-eyed European boy and the smarky twenty-something that I was crammed between the night before while wrestling with our own personas as performers and students of wrestling and storytelling, and all the while we were likely an irritant to the poor folks in front of us who just wanted to watch a wrestling show.
Seriously the wrong moment here, no matter what Greg says. [Photo courtesy of WWE.com]
I suppose my point in sharing all of this is simply to express my own amazement in the ways that the most surreal of all entertainments attracts and literally brings together myriad perspectives. Often times, like with the young boy and the smart mark at NXT, these perspectives can seem contradictory – one innocent and the other cynical – but the fact is that they all come from an identical love for the spectacle of sports entertainment.
Walking out of the NXT show, I overheard a group of young men talking excitedly about their weekend. They had been shouting so much during the show that they had all strained their voices. The spoke in gasps about how incredible the show was, they wondered how they would be able to handle WrestleMania if NXT had taken their voices, and, most endearingly, one of the young men talked about how he had already been made speechless that weekend when he met Asuka at WrestleMania Axxess.
I had enjoyed the show myself, but my excitement was nothing compared to that of these young men, and in those moments where I eavesdropped on their conversation and heard their enthusiasm for professional wrestling, I could not have been prouder to be a part, as both fan and participant, of this strange and surreal thing we call professional wrestling.
Throughout the year, the Professional Wrestling Studies Association has offered a range of event coverage for WWE Pay Per Views as well as a host of vintage and indie shows and performers. Our goal is to cultivate an exclusive space for creative and scholarly writing, from close readings and fan perspectives. WrestleMania 34 offers the first WrestleMania since the official launch of PWSA, and with that, the goal for this Rhetorical Recap is to explore the final convergence of many years’ long narratives. Having covered each of WWE’s “Big Four” Pay Per Views starting with last year’s Summer Slam, the focus of this coverage will be to explore how long-form wrestling narratives come to a head—in success and failure—with some culminating stories years in the making and others impromptu due to unforeseen circumstances like injury, industry, or opportunity. Thus, with the cumulative event, this WrestleMania 34 rhetorical recap will emphasize arc over in-ring minutia, and aesthetic spectacle over a chronological review.
EDITOR’S NOTE: All unidentified images come from the WWE’s online gallery collection.
Preshow Highlights: The WrestleMania 34 preshow has evolved in recent years, stretching from a nominal hour to an hour and a half, only to extend well into a two-hour infomercial sprinkled with a couple of minor memorable moments. The majority of the preshow runs with Renee Young hosting a rotating roundtable of commentators, mostly to hype the main card events and provide bumpers to the video packages that have already aired on RAW, SmackDown, NXT: Takeover, and will air again prior to each key event. For this reason, it is highly recommendable that viewers skip or strategically skim the pre-show after it airs so as to fast-forward past the 75-80% of integrated marketing filler.
The two noteworthy moments of this year’s preshow included fan-favorite “Woken” Matt Hardy winning the “Fourth Annual Andre the Giant Memorial Rumble” with an assist from (Woken?) Bray Wyatt, as well as a predictable yet interesting showdown between Sasha Banks and Bailey in the first ever Women’s Battle Royale. The two best frenemies worked together on the final eliminations before Bailey pulled a fast one by chucking out Sasha from behind. However, this proved to be short-term glory, as Naomi happened to re-emerge still an eligible member. These curious conclusions marked the beginning of an interesting trend that continued in WrestleMania 34: dangling plot threads rather than the typical bowtie story-arc endings.
Show Open: The main card show kicks off a traditional combination of video package and national anthem. The national anthem is performed by a younger duo in arguably a quieter rendition than, say, the Super Bowls that cap with jets screeching overhead. But over the heads of the female duet rests a pagan tower of an entrance stage. The entrance stage and ramp over the last four years fit the definition of hyperreal. They are behemoths as if Greek and Roman titans will soon descend from behind the black curtain of smoke and pyrotechnics. The New Orleans Mardi gras color palette plays a central role, but the high definition LED lighting seemingly elevates these colors to the 4K-resolution era.
First Match: The opening card aims to kick the show off in style with the Intercontinental Championship Triple Threat Match between “The Kingslayer” Seth Rollins, current IC champion The Miz, and the first WrestleMania appearance for Voodoo-esque Finn Balor (sans Voodoo-esque Demon persona). Rollins enters with what seems like a Game of Thrones combination of King of the North meets The Night King theme, complete with ice-tinged contact lenses. The Miz entered with a garish steampunk court jester wardrobe but soon shed his Miztourage atop the entrance ramp. With a newborn child part of his transmedia narrative that stretches across WWE kayfabe, E! Network’s Total Divas, and a new USA Network reality show, the breadcrumbs represent either continuous false finish babyface teases or an authentic turn (to coincide with the press run for the reality series) or the likely signal that his reign will end tonight. Finn Balor enters with yet another set of new tiny trunks; this time sporting an LGBTQ-friendly rainbow pattern for his Balor Club insignia. And in case anyone was to simply assume WWE is reappropriating the colors as part of its Mardi gras theme, Coach and Michael Cole point out that the stage full of Balor Club fans (in matching T-shirts) has branded his club “inclusive” as well as a celebration of “diversity”. Given how much praise Kenny Omega and Kota Ibushi quickly received NJPW/ROH’s ambiguous Golden Lovers, this has all the shades of a James Dean-y feel.
Oh, and there was a match too.
This bout actually progresses somewhere between 90 and 100 miles an hour. These three superstars obviously each have proverbial chips on their shoulder and clearly want to “steal the show” (it’s both already clear but also the announcers cannot help but use the same repeated phrasing to drive the point home). For each, the year has been one of rebound spikes and also roster regression. Miz became the reason to watch SmackDown week in and out, but then was quickly “traded” to RAW where he fell back down the deepest show roster hole in the company.
Meanwhile, Balor had to reestablish his WWE career after a 9-month shoulder surgery and injury that resulted in him relinquishing the Universal Championship and missing WrestleMania 33. WWE teased Balor in a number of high-profile RAW matches but “the Club” carries none of the Bullet Club buzz just as his lingering supernatural feud with Bray Wyatt felt like a placeholder gamble. Rollins also tumbled down the card due to RAW’s super heavyweight division featuring Brock Lesnar, Roman Reigns, Samoa Joe, and the 2017 rise of Braun Strowman. Then Rollins slipped into quasi-interim glory with a cut short The Shield reunion and Tag-Team Championship run with Dean Ambrose. A real-life virus to Reigns and then elbow injury to Ambrose left Rollins hovering in No Man’s Land with WrestleMania looming.
Collectively, all three are deserving of a spotlight match and yet none had anything of worth until mere weeks before WM34. Thus, their match goes off like a canon and sustains a comparable fireworks show from start to finish. A key downside might be that variations of this match have taken place on RAW for at least the last month. Thus, the only unknown was which man would walk away from the champion. After foreshadowing suggested Balor may finally get another belt on his shoulder, Rollins showed why the brass in the back has so much favor in him. WINNER: Seth Rollins.
Charlotte’s Golden Entrance, courtesy of Daily Charlotte Flair@FlairDynasty. Original video imagery credit: WWE.
The Hedonic Titan theme continues in match #2.
Second Match: Charlotte Flair enters from a literal golden throne, accompanied by three men in full Spartan soldier armor. The gold lit intro is brought to life with Ric Flair’s vintage “Also Sprach Zarathustra” (aka, 2001: A Space Odyssey theme) before Charlotte’s techno-variation accompanies a blue-tinted set change. But audiences ain’t seen nothin’ yet. Suddenly a 3D projection of Geisha masks fills the stadium (and I’m still trying to figure this out) as Asuka enters with a sparkling mask replacing her traditional white mask with colored tears. These two competitors have been destined to clash since they each entered WWE. Bookers were smart to keep them apart this long, moving Charlotte to SmackDown just as Asuka came up to RAW from NXT. Charlotte has dominated both women’s rosters with multiple title runs, while Asuka has only held the NXT belt but still remains undefeated.
While much discussion has gone on about what match should go last, and which men’s bout will “steal the show,” my WrestleMania prediction (especially following this year’s Royal Rumble) is that this match is the dark horse of the entire card. I think it’s got the most in-match potential once the bell rings. And by just the mid-point of the match, this “pre-mon-EEE-tion” feels accurate. These two are lightning in a bottle, and for never having met previously, their chemistry is fluid and sensational.
The camera cuts to John Cena sitting nearby in a grey T-shirt, beer in hand, recur so frequently that the foreshadowing seems almost clumsy (WWE does know sober adults watch, right?). But hey, kids watch too and Cena is now the Billy Crystal of the Nickelodeon Kids’ Choice Awards.
Courtesy of WWE.com: https://www.wwe.com/shows/wrestlemania/wrestlemania-34/gallery/john-cenas-wrestlemania-reactions-photos#fid-40214527
Back to the action: it’s phenomenal. It might be moving even faster than the IC Triple Threat, and already I feel like I’m having a hallucinatory CrossFit dream. By the end of this thing, Charlotte is bloodied and crying, while Asuka seems to be setting up her ultimate victory. But in the quick of things, somehow the momentum shifts just a bit back, and Charlotte inexplicably races a figure four into her patented figure eight, and even more ludicrously, Asuka, universally impervious to pain, taps. Everyone is stunned. Charlotte seems stunned. I’m stunned. Asuka followed red carpet all the way from NXT up but earned it strong-style. Then, she made history by being the Soul Survivor and first Women’s Royal Rumble winner. So naturally, on “the grandest stage of them all”…lose?
This feels like a last-minute booking swerve. The politically safe decision “for the brand.” But to be clear, both are deserving before the match, during the match, and in the months and perhaps years to come. And yet the match was definitely even, and Charlotte has earned her stripes. It was not the ideal finish to Asuka’s 2-plus year winning streak. Todd Phillips notes how Asuka’s streak sits at 914 days, which shows staggering patience by WWE. But then again, WWE messed up Charlotte’s PPV win streak over a year ago as well. WINNER: Charlotte Flair.
Third Match: In the United States Championship Fatal Fourway were Randy Orton vs. Bobby Roode vs. Jinder Mahal vs. Rusev. Smartly, WWE looks to push another triple threat out of the way early — er, excuse me, fatal four-way (Sheesh!) — for US Title (aka, the “Meh” second-tier belt on SmackDown). Matches like these showcase how too many belts deflate the prominence behind such storylines. This match is the SmackDown equivalent of RAW’s IC Triple Threat: three talented superstars with stutter-stop storytelling throughout 2017 and the Road to WrestleMania. Technically, Jinder Mahal had the best year of the three, becoming a first-time WWE Champion for the duration of summer 2017. He even feuded with Orton for a couple of initial PPVs.
The silver lining? Rusev, Jinder, and Roode each getting a decent mid-card match at WrestleMania 34. The downside is that this year’s card happens to be so magnificent that the hype might just overshadow matches that are simply “pretty good.” The other silver lining? The match is appropriately short (don’t let the audience get too tired). After a finishing move spot fest, Rusev gets a moment to bask in the “Rusev Day!” glory with the audience. The moment is his, just not the belt. Jinder ducks in last-minute and catches Rusev off guard, pinning him in the process. In hindsight, this was an interesting bout that demonstrated WWE’s talent-heavy issue in 2018. Namely, how to fit so many superstars into a PPV that, with pre-show, will have lasted an absolutely exhausting 7 hours and 10 minutes. Indeed, the brand split is looking smarter and smarter with each passing talent acquisition. WINNER: Jinder Mahal.
The Mid-Point (and Creative Peak) Main Event
In a bit of a surprise, for the fourth match, WrestleMania 34 pivots to one of WWE’s marquee mainstream attractions: the mixed tag match between Triple H and Stephanie McMahon against RAW GM Kurt Angle and Rowdy Ronda Rousey. The entrances were relatively vanilla. Triple H is known for his outlandish wish fulfillment entrances, including riffs on King Conan, the Terminator, even Sons of Anarchy. With out-of-control self-one-upmanship, the retread this year is a less impactful sister sequel to WrestlemMania 33’s oversized choppers revving down the entrance ramp. Meanwhile, Angle and Rousey’s reveals appear quite pedestrian.
And yet…unlike some weeks, the audience seems primed to play nice and root for Ronda. This match had all of the pomp and circumstance theatrics of a hokie celebrity tie-in. But the longer the match went on, the more the crowd got behind Ronda and Kurt (but Ronda especially).
For all of the gimmick match pieces in place—a McMahon family member, the outsider non-wrestler participation, semi-retired GM and legacy member back-in-action—there was a lot to suggest this match could easily fall into parody. The early uses of Ronda showed potential as well as a woman’s wrestler work-in-progress. Even the strategic placement across ESPN’s programming was hit-and-miss. With so much at stake, this foursome went all in on a gambit match every bit full of stakes, symbolism, danger, and all of the high drama that makes pro wrestling an addictive bit of cathartic theatrical athleticism.
The net results? The mixed tag program turned out to make a case for match of the night. While Angle and Trips were always in play to protect Ronda’s inexperience and Stephanie’s non-competitor corporate role, both women turned in superior performances. Ronda stepped up to the mat while Stephanie arguably played the best version of herself that she’s ever put on. The peak moment occurs when Rousey becomes stirred into attacking Hunter with such ferocious quick strikes that he oversells cowardice falling back into the corner. He is comically emasculated but also putting WWE’s new star over in front of a raucous crowd. The four performers span the emotional spectrum of sports entertainment without the pressure of going last. WINNERS: Ronda Rousey and Kurt Angle.
Match Five: The New Day then comes out in a State Fair-themed lowbrow performance complete with dancing little people dressed as pancakes. I can’t even with this kind of sideshow attraction appeal. In the 2.5 sitting’s that it took me to take down the five hours of programming, I fast-forwarded through this “happy” bit both times (it’s probably my aversion to pancakes, but whatever). Truth be told, the New Day bit, which some scholars have compared to a contemporary minstrel show, was the “get excited!” start to the SmackDown Tag-Team Championship triple…*YAAAAWN!* threat match. For what it’s worth, The Usos are pretty slick performers. But this was always projected to be a transitional squash match finally awarding the Bludgeon Brothers (Rowan and Harper of Wyatt family fame) a tag title reward. WINNERS: The Bludgeon Brothers
Tensions between Stockholder Expectations and Fan Service with “Dream Match” Booking
I don’t know if I would feel this way if I didn’t sample SiriusXM’s Busted Open Radio, but the yearlong hype, discussion, and speculation concerning the Undertaker’s (alleged) retirement pushed this inevitable match into predictive overhype. The fans circle virtually shaped the WrestleMania 34 narrative as one that would welcome back the mid-career “American Badass” persona. And all of the ingredients supported this direction: Undertaker retiring his hat and gloves last year, Roman’s need to keep the claim that he “retired the Dead Man,” the induction of Taker’s biker anthem singer Kid Rock into the WWE Hall of Fame, and even the symmetry of the American Badass persona as the first backstager (and champion) to greet Cena after his inaugural WWE TV match. It made perfect sense. At least on paper and out loud and in my head it did.
Greatest Hits, Part I: Liminal Icons (Match Six). But for whatever reason, none of these events unfolded in the way that the teasers suggested. And this is WWE trolling its own “smart” fans for overthinking the simplicity of their narrative structure in the current era.
Cena buried Elias once more, in at least the third such squash since the Royal Rumble. The encounter appeared to be a ruse that took Cena out of the audience and into wrestling gear. The audience was meant to feel duped by Elias, and as Cena solemnly and effortlessly walked back up the elongated ramp mixed with celebration and disappointment, the lights cut to black. The Undertaker returns, traditional Dead Man wardrobe, his patented slow walk as slow as ever.
And yet…wow. The match was less a “greatest hits” between the two mega-stars and more of a complete Cena squash. At most the match went 3:30 minutes in-ring. It was a shocker, and for my money, not in a good way. Not after everything that came before, and arguably everything that would come after. The only gift the match offers fans is another year or more to speculate as to just why this happened in the first place.
At the same time, the layout is entirely understandable. The Undertaker is in indecisive retirement stasis and Cena’s Hollywood schedule is starting to stack up as heavily as The Rock’s. Perhaps neither could fully commit to the appearances, the booking, the rehearsal, and so on. And no one can say they haven’t earned that right, because dollars and cents and longevity on the roster vindicates how things played out. In an information economy, perhaps WWE sees the digital discourse as more valuable than the final product. And given Cena and Taker’s diverse schedule, it is pretty clear this is all they could arrange with limited coordination. There you have it, a clear picture of what impromptu execution looks like.
For the record, as there are competing narratives online: at 2:29:14 the bell rings. Then, the pinfall occurs at 3:32:00. That’s right, the actual match comes in under 2 minutes, 45 seconds.
Here is the match in a snapshot, courtesy of WWE.com https://www.wwe.com/shows/wrestlemania/wrestlemania-34/gallery/daniel-bryan-shane-mcmahon-kevin-owens-sami-zayn-photos#fid-40214263
Greatest Hits, Part II: Vendetta Tag Match (Match Seven). One match that carries all the hype but perhaps came off just a little bit flat was the Kevin Owens/Sami Zayn tag match against the SmackDown brass of Shane McMahon and the headline-grabbing return of Daniel Bryan. Bryan’s situation, not unlike Undertaker’s, suffers from a bit of hype fatigue in that anything short of a 1-hour 5-Star match would underwhelm obsessive fan audiences. WWE actually executed smart booking by having Shane take a pummeling for the majority of the bout. This narrative approach gave the match a meta-reflection of the 2-3 year Bryan gap, played out over the course of the match. This projects the real-life Brian Danielson (who would likely have some ring rust) and then allows him to play his “greatest hits” move set for a quick pin once he enters. It’s a doppelganger to Undertaker, a fan service match with all the ingredients (Uber-babyface Shane-O-Mac, indie-love for Owens, NXT nostalgia for Zayn). WINNERS: Daniel Bryan and Shane McMahon
How To Book a Narrative Payoff (Match Eight).
The WWE RAW Women’s Championship match reached an appropriate cathartic conclusion that feels like it has been building longer than it really has. Throughout most of the last year, Alexa Bliss manipulated Nia Jax into a kind of one-way friendship as a method of diversion. This kept Nia from fully committing to challenge for the RAW Women’s Championship while occasionally protecting Bliss and providing a partner in tag matches. This made sense with both characters embodying distinct shades of heel (the hard-talking coward and the monster, respectively).
This succeeds as a long-form narrative arc because it allows characters to develop patterns while still leaving WWE booking options. Asuka was a player in the fold and could have easily overcome Bliss for her belt. And yet after winning the Women’s Royal Rumble, Asuka chose the noblest option possible by going after the strongest competition in Charlotte. Meanwhile, the insertion of Ronda Rousey into the Women’s Division equation created immediate possibilities in all directions, with the most logical decision to gain favor by taking out the boss (Stephanie). Thus, the Alexa/Nia angle came into focus at just the right time.
Mickey James transitioned from opponent to frenemy to mean girls accomplice, which put Alexa in position to accidentally and carelessly expose her low opinion of Nia. In a storyline that featured bullying, body shaming, smack talking, and gaslighting, these two performers tapped into some of the most authentic reflections of toxic masculinity/femininity in digital culture today. Their match is excellent and encapsulates the year’s worth of ups and downs with appealing choreography. Real-world incidents, unfortunately, end far too often in tragedy, but this match concluded with the appropriate level of triumphant, cathartic pathos. WINNER: Nia Jax.
Nia vs. Bliss, courtesy of WWE.com http://www.wwe.com/shows/wrestlemania/wrestlemania-34#full-detail-40040893
Match Nine: WrestleMania34 was insane in just how few times there was room for filler or letdown matches. Arguably, the sheer volume of content is what led some matches to appear more valley than peak (U.S. Championship) and the adrenaline crash of week-long festivities will always give way to audience impatience in the final acts. The WWE Championship is a different verse to the same song that haunted parts of the WrestleMania 34 macro narrative.
To clarify, the A.J. Styles versus Nakamura is a story that doesn’t need a heavy narrative setup (good thing too, because SmackDown mostly ignored it), but these strong styles (double pun?) do need temporal room to breathe. And yet a double bind emerges within this win-win setting. The performers will always already be compared to their previous, less restrictive New Japan Pro Wrestling main event at the Tokyo Dome. And while a large portion of WWE’s audience has never and will never see this match, the Nakamura character got further lost in translation moving from NXT to the main roster.
This sounds like a bit of armchair bellyaching and fan wallowing. Truth be told, this is another terrific match that had the relief of a Style victory (deserved) and the refreshing surprise of a Nakamura heel turn (which should fix some of his weekly character issues). Instead of the over-labeling of a “Dream Match” payoff, the post-match low blow to A.J. perhaps signals a new beginning (no end in sight!) that suggests this rivalry is just hitting its appropriate stride. WINNER: A.J. Styles
All TV Finales Suffer If You Binge-Watch the Entire Show in one Long Sitting
There is a danger in over-thinking pro wrestling, but one wonders if the proverbial transitional gimmick match between championship main events doesn’t serve as a “pallet cleanser” so much as a potential scapegoat for any time the final match doesn’t execute perfectly for either the performers or the fans.
That said, while the match was perfectly entertaining and serviceable, the fan reaction shifted into neutral during the A.J./Nakamura match and may have only popped hard one other time when Braun Strowman tagged in a young teenage kid that he “randomly selected from the crowd” to serve as RAW Championship tag-team partner. Other than that, the RAW Tag-Team bit was excruciating to watch primarily because WrestleMania 34 was at this point past the four-hour threshold. And six hours if one counts the pre-show. And nine and a quarter hours if one counts NXT: TakeoverNew Orleans. And fourteen plus hours if one considers how mind-numbering excess of a five-hour Hall of Fame ceremony Friday evening (I can never watch another Hillbilly Jim match ever).
The density of all this WWE content highlights their industry attempt to suffocate the competition, which is the typical corporate consumers buy into with Disney, Wal-Mart, the NFL, Netflix, etc. In reality, market saturation has led independent organizations to fight even harder. Every legit indie product now shadows WWE at the annual host site for WrestleMania. The entire week becomes a pro-wrestling mecca, and anyone who’s anyone makes appearances at multiple venues. The WWE may harness an unstoppable corporate hegemony, but the pro-wrestling community thrives as always from the success of warehouse outlets and passion-fueled communal productions.
To return to the final main events, it makes logical human sense that fans would face exhaustion de la spectacle after a full week of festivities (and thousands of dollars). If the adrenaline crashes for performers that “blow up” if not properly fit and fueled, imagine the average fan that is expected to sustain emotional investment from the antsy pre-gate moments in route to the stadium, up through the 7-hour card. The elongation of WrestleMania thus becomes a self-fulfilling prophecy for impossible odds at show’s close. The bigger question is, why wouldn’t audiences be flat?
Match Ten: The interim tag-team championship was, apparently, entertaining. Braun went ultra babyface by picking a virtual child partner from the audience, in the process maintaining his strength cred by then beating Cesaro and Shamus (no slouches) to single-handedly gain the RAW tag titles. This much was telegraphed weeks in advance. WINNER: Braun Strowman (and Nicholas)
Match Eleven: Speaking of telegraphing, Brock Lesner versus Roman Reigns for the WWE Universal Championship. Industry insiders were talking about this match regularly as far back as spring. There were times throughout 2017 where I thought this made no sense. So many fresh foes emerged from Samoa Joe to Braun Strowman. The four mentioned superstars even shared a fatal four-way main event at Summer Slam 2017, so the idea of reteaming only two of them felt soft and repetitive. But there I was overthinking WWE’s booking again.
Regardless, I thought Reigns was aces in his weekly mic promos. The “suspension” storyline also made sense, and the UFC tease of Brock “skipping” this year’s Elimination Chamber to dine with Dana White brought back classic levels of kayfabe in mainstream media. As much as we all love to suspend disbelief, sometimes President Trump is accurate with this alternative definition regarding “fake news”. But I’m talking about Kardashian levels of gossip rag publications and websites, not scientific journals.
Days after WrestleMania 34, I am still perplexed by the main event. It was terrific and also a supersized rerun sequel. It closed with two shocking surprises, but only one of them felt (looked) organic. These two absolutely pummeled one another, but jaded fans that paid probably thousands of dollars on their ticket seemed disinterested. And for fans that still chant “C-M-Punk!” after all these years, I don’t feel like it’s a false equivalency to compare this act to constituents voting against their own interests. There is a certain IdiocracyEffect to paying thousands to go wait around an entire day just to sneak in and blow up a beach ball.
Is “safe booking” always fun? No. But neither is going to a murder mystery dinner theater and then refusing to eat or engage others or put your phone away when the theme is set to Victorian England. Dear smart mark fans: get over yourselves instead of trying to get yourself over.
Fans aside, the showdown between Reigns and Lesner was crazy weird. Braun and Samoa Joe each fell to a single F-5, but Reigns needed to take six. The false finishes piled up so high that each shoulder burst moved the match into Frank Miller Dark Knight Strikes Again/All-Star Batman & Robin territory. The surprising non-comeback and eventual win by Lesner recall the early seasons of Game of Thrones, where everything tells you the story is heading toward a noble mythological victory only for the hero to die. And how about that crimson mask on Roman? Along with Ronda emasculating Hunter and Charlotte’s golden-tinted entrance, this trio of images cultivates my visual memory of WrestleMania 34. LOSER: Roman Reigns
With Reigns losing, there was a sadness to letting the air out of his longstanding chase for the title. WWE and others constantly remind audiences that Roman is now in “Hulk Hogan” territory with four WrestleMania closing matches. But the angry mob wins in not letting him enjoy a legitimate title run, despite all of the clear work he puts in.
I have several working thoughts and critiques as to why fans fawn over Daniel Bryan but reject Roman Reigns, and cheer for Brock Lesnar despite a handful of yearly appearances. There is something toxic to this type of fandom. When it’s aimed at the company, at the corporation, there is a working class catharsis to such frustration. But when the angst seems to be aimed at a superstar that does everything fans “respect” from names like John and Mark and Daniel and Terry…I have to rhetorically question what that missing ingredient might be.
WrestleMania 34 Honors
Wrestling Match of the Night: Charlotte Flair vs. Asuka
Wrestling Story of the Night: Ronda Rousey and Kurt Angle vs. Stephanie McMahon and Triple H
Wrestling Story Arc of the Year (fulfilled): Nia Jax defeating Alexa Bliss for the RAW Women’s Title
Best Entrance of the Night: Charlotte Flair
Best Heel Turn: Nakamura
Fan Service Award: Daniel Bryan comeback victory
Scarlett Letter Award: The Roman Reigns Crimson Mask