The career of Brodie Lee

I've spent the past few hours absolutely stunned by the news that Jon Huber, known to wrestling fans as Brodie Lee, passed away from an extended lung issue at the age of 41. While details are just surfacing, his last match was in October when he dropped the TNT title to Cody, and he hadn't appeared on the show since that time. Considering the way the world is while COVID restrictions are in place, I hadn't given it too much thought when he wasn't alongside the Dark Order recently. I assumed perhaps it was a minor injury since nothing had made the rounds on the rumor mill online or he was simply taking the rest of the year off until the start of 2021.

The outpouring of tributes for him on social media of not only his ability as a wrestler, but more importantly, his kindness as a person speaks volumes to who he was behind the scenes. Truthfully, I'm still in shock as I write this, an athlete with that much agility, seemingly still with at least five years left in his in-ring career, you just don't expect to hear this news of his sudden passing. The story of his in-ring career is almost a familiar tale to some of his peers in AEW. He made a name for himself on the independent scene, signed a WWE deal, and was completely underutilized there so he sought opportunity with the upstart promotion.

Instead of covering that, I'd like to share about the few times that I met him because the circumstances really underscore the type of person he was outside of the powerful brute he portrayed in the ring.

As some might know from the occasional note in this column when it's relevant or from the content of my Twitter page, I'm a play-by-play commentator in the Pittsburgh area, which I started when I was in college for a Communications degree that I earned. As is usually the case with the local circuit, you can work for an alphabet soup of organizations, but thankfully, I was offered a spot with a few of the smaller groups at the time. One of those was Far North Wrestling, an organization founded by local legend, T. Rantula, and run by the Polinsky family. Before he was Corey Graves on Monday Night Raw, Sterling James Keenan was one of the top stars in the steel city, often working his family's event when he wasn't touring different countries. Through the local scene, I met Keenan's real-life brother, Sam Adonis, who welcomed me immediately at a fire hall in West Newton, PA. Mr. and Mrs. Polinsky were very kind to me when I met everyone in mid-2008.

I spent that first year in wrestling doing as many different meager tasks as I could. Usually, at local shows, I'd dart around the ring and occasionally have to dodge a flying wrestler as a ringside photographer. Other times, I'd tear tickets, sell t-shirts, or help label DVDs just to learn the ropes of the industry. By 2009, I started doing commentary for the now-defunct Pro Wrestling Express league. The Polinsky family was nice enough to give me the chance to broadcast some FNW events with radio and TV host, Jon Burton, a truly good guy that gave me a level of confidence in the pursuit of the Communications field. While I had done commentary for other groups around the area, when Far North Wrestling began their "Warriors" series of events the following year, I was asked to do commentary for the almost now-obsolete DVD release.

During this early time when I started to be involved in the pro wrestling industry, Brodie Lee was scheduled for a few of these FNW shows, as he was long-time friends with Sterling and Sam. Prior to this, I was familiar with Brodie Lee from Chikara, specifically because he was drawing comparisons to the legendary Bruiser Brody, who is one of my favorites of all-time. I met Brodie at these shows, and as simplistic as it might sound, he was just such a nice guy, but that in itself reveals so much of what so many have stated on social media. When I shook his hand to say hello for the first time in 2008, he greeted me with a smile and asked how everything was. Even after over 12 years in the wrestling business, with 11 of them as a commentator, I don't really see myself as anyone important, but I really wasn't important to the local scene in 2008. Brodie Lee had no reason in particular to be that nice to me, I could've been just another random person working the pop corn stand, but he was genuinely polite because that's just the nature of who he was.

Later on, when I had the chance to call a few of his matches as a part of the previously mentioned "Warriors" shows, I asked him prior to the opening bell if there were any particular notes he wanted me to mention during his match. He said a few things about wrestling in New York and made a point to say thank you for taking the time to ask him. Again, I wasn't anybody special, and he was becoming a known wrestler on the indies, but he seemed genuinely appreciative that I wanted to get information about his match on the card. Granted, I'm sure he didn't remember me because he went on to meet hundreds of more people far more important than me in the wrestling business, but it always stuck with me how nice he was when he didn't have to be.

In the time since I had the chance to call his matches in the now-demolished Ches-A-Rena, Brodie Lee's tremendous talent took him to the biggest organizations in sports entertainment. He had the WWE run mentioned previously, where he should've been given more of a chance, and I still think that the original pairing with The Wyatt family was the perfect combination. A few injuries and a lack of direction in WWE might've hindered his progress, but his work in All Elite Wrestling really rejuvenated his career. While he was national, I opted for a slightly less famous path, earning a college degree and landing work in the broadcast industry. On the wrestling front, I continue to do commentary and currently work for both Fight Underground and Ryse Wrestling in Pittsburgh. Something that I learned from Brodie Lee is to always try to be as nice as you can to those you meet along the way in wrestling because you never know the impression you can have on them. I certainly appreciate the impression he made anytime I had the chance to talk to him, and his tremendous kindness at events.

Bray Wyatt vs. Randy Orton

Over a year ago, I penned an article that explained how WWE "jumped the shark" during the infamous Seth Rollins/Fiend cell match that saw a giant mallet, The Fiend take a cartoonish level of punishment only to no sell everything, and finally the match end via referee stoppage, despite it being a cell match. In many ways, it continued to taint Seth's baby face title run at the time, as well as it degrade The Fiend's status after his initial introduction of the new persona garnered some buzz among the audience.

Regardless of the past year resembling the twilight zone because the world was shutdown because of the corona virus, WWE management "jumped the shark" once again to an even more ridiculous level. Sure, it's easy and accurate to simply say that the conclusion to last weekend's TLC pay-per-view was ludicrous, but a look at some of the key points behind it show just how far outside of the limits of logic the WWE is willing to go to try to drum up some interest in its stagnant product.

Listen, we all understand that the limits of logic can be stretched in professional wrestling, and that flexibility allowed for some very memorable moments in the history of the sport. Is it probable that Stone Cold Steve Austin would hijack a zamboni to drive to the ring to confront Vince McMahon? No, but it's technically possible, and the saw proof of this when Austin literally drove the ice mobile into the apron to dive at Vince with a clothesline. Don't get me wrong, there's a fine line between spectacle and hokey stunt show. If things are done well and within some semblance of reality, they can fall between those stretched limits of logic of sports entertainment. For example, the entire Kane/Undertaker storyline might've been considered a flop if it wasn't done so well. We didn't know how The Undertaker sent lightening bolts through the arena, but the viewers actually saw the effect in the building. There wasn't some digital effect to take people away from the excitement of the moment. Plus, pyro was used to open every show during that era so it wasn't totally outside of the box.

The parameters of sports entertainment have evolved, but there's a basic foundation that makes the product in the ring be considered under the sports entertainment umbrella. The Miz vs. Braun Strowman won't look anything like Gotch vs. Hackenschmidt, but the fact that there's a ring and the theoretically competition is to win the match are common denominators of the presentation.

The Firefly Inferno match was essentially an enhanced version of the inferno match that was used during the previously mentioned Undertaker/Kane feud. Is setting the opponent on fire commonly used in most competitive situations? Obviously not, but it's still technically possible because using the proper safety precautions, Kane actually did have his arm on fire. Plus, flaming tables have been used in wrestling before, and of course, The Sheik and others have used the fire ball throughout the history of wrestling. The key is, the viewers can see the fire so there's at least a level of plausibility for it. It's also important to point out that even in reality, people have suffered fire injuries and recovered so if a wrestler was "burned" with a fire ball, it wasn't impossible for them to return. A famous example of something like this outside of the realm of professional wrestling was when comedy legend, Richard Pryor was accidentally set on fire in 1980 after he used some substances that also might've been found in the ECW dressing room in its heyday. A few years after the incident, Pryor recovered and made the tale of the fire mishap a part of his stage show.

When The Fiend was pushed into the flames, it was within some level of reality because the audience could see him actually on fire and as we've mentioned, there are examples of people that have been on fire before. The aftermath of Orton setting him on fire is counterproductive to every element that we've discussed that allows such gimmicks to work. First of all, murder on a wrestling show can't be a part of the narrative because of the nature of the sport. This isn't a TV show where characters can be killed off then reappear, this isn't something from the Sci-Fi channel. The same way when the Ralph Cifaretto character from the Sopranos was killed off, the character didn't suddenly reappear in the show later on because the setting of the show was based in reality. Silvo and Paulie Walnuts had to drive a car to make collections because the setting of the show didn't make it possible for them to fly a space ship.

The major difference between fictional TV and professional wrestling is that pro wrestlers aren't actors. Despite playing a character on TV, the nature of professional wrestling is that they are that persona on a continuous basis, which is one of the reasons that fans are emotionally invested in their journey. When Ralph got pummeled on the Sopranos, nobody is shocked when Joe Pantoliano is cast in another show because actors are only play a role for a specific time. On the flip side, if a fan meets Roman Reigns and gets an autograph, he doesn't sign "Joe Anoa'i" because to some extent he is still Roman off screen because pro wrestling characters are portrayed on a continuous basis. The Miz, Braun Strowman, and AJ Styles aren't going to be cast for new characters at the end of the year.

The Fiend being burned alive and the follow up on Raw saying he was "gone" completely jumps the shark to an entirely new level because most importantly, when Bray Wyatt shows up again, how does the WWE logically explain it? Keep in mind, professional wrestling is a narrative based in reality because the believably and emotional investment into characters is ultimately what draws money. When Bray shows up again, it tells the audience that everything is phony so why should them emotional invest in the product? Furthermore, when the dummy being burned looks faker than Sable's plastic surgery, it insults the audience's intelligence. There's going to be a portion of the audience that just tunes out because it seems too silly that a show is attempting to present a segment where someone gets burned alive. Again, as preposterous as it might sound, someone being on fire is technically possible, but to see a body completely burned in the ring is just too outlandish, even for sports entertainment.

 

Raw Legends night

As much as the sport of professional wrestling or really any other topic can be fiercely debated these days, it's almost unanimous that 2020 was quite probably the worst year in modern history. The corona virus caused a worldwide shut down and a level of illness that hasn't been seen in over a century. The health and economic crunch that it caused for so many people around the world is far more important than any impact it had on sports. Still, as is usually the case with most things in life, professional wrestling became somewhat of a microcosm of the hurdles around the globe. How would small businesses, theme parks, and live entertainment adapt to health restrictions? The political unrest was on the level on a Cornette-Russo confrontation. Regardless of where you fall on the scale of concern of COVID, the impact the lack of live crowds had on the sports entertainment business will have a ripple effect that goes beyond just 2020. Many independent groups have either been shuttered or ran scaled back events that yielded mixed results in terms of safety and profitability. On the national scale, WWE maintained status quo in terms of the countless hours of content the WWE machine churns out because despite the big gates that major stadium events bring in, the company is in the television business, even more so than the live event business. The publicly traded corporation makes a profit based on its TV properties alone, anything else is just icing on the cake.

Still, so much of the TV presentation is the live reaction, and there hasn't been a way to gauge just how over someone is or isn't with the audience because there's not a direct way to measure the response. Sure, you can look at social media replies, but we all know that social media is usually a cesspool and there will be some negative reaction toward almost anything so again, there's not an accurate barometer of how fans would truly respond to certain performers.

Unfortunately, the numbers that have taken the biggest hit from the pandemic era are the numbers that matter the most to WWE brass outside of its stock price. The ratings for Raw have been at a record-low the past few weeks, suggesting that either the audience doesn't want to watch a static program, (despite the improvements the thunder dome concept made) the viewers simply aren't drawn to the product, or a combination of both. Whatever the reason, this is a major cause for concern because while the company is as big and as powerful in terms of revenue more now than any other time in history, it's drawing the lowest amount of viewers for its flag ship show. It's mind-boggling to consider, but "technically" Doink vs. Koko B. Ware drew better numbers than what Drew McIntyre and AJ Styles could garner in recent weeks. Does that mean the office should dust off Matt Borne's old costume and get Frankie from the pet shop? No, but it makes a bold statement about the structure of the organization and its philosophy toward the modern landscape.

I've written about it several times the past few years that a major portion of the WWE product seemed to be geared toward the short end money, sacrificing the potential of the future for the easy money now. Was Brock Lesnar's part-time run as champion that had the booking of Raw without him on the roster worth it compared to the stars they could've potentially been made with the championship on the shows? Was the forced Roman Reigns baby face push that was more for the corporate agenda than fan demand worth the opportunity cost of other stars that were more over at the time? Most importantly, was depending on nostalgia or part-time wrestlers to draw for big events really worth it at the expense of possibility making legitimate money-drawing stars for the future?

I penned a few articles recently that explained why the 50/50 booking doesn't solidify anyone on the roster and that many wrestlers are more or less interchangeable because most of the promotional push spotlights the brand as the draw, not specific performers. The results also don't have consequences because if Drew loses the belt to Randy Orton and then wins it back three weeks later, was there really any progress? If viewers didn't watch for a month, did they really miss anything?

It was announced this week that WWE will start off the new year with a legends night on Raw. It's the start of a new year and some level of hope that eventually the world will be back to normal. However, the office is going to start the new year with focusing on the past to draw ratings. Doesn't this strategy sum up part of the problem? Drew, AJ, and a cast of other talented grapplers can't keep viewers tuned into the show so management will showcase a group of legends that have much more star power than the current roster. That's not a jab at Drew or AJ, but rather the structure of the product. Aside from the fact that it's always great to see the legends, nostalgia can't draw on a long-term basis. The reason is simple, the stars from the past are over with the audience because of their history in the business, but the bottom line is, there aren't the same performers they were in their prime so what can be done with them has limited options. Everyone would enjoy seeing a strut off between Flair and Micheal Hayes because it recaptures their heyday for a brief segment, but after that they are just two former wrestlers trying to dance.

Perhaps, WWE should take a lesson from what they will be promoting on legends night.

Flair, Booker T, Kurt Angle and the others are stars because they essentially weren't pushed with the current WWE philosophy. Did Ric Flair get booked to lose the NWA title without it being a major moment or storyline? More importantly, how many of Flair's major wins are historic moments? Harley Race, Vader, etc. weren't just matches on the assembly line the corporate machine, but rather they were presented as key bouts. When Angle was pushed  upon his arrival in WWE, he wasn't subjected to 50/50 booking that saw him garner and average record on television. The thunder dome, the stock price, and the WWE Network are all things that might make sports entertainment a more complex business now than it was a few decades ago, but the process to truly make stars is the same because getting over with the audience is based on human psychology, not conference calls. Fans will cheer for performers that connect with and if those characters are booked for compelling storylines then the fans will follow it. Stone Cold Steve Austin became the biggest star in the history of the business because the general public could easily identify with his blue collar persona. That character was booked against Mr. McMahon, a powerful tyrant. The story writes itself and a record number of people tuned in every Monday to watch it. Don't get me wrong, the production of weekly episodes of live TV and several hours of content isn't easy, but if the office wants to boast about the record-setting revenue on conference calls then the production of the content is the task.

In many ways, this legends night to kickoff 2021 is already a lose-lose scenario for WWE brass, even though it will get a number for USA for a week. If the legends don't draw a rating, the WWE is still going to have to search for something to improve the numbers after they played their ace in the hole. On the flip side, if the legends draw a big number, it's a statement that wrestlers from twenty or thirty years ago are more over than anyone on the current roster so what does that say about the company?

The Raw ratings

 The sirens can be heard in Stamford, as this week's Raw garnered a record-low 1.5 million viewers, prompting many to suggest that something drastic must take place within the corporate organization to boost the sluggish ratings. A record-low rating certainly doesn't help the stock price.

In truth, this news shouldn't be all that surprising because the numbers have declined at a more or less steady pace for the past few years, a trend that was accelerated by the pandemic era. During the past few months, I've written about the scenarios that have contributed to this situation, and unless WWE brass can find something to spark a renewed interest in the brand, the shows will continue to generate dismal numbers. Of all the problems mentioned previously, the biggest problem might be the fact that the office continued in the same direction despite the slipping numbers. That being said, some have used this week's low rating to claim that AEW will somehow surpass the WWE because of the demo numbers. I've written several times in the past year and a half that the importance of AEW to the industry can be understated because for the first time since WCW folded, it gives fans and wrestlers legitimate options. However, those that want to cite the demo numbers as some indication of the collapse of Vince McMahon's sports entertainment empire are simply trying to spin the narrative. The problems for the WWE should be addressed, but to put it in prospective, the WWE's current TV deals are worth a combined $2.4 billion for a five-year contract, generating roughly $240 million per year in TV rights fees for Raw and Smackdown respectively. On the flip side, the TNT extension that AEW signed earlier this year brings the organization about $45 million a year. The TNT deal made AEW a profitable venture, which is the determining factor of success from a business prospective, but to claim that they will surpass WWE in terms of profitability or brand awareness is very misguided. That being said, Vince McMahon might be taking the big money now for a product that might hinder the company in the future because it's doubtful the promotion will sign another billion dollar TV deal if the ratings don't improve in the next few months. 

When I mentioned that so much of the product is stagnant because a viewer could skip a month of the shows and tune in again without missing any key points, it highlighted the lack of "must see" television within the WWE landscape. One of the prime examples of this during the pandemic era was the random three-week title reign that Randy Orton had, which didn't nothing, but halt any momentum of Drew McIntyre, who is supposedly one of the top priorities of the organization. Drew has the talent, but the way he was cast since almost the beginning of his title run did him no favors. The Raw after WM 36, an impromptu match between The Big Show and McIntyre was shown that took place after he pinned Brock to win the title where Drew was scripted to say that he didn't want to fight the Big Show. A similar line was used in a promo with Seth Rollins a few weeks later. A baby face champion should NEVER try to avoid a challenge for the championship. Would Stone Cold, The Rock, or Mick Foley be scripted to say something like that? Granted, Drew was dealt a rough hand because he was finally given the chance to get a main event push during a global pandemic that shut down the entire world, and there still isn't a measure of how over he would be as champion in front of a live audience. Still, he had to play the cards he was dealt, is he going to turn down the chance to be WWE champion?

For his efforts, Drew has probably done the best he could under the circumstances, but the booking of not only his title reign, but the brand as a whole has been lackluster. As mentioned earlier, the Orton title switch was pointless. Most importantly, it stopped Drew's momentum and took away the importance of his run as champion because a long title reign can be used to hype an important title match in the future. There would be something important at stake, another aspect that is almost non-existence within the current product. Furthermore, Orton is already a star and as over in his career as he's going to be in terms of star power so another title win did nothing for his status. Ultimately, Orton's three-week detour with the belt meant nothing, and when the results don't have consequences, what's the reason fans should to tune in to see the show?

So, what should the WWE do to improve the numbers?

Obviously, everyone will have a different answer, but I will mention my two cents on this rather complex situation. First, I don't think you will see any major improvement in ratings until after there are live crowds in the arena again so management will just have to tread water until live events can resume in typical fashion. This might be the toughest hurdle for the office, but the usual paint-by-numbers approach that the corporation has used for its agenda should be changed to something more organic and flexible. Another aspect I've written about often is that the WWE got too comfortable with its level of dominate market share and an unintended level of complacency surfaced within the product. The writing team isn't pressured to "sell" a pay-per-view because those events don't have to justify the traditional $40 price tag anymore, but rather the $10 for a network subscription that includes thousands of hours of classic footage as well. The 50/50 booking keeps almost everyone on the roster at roughly the same level, and when you take into account the John Cena is still the last legitimate money-drawing star the company made, it speaks volumes about the inability of the current WWE philosophy to make stars that fans are will to pay to watch. Realistically, who will sell more tickets, Seth Rollins, Finn Balor, or Drew McIntyre? While some might make a choice based on character or in-ring style, their marketability is basically the same. Any of them vs. Brock Lesnar will do roughly the same business because Brock would be the difference maker since he was presented like a star. The reason that Drew, Finn, and Seth are all at more or less the same level of star power has nothing to do with their tremendous in-ring ability, but rather with the fact that the WWE brand is usually promoted as the draw instead of individual stars with a few exceptions. The fans connect with and rally behind the characters, not the brand so there's a ceiling on how much of a draw the brand will be for fans.

Aside from the booking and the presentation, the sheer amount of content that the WWE machine churns out to satisfy the previously mentioned TV contracts might be a part of the problem as well. Too often, it seems like there's quantity over quality for the television product. Sure, the reason those countless hours are produced is because of the major money it brings, but the less than stellar content might actually diminish the audience in the grand scheme of things. Speaking of the amount of WWE shows, it's also very possible that the WWE roster is simply spread too thin and perhaps management should shuffle the deck so to speak to put some of the marquee talent on the two main shows. For example, NXT was put on USA network to compete with AEW, but WWE's third-tier brand is it's least-watched show and it rarely draws more viewers than Dynamite so there's not much of a Wednesday night war.

In my opinion, the top stars on Raw need to be fresh and presented as important competitors for the brand. Adam Cole is in the prime of his career, but has spent his entire WWE tenure on the niche NXT brand. While there's only ever going to be one Shawn Micheals, Adam Cole is the closest thing that there will be to a next generation HBK so he shouldn't waste more of his prime on a third-tier show. Cole can cut a promo, he can go in the ring, and he has all the tools to be a much bigger star for the organization. I don't know if Drew's status can be solidified at this point or not, but for my money, bring The Undisputed Era to Raw and push Adam Cole as the top star on the brand. The office fumbled Rhea Ripley's push terribly earlier this year, and much the way that Orton beating Drew for three weeks did nothing for him, Charlotte defeating Ripley was a critical mistake. Charlotte is a great performer, but she's already a star and didn't need the win. The victory at Wrestlemania could've elevated Ripley's status. Put her on Raw and let her work a title feud with Asuka, who is a true MVP of the champion. Don't get me wrong, the casual fan doesn't care how many stars a match is rated so Raw shouldn't use the NXT style, but the brand could certainly use the NXT star power.

Lana vs. Nia Jax

Five years ago, Rusev cruised into a stadium on a tank to defend his US title against one of the top guys in WWE, and arguably, still the last money-drawing star the company made, John Cena. While Rusev is a much more seasoned and polished all around performer now because of the experience of several years in the big leagues, there's no doubt that he made an impression, even in his formative years on WWE television. By his side was his real-life wife, Lana, dubbed the "Ravishing Russian" and a key part of the act. Channeling Brigitte Nielsen in Rocky IV, Lana was a no nonsense force that had a presence on the mic.

Since those five years, the sports entertainment business has certainly changed. All Elite Wrestling was formed, completely shifting the dynamic of free agency in the industry, Roman Reigns is doing his best work as a heel with Paul Heyman, and Rusev was released from his contract during the pandemic cuts earlier this year. Granted, the reason dozens of wrestlers were released was to make things look good for the conference call for stockholders, but the point being, it did provide a fresh start for some of that talent. In truth, Rusev was probably better off outside of the WWE structure because it was clear when he got the "Rusev day" gimmick over and the office didn't truly run with it, that for whatever reason, he was typecast at a certain level within the organization. Obviously, his AEW run so far has yielded mixed results. In my opinion, he could have a much bigger role there than feuds based on video games. Still, you can see the potential for something bigger in the future for him under the All Elite banner.

Since his exit for WWE, Rusev has been outspoken about the company, criticizing some of the direction and structure of the promotion.

Lana is still under contract, and as ridiculous as it this might sound to some, it appears that she might be booked to look foolish on TV because of the Rusev's comments. Sadly, if this is the case, it wouldn't be the first time WWE booking had a vindictive spin. The completely ridiculous part of all of this is that they are hindering the star power of one of their on TV commodities. First Lana was put through a table by Nia Jax nearly a dozen times over the course of the past few months, which is a form of punishment in itself given Nia's track record. Following that, Lana was booked to stand in the corner at Survivor Series without doing anything and then wins the match on a technicality. Sure, she's given TV time, but how is this a push?

Management booked her to win without doing anything at Survivor Series. The entire point was she won by standing in the corner and weeping so Lana was basically the winner of the participation trophy, how does that spotlight the baby face? Pro wrestling 101 is the baby face has admirable traits so that the audience can rally around them. What reason was the audience given to cheer for Lana? If anything, the participation trophy angle is more of a heel type of booking. The fact that she was still framed as a baby face during the narrative gives the entire scenario a mediocre result.

The only logical conclusion here that would see Lana in a better spot than when she started or show any progress for the storyline would be that Lana puts Nia through the table to claim one half of the Women's tag titles. Instead, Lana pinned Nia in a very short match on Raw this past week and was then injured so that she isn't involved in the title match at the TLC pay-per-view. Given the booking of this  angle so far, I'd guess that the brief win on Raw is supposed to be the comeback for Lana, but it's already secondary because the story is now about who might be Asuka's partner at the pay-per-view.

Lana was made to look like an incapable and weeping participation trophy winner in this storyline. How is any of that something that the fans can cheer for a baby face? CJ Perry, the real-life performer behind the TV character, is more talented than that and deserves better for a role on television. Aside from this horrendous angle, the WWE made a major mistake with her long before this. As much as WWE wants to minimize the effectiveness of managers and valets because they sell angles, not t-shirts, there's still an important role for them in the sport. More importantly, not everyone on the roster has to be a wrestler.

Miss Elizabeth was one of the key pieces of the puzzle for some of the most memorable feuds in sports entertainment history. The Mega Powers explode and Jake "The Snake" Roberts vs. Randy Savage are still talked about today. Jim Cornette couldn't hit Cowboy Lange in the knees with a drop kick, but cut promos that drew money for decades. Francine played a major role in many of the main event storylines in ECW because she knew had to work ringside and had a presence on television. The bottom line is, regardless of the motive, WWE brass completely botched this entire angle with Lana, and she's left in a spot with no direction for her character. I'm not sure what's more disappointing, the fact that the writing team might not realize how completely counterproductive any of the Nia/Lana narrative to pushing a baby face or that the office could be intentionally sabotaging one of its own performers. There was a lot of talk recently about sluggish ratings and how the company presents its television programs. Lana has a proven track record of being an effective character, but if the office can't find a better role for her on Raw, especially considering her roles on reality TV, it says a lot about their decision-making process, not just with this storyline, but the overall direction of the company.

Bobby Willams new book

 There's sometimes a cliche used in the professional wrestling industry about those that have a lifetime of memories associated with their involvement in the sport, often referred to as, "growing up in the business."

For Bobby Piskor, the past twenty years that he spent around the grappling arts quite literally saw him grow up in the business, as he went from a 15-year-old kid paling around with his mentor, the late Devil Bhudakahn to one of the most tenured and respected veterans of the Pittsburgh area, a region known almost as much for its extensive history of wrestling as the steel it once produced. An already-published author, Piskor's written release earlier this year chronicled the life of James "Devil Bhudakahn" Fawcett, who tragically took his own life in 2007 at the age of 32. All proceeds from the book continue to be donated to suicide prevention in the memory of Fawcett. Bobby's latest literary offering, "How I Never Made It" details two decades of his time in the sport. A referee, wrestlers, and graphic designer, Bobby has countless stories that could only happen in the unique world of the squared circle.

It's an autobiography, It's filled with stories and pictures. My other book projects were more photos and lists of results than actual stories of my career. The Devil Bhudakahn "Man Behind The Mask" was a book about the life of Devil Bhudakahn, told by some of his peers. I have found that writing has been very therapeutic. It helps me to open up and talk about painful memories, and share my crazy experiences," said Piskor.

While the title is meant as a form of tongue-in-cheek self deprecation, "How I Never Made It" details the journey of a talented prospect that was looking for his big break in wrestling, and the unexpected peaks and valleys of that pursuit  Those that truly want to "make it" have to take advantage of every opportunity that presents itself and follow the leads, regardless of if they yield feast or famine. From the time he designed primitive webpages and set up chairs in VFW halls before he was old enough to drive, Bobby dedicated himself to an always-evolving goal of making a name for himself among the pro ranks. Readers will be treated to the often comical dynamic associated with the traveling independent wrestlers. One weekend, Piskor shared the ring with the legendary Jerry "The King" Lawler before he found himself inside the ropes with some local yokel that could barely tie his boots the following weekend. From obscure and sparely-attended events in some town in West Virginia that nobody has ever heard of to sold out venues with over a thousand fans in the building in England, Bobby has experienced the completely spectrum of pro wrestling glory.

The reason why is simple, regardless of if an event has a big bankroll or a shoestring budget, quality performers are always in-demand. Bobby Piskor learned the industry from the ground up as he grew up inside the sport, and could excel in any role he was given when the bell rang. On one night, he might be the pivotal third man in the ring as a referee to be the glue of a match, or he might take on a villainous persona as Robert Parker Williams, a wrestler that always delivers a solid bout.

"The biggest takeaway is that I have almost twenty years of experience and stories. My tale of professional wrestling has been very emotional. There were a lot of highs and a ton of lows. I have always kept to myself for the most part, I don't share a ton with fans. This is the first time I have openly talked about my personal life," he explained.

"In wrestling, it's one thing to be skilled in one role, but RPW has been skilled in every role he has taken on," said BC Steele, Piskor's real-life best friend and widely considered the best manager in Pittsburgh wrestling.

When he's not counting the three or clobbering opponents in the ring, Piskor trades his singlet for a dress shirt, as he works in the offices of the Allegheny Country court system of Pittsburgh. In contrast to the jeers he hopes to generate as a wrestling villain, he finds out the contrast at home with his wife Natalie, a talented artist, and their young daughter, Lucy. On an early Saturday morning, it's not uncommon for him to sip on coffee while he studies Great Muta matches before he lands on the couch to watch cartoons with Lucy. Bobby often cites his family as a tremendous source of happiness for him so he finds it relatively easy to balance those responsibilities with his duties in the wrestling industry.  

"My family is very supportive of my professional wrestling career. I work a full-time job Monday through Friday. I come home at night and am a husband and a father, I live a very normal family life at home. In my downtime, I am always coming up with something creative, whether its a graphic, or a t-shirt idea, book project, or a wrestling poster. I am always thinking about the business, I also don't sleep but a few hours a night so I am always involved in something. My next project is the story of JT Lightning, a very accomplished Cleveland promoter that was a big influence on many from that area. I began working on this after the Devil Bhudakahn story. JT has touched so many people that it took a lot of planning and conversations before I could really begin it. I am about 75% of the way complete, just waiting on a few more submissions. I hope to have a release soon," Piskor said.

So, while the definition of what "making it" depends on who you ask and is subjective by nature, the success for Bobby Piskor is difficult to dispute. Sure, he didn't make it to Wrestlemania or land a full-time pro wrestling gig, despite a few close calls that he details in the pages of this new book. However, as a family man with a successful career outside of wrestling and one of the most respected contributors inside of the squared circle, you can definitely say that Bobby Piskor has, indeed made it.

Tony Khan appears on Impact

For almost as long as there have been owners of professional wrestling companies, there have been owners that will use that platform to feature themselves, and there's not necessarily anything wrong with that. Much like the rest of the genre, how an owner appears on-screen depends on the context and is very subjective, in terms of how effective it might or might not be to the audience. In some cases, a well-known figure head gives the fans someone to look to for authority and to make the tough decisions. For example, Bill Watts, a marginal in-ring technician, was without a doubt a big star in his heyday and his role in Mid-South wrestling kept things fair around the promotion. Watts had credibility with his audience because of the previous years of success he had. Watts was someone those in attendance could trust.

Along the same lines, sometimes owners have put themselves on television as villains, a fitting protagonist for the working class hero to challenge in the ring. Critics can say what they want, but Vince McMahon was not only a tremendous performer, but arguably the biggest heel during the biggest boom period in the history of the industry. "Stone Cold" Steve Austin would've been a major draw one way or the other, he has that level of talent, but the argument could be made that he wouldn't have become the biggest star in the history of the industry without Vince to generate the heat for the storyline.

Of course, when the direction of a sport can be manipulated, it's very easy for those with the pencil to slip into the habit of putting themselves in the spotlight too often. While Vince was a huge heel that saw big success in the late-90s, the heel authority figure was one of the most overused and stale acts in the WWE for the past 5-6 years. Eric Bischoff was great in his role as a snarky heel for a period of time until he overplayed his hand and then fans changed the channel. Again, when the story can be written by those involved, it's a slippery slope, and nepotism in the wrestling business is nothing new. Verne Gagne put himself over for his own championship when he was in his 50s. Somehow his son Greg, a decent athlete, but not exactly on the level of BockWinkel, was pushed as a featured star throughout the AWA's existence. Let's not forget, Ed Leslie had roughly a dozen gimmicks and kept a job for years just because he was friends with the right people, brother.

Since its inception more than a year and a half ago, All Elite Wrestling is sometimes painted with the brush of nepotism, but as far as the roster, I don't think that's really the case. The company was founded because of group of friends agreed to sign with the same organization when they looked to negotiate new contracts so it wasn't a political power play, but rather a group that put their star power together to attempt to get a new project off the group. Since those athletes had to help assemble the rest of the roster, it shouldn't be surprising they chose competitors that they were familiar with from their work on the independent scene. AEW isn't perfect, and it would be unfair to expect it to be, but with the recent headlines the company made with the Sting signing and the Impact deal, a different problem might be on the horizon.

Does AEW have a Tony Khan problem?

We will discuss this scenario, but for those that want to automatically assume that this is a pet project for the son of the owner of the Jacksonville Jaguars, it was actually important for him to get his face out there to the fans for the launch of the company. As trivial as it might sound, letting the wrestling public know that a billionaire family is behind All Elite let them know that this project had the funding and the resources to have a chance in the sports entertainment business. Since WCW folded, there have been many ham-handed attempts to be "the next big company in wrestling" only for it to fall exponentially short of that goal. Dixie Carter's Total Nonstop Action group might be the most well-known in the past two decades, but there was an alphabet soup list of organizations that were in that category. Some yo-yo tried to run Main Event Championship Wrestling at the ECW Arena in 2001, which amounted to a one-off show with a lot of bounced checks to the wrestlers. XWF was in the conversation for a cup  of coffee until Vince re-signed Hulk Hogan at the time and that was the conclusion of the project.

Still, within recent months Tony Khan's name was used more often on television, which in itself is fine because it makes sense to have someone to theoretically sanction challenges on Dynamite, but the past few weeks have seem Khan become more visible on television, prompting some to suspect that it's only a matter of time before he's involved in a full-fledged storyline as a regular character on the show. The fact that Khan is most public at a time when AEW garnered its most buzz over the past few weeks with Sting's debut and the crossover with Impact is a little odd.

In my opinion, the red flag was the promo that aired with Khan and Tony Schiavone this week on Impact, which featured a segment with Kenny Omega. Khan introduced the promo with the "advertisement paid for," a throwback to the NWO of the late-90s, and went on to suggest that he might buy Impact. This promo definitely had a heel tone to it, and depending on what the goal was, it was actually well-done, but should Khan present himself as a heel to the wrestling public? Khan as a snarky wealthy businessman might not be a negative as far as a persona, but that wouldn't fit this particular narrative. Kenny Omega is the heel champion, If anything, you would expect Khan to want to maintain the integrity of the AEW championship for the fans. Realistically, there aren't enough Impact viewers for Khan to try to cast himself as a heel to the Impact audience, but then a baby face to AEW fans.

Right now, Tony Khan and AEW as a whole have built up a certain level of goodwill with the fans because the formation of All Elite has given them a true alternative in pro wrestling for the first time in twenty years. All Elite isn't the place that released WWE wrestlers go because they need a job, but rather the place they choose to go because it's seen as the place for opportunity. Tony Khan as the impartial matchmaker, similar to Dana White in the UFC, is probably the most effective role for him at least at this point. I'm not sure if there's any upside for a potential heel Khan, especially if he would try to be a heel that claims to be better than the fans because of his well-known wealthy family. So far, the audience appreciates the fact that Khan took a chance on pro wrestling and made the industry much better for everyone involved with the existence of AEW. That being said, there's a fine line between appreciation and resentment, especially with the jaded nature of most wrestling fans. The passion that Khan brings to the table could easily be seen as him using his position as the owner to "play wrestler" if he's seen too often on television.

So, does AEW have a Tony Khan problem?

No, at least not yet, and they won't unless Khan gives himself more TV time than the wrestlers he's paying. Again, All Elite isn't perfect, but those that somehow cheer for its failure are completely misguided. As mentioned, for the time in twenty years, the pro wrestling industry has legitimate options in the United States, and among the many reasons for that is because Tony Khan put his money on the line to launch AEW. As I've said many times before, success for AEW isn't competition with the WWE, but rather profitability is the ultimate measure of success from a business prospective. The extension of the TNT deal earlier this year made AEW profitable, which already makes it more successful in its first year in existence than Dixie Carter was in for 15 years of TNA in the industry.

Kenny Omega wins AEW title

 Last week, I penned an article about Sting's arrival in AEW and how it was an example of a truly special moment in wrestling history, which is a key aspect of the company establishing itself as something more than just an upstart project. On the same show, Kenny Omega, who made a major name for himself in the years prior to the launch of the promotion through his stellar work in New Japan, challenged Jon Moxley, the former WWE star that rejuvenated his career outside of the corporate wrestling group, for the AEW championship. With Chris Jericho as the first champion and Moxley winning the belt from him, it's safe to say that the first non-WWE star to capture the AEW gold had to be someone that could represent the progress the group has tried to make within the wrestling industry. In many ways, the WWE is status quo in sports entertainment and they have such a dominate share of the market that a level of complacency is often seen with the product.

So, when Kenny Omega pinned Jon Moxley to claim the championship, it wasn't necessarily a surprise that he would be the first non-WWE star to win the belt, specifically because he was one of the main pieces of the puzzle during the formation of the new wrestling league and it provided him the chance to take the momentum that he built in Japan to an American platform through the TNT network. However, the way he won the title was surprising and the subject of debate since the broadcast went off the air.

Don Callis, one of the most underrated talents in the history of the business, was more or less away from the industry for over 15 years before a podcast with his longtime friend, Lance Storm brought him back to business a few years ago. Callis was trained and managed by Kenny Omega's real-life uncle, The Golden Sheik in Canada during the early stages of his career. Being a fellow Canadian, he was also friends with Chris Jericho, and when Y2J took a break from WWE, Callis, who had a spot as the English commentator for New Japan at the time, pitched the idea for the now-famous, "Alpha vs. Omega" bout that took place at the Tokyo Dome in 2018. In retrospect and depending on how far AEW goes as a form of competition in the United States, that Jericho/Omega match might end up being one of the most important bouts in professional wrestling history. That New Japan experience is ultimately what led to Jericho considering offers outside of the WWE and eventually signing with AEW.

As was the case at the Full Gear pay-per-view, Callis was on commentary for Omega's match, an aspect that on the surface just added an extra emphasis on the bout since it was for the number one contender so it wasn't odd that he was also on commentary last week for the AEW championship match because again, it added a level of importance to the contest. An executive from another organization was there so it had the "wrestling world is watching" type of atmosphere. The finish of the match saw Callis get involved and get a mic to Omega, who smashed Moxley with it before he landed a few moves to win the belt. Omega and Callis celebrated and left through the backstage area before they got in a car to leave the arena. Callis mentioned that Omega would address the situation on Impact Tuesday night.

As the angle unfolded, it appears that this was an Omega heel turn, but it was done in such a way that there wasn't some sudden moment that cemented the heel turn. Perhaps, the moves afterwards made the segment drag a little too long because it wasn't as if the mic shot was the direct path to victory, but rather the series of moves afterwards. Still, a heel Omega aligned with Callis is undoubtedly a way to cement the status of "The Best Bout Machine" as a main event star in the United States. Since there were lofty expectations for Omega from the inception of AEW and then he spent most of the past year in the tag division, he definitely needed this spark to start a new chapter in his career. 

As I mentioned earlier, I think Don Callis is a tremendous talent and I'm all for him being used on network television because he's such a solid performer. That said, the fact that Omega is scheduled for a promo on Impact tomorrow night has yielded mixed reviews from the audience so far. I will say that you have to give Callis and Scott D'Amore credit for somehow accomplishing what they have with Impact Wrestling because despite the regime change, it will always have the stain of the Dixie Carter era on it. With the formation of All Elite, the professional wrestling landscape became much more crowded, especially because there was a lot of competition for talent. AEW had to find themselves a roster capable of national television, while Impact, ROH, and even MLW tried to sign performers to contracts as well. Plus, until the pandemic gave them a reason to cut performers to protect the stock price, the WWE signed many competitors to lucrative contracts just to keep them away from other promotions. Somehow, Callis and D'Amore have kept Impact Wrestling afloat under the Anthem banner.

It remains to be seen if this association between AEW and Impact is a one-off or if there's some type of working agreement in place. I have to be honest, I don't see any benefit for AEW to be involved with Impact Wrestling. That's not a jab at Impact, as the company has some talented athletes on the roster, but the harsh reality is that Impact is so under the radar in terms of viewership and perception that there's just not an upside for All Elite. Reportedly, Impact on AXS averages roughly 160,000 viewers a week, but how many of those viewers don't watch Dynamite already? Is anyone really going to discover AEW based on a working agreement with Impact?

If anything, there's almost a possible downside for All Elite because a working agreement could make it seem like they are involved with one of the minor league organizations. How much value does the Impact brand truly have in 2020? Is it really a beneficial to have the new AEW champion on a show that most fans don't watch? While there are a few on the Impact roster that would have a crossover following, what star power does the company really have to offer? I'm guessing there will be some type of angle on Tuesday to set up for something that will transition to Dynamite, but outside of a specific storyline, there's really no reason for a full-fledged working agreement. The bottom line is, if AEW wants to use someone of the Impact roster, they could just as easily wait for their current contract to expire and offer them an All Elite deal. Don't get me wrong, Anderson and Gallows, The Motor City Machine Guns, and maybe a few others could do well in AEW, but the promotion already has a full roster so there's not realistically too many spots for Impact talent.

I'm sure this might sound too pessimistic to some readers, but AEW just generated a lot of buzz around the company with the appearance of Sting, and that momentum could be used to spotlight some of the younger stars on the roster. I just don't see how an association with Impact brings anything major to the table for AEW. The rumor mill online suggested that Callis' contract with Impact might expire soon so if this angle eventually leads to Callis as Omega's full-time manager, it would be a great pairing for Dynamite. Some have pointed to the NWA Women's title belt being defending on AEW shows, but I think the focus of that was more on Thunder Rosa as a wrestler than the actual NWA promotion. Regardless, it will be interesting to see if there's an angle for the Omega promo on Tuesday and if nothing else, it's a very unique situation for the industry.

Sting debuts for AEW

It's often said that professional wrestling is about the moments.

This past week on Dynamite, just as it looked like Cody Rhodes and Darby Allin would be beat down by the heels, the lights went out, prompting snow to fall from the ceiling. This particular episode was titled, "Winter is coming" so it made sense to have the blustery precipitation on the show, and the title itself wasn't necessarily a give away that something specific was on the horizon, simply because events like "Fyter Fest" have been used before while NXT used various WCW names for certain weeks on television. On the surface, these specific names might be used as a way to make a title match that was scheduled for TV stand out more than just another standard production.

However, as the snow fell, Sting, the legendary grappler that closed Nitro in a memorable bout against Ric Flair nearly two decades ago, made his return to TNT, methodically making his way to the ring. The visual was incredible and it had an atmosphere of a truly special moment. In an era where everything is exposed in professional wrestling and can be posted online immediately, this was one of the few times that there was truly a surprise in sports entertainment in the modern era. Ironically, the same could be said about Sting's WWE debut at Survivor Series in 2014. Granted, there was some talk online a few months ago when WWE Shop discontinued Sting's merchandise and there was some brief speculation that AEW might be an option at some point, but it's doubtful that just because WWE Shop didn't stock new Sting merchandise that something like his AEW debut was thought to be this year. It could've just as easily been that his contract expired and they didn't get terms to renew the licensing agreement. Keep in mind, Sting was promoted under the WWE banner for several years, they've done the Hall of Fame induction, the DVD set about his career, and a slew of merchandise already.

Despite what any jaded fan might claim after the fact, Sting's AEW arrival was a surprise and it was definitely a major moment in professional wrestling history, especially given his extensive tenure on the network during his career.

That being said, as amazing as it was, outside of the tremendous effects used in the arena, one of the reasons that most didn't immediately assume Sting would sign with AEW is because the tough question is, what can Sting do in AEW? Don't get me wrong, the smoke and mirrors in this scenario were fine, but outside of the nostalgia pop, what's there to do for Sting at this point in his career?

By nature, the draw on nostalgia yields diminishing returns over time since it reflects upon what was already in established in the past, not something that will progress the future. There's a fine line between reminiscing about the past, and a "been there, done that" environment. Despite the AEW announcement that Sting signed a multi-year deal to work there full-time, I'm very skeptical about what options the promotion would have to use Sting on a full-time basis. Remember, each time Sting is in the ring, there's a chance that he gets exposed, which isn't meant as a jab against him, but rather to point out that at 61, he or anyone else won't be the performer they were in their prime. The physical aspect is really the key to the entire scenario because if he can't land some of his signature spots in the ring then it's somewhat of a disappointment, but at the same time, a major injury would be terrible, both for Sting and the company. His last match was in 2015 against Seth Rollins at the Night of Champions event, where he suffered a serious neck injury and that eventually led to his retirement announcement at the Hall of Fame the following year. He opted not to get neck surgery and seems to have recovered from the incident, but how much he can still do in the ring five years after it remains to be seen. Sting's last appearance on WWE TV was during a Ric Flair segment last year that was used to set up the Batista/Triple H match at Wrestlemania so other than the occasional WWE Network show, it seems like his run with the WWE on-screen had concluded so maybe this stint in a new promotion will give him a fresh chapter of his career. The draw for Sting, especially at this point, is the aura he has as the icon of the industry, a performer that always projected a sense of decency, both in the ring and behind the scenes. Protecting that mystic is key to his run in AEW because while the face paint camouflages his age to a certain extent and he's still in good shape, nobody wants to see a scenario where he looks like a 61-year-old that shouldn't be in the ring. There's a reason most would rather ignore Ric Flair's TNA run.

That aside, I think there are a few select situations where the promotion could maximize his star power without any risk to his credibility. I'd guess his face-to-face interactions with Darby, Cody, and Dustin were meant to have some level of foreshadowing involved for what he might be booked for in the promotion. I'd say three tag matches on pay-per-view with Darby, Cody, and Dustin respectively are a way to get Sting on PPV and even in the ring with minimal risk to his health as well as his legacy. Let Sting get the hot tag, hit a few Stinger Splashes, and then let the younger star on his team get the win for the team. Again, at 61, Sting isn't there to add a new dynamic to his legacy, all he has to do is play the greatest hits so to speak and it's mission accomplished.

From purely a business prospective, you can't blame Sting for taking the cash, and all things considered, he had a very lucrative run, especially for someone that only appeared a handful of times for the WWE. He was one of the highest paid performers for the majority of his tenure with WCW, secured a mega contract with TNA to work a limited schedule, took the money when the WWE deal was right, and it's a safe bet that he's getting good money to ink an AEW deal. Plus, he made great money on merchandise over the years. Obviously, there must be a level of precaution because of the neck injury that prompted his original retirement, but this run in AEW might be a way to provide a better conclusion to his in-ring career. After he finally hangs up the boots or perhaps for most of his stint in AEW, it would be cool to see Sting take a mentor role for Darby Allin because of their similarities of the face paint, and the association with Sting could be the spotlight on him. As mentioned, professional wrestling is about the moments, and as far as cementing its place in wrestling history as something more than just an upstart company, AEW certainly had a memorable moment when Sting returned to TNT to debut for the company.