What's the status of Wrestlemania 42?

Is it too late to hit the panic button for TKO?

I've written a few different articles since the start of the year about the rather sluggish Wrestlemania ticket sales and the takeaways from that situation. I pondered and threw my two cents into the matter by explaining that I think the executives that tout record-setting profits in the conference calls for stockholders might've finally hit the tipping point where the causal, and even a portion of the most diehard demographic were essentially priced out of WWE events. Sure, you're going to get the niche of the "green shirt guy" that has the cash to travel around and purchase those astronomical seats in the front row, and if he can do that, God bless him, but running in a stadium is a much different equation. When the cheapest ticket in the building is $350 for each night of a two-night presentation, management expected fans to be willing to pay that, as well as all of the costs associated with traveling to Las Vegas.

Under normal circumstances, the economic impact of hosting one of these WWE spectacles is massive, which is why cities bid for the ability to secure the sports entertainment conglomerate's signature pay-per-views. Plane tickets, hotel reservations, rental cars, uber rides, restaurant spending, and any other way that brings money into the location that usually isn't there is why the WWE can garner those site fees. Keep in mind, Las Vegas, which has seen a downturn in tourism in recent years, outbid New Orleans, the location originally announced for Wrestlemania 42, to bring the show back for a second year after the numbers it brought in for Easter weekend last year.

The fact that the same location  two years in a row might've been a contributing factor to the lower ticket sales is a different discussion. The point being that these cities pay a few million dollars for a site fee because there's an expectation, as well as a proven track record, of fans that will travel to the major events.

As I wrote before, from a storyline perspective, it might be as simple as the fan base was very invested in Cody Rhodes' two-year journey to the championship, and they already saw the peak of the current era when he won the title so there will probably be a natural dip in momentum that doesn't necessarily have anything to do with the talent of the performers. Cody, Roman Reigns, CM Punk, Randy Orton, and Drew  McIntyre are top guys. But, there are natural peaks and valleys to everything. I think in  many ways, the John Cena retirement tour bought the office an extra year of a top drawing card, which is fine because such a milestone should be used to draw as much money as possible before Cena hung up his boots, but the point is, the current decline probably has a lot more to do with the natural progression of Cody's title win two years ago and this decrease in the numbers would've happened last year as a reflection of that if Cena wasn't the centerpiece of the promotion for the retirement tour.

This goes back to the peaks and valleys mentioned, the ability for TKO to be able to increase ticket prices exponentially over a relatively short period of time was based on the demand of a specific storyline, not something that could've been sustainable as a reset of metrics so to speak for the sports entertainment market. This isn't the UFC, it's a different demographic with a different level of disposable income and a different set of expectations for their ticket purchases. It seems rather naive that TKO CEO, Mark Shapiro assumed that a corporate paint-by-numbers approach would automatically be successfully applied to the sports entertainment business since it worked for the UFC. The MMA demographic is the 18-34 year old male audience. That group typically has a different level of disposable income than a family of four. As much as sports entertainment has evolved over the years, the draw of pro wrestling was based on the ability of a family to attend the show, which is why the fandom for the genre is passed down through generations. That's just not the case with mixed marital arts, partially because the sports has only existed in its current form for just over thirty years.

I say that to say this, the WWE office realized that they overpriced WM 42 tickets, which is why they had a 31.6% off sale on all tickets less than two weeks ago for the date on the calendar associated with Stone Cold's iconic catchphrase. The bottom line is (no pun intended), TKO wouldn't have a 30% off sale if tickets were moving well, or if there wasn't a problem getting them sold a month before the show. Remember, TKO didn't run that sale out of the kindness of their greedy, corporate hearts to make things more affordable for the traditional fan base. If that was a concern, we wouldn't be discussing the domino effect of the overpriced tickets and the organization's scattering attempt to remedy the issue.

As of this writing, just above and just below 40,000 tickets are sold for Saturday and Sunday respectively. The problem is, the same event at the same venue sold an average of 60,000 tickets for both nights last year. Depending of the set up of the stage, Allegiant Stadium can range anywhere from 65,000-70,000 seats for the event. Don't get me wrong, the ability to sell 40,000 tickets for both nights is an accomplishment, but a Wrestlemania event that is more than a third empty is obviously below expectations. Besides the tickets being overpriced, the fact that fans have to literally pay double the price to attend the two-night event also doesn't help the situation. I understand that they want to maximize the revenue from the fans that travel for the shows, and it's also an added selling point to get fans to make the trip when they can attend two shows, but at the current price point, the two-night format might be more of a deterrent than anything else.

With three weeks until the event, The Wrestling Observer's Bryan Alvarez reported that TKO has another sale, not just on Wrestlemania tickets, but also tickets for the full line-up of WWE shows being held that week, including Raw, Smackdown, and the Hall of Fame. Again, there wouldn't be another sale two weeks after the initial sale if the 31.6% discount was effective. Furthermore, it indicates that the vast majority of the fans that have already bought WM tickets made the decision to spend their cash on the signature show without the extra events, which is proof of how even the fans willing to spend the cash to travel there will budget to specific shows. Given that more than 30% off didn't move enough tickets to eliminate attendance concerns, it's doubtful that a 25% off sale will make a major difference.

I'd say that WWE management made adjustments to ticket prices too late, which is why I wrote last month that if tickets were going to move, fans would've already had to make plans to attend with plane tickets and hotel reservations. Taking into account that the cost of flights generally increase closer to the departure, as well as fuel costs from the conflict with Iran, it's doubtful that fans will spend significantly more cash to travel to WM because there's a partial discount on the ticket price for the show. This might sound trivial, but in the midst of the partial government shutdown when wait times at airports have been atrocious because of the staff shortage of TSA workers that weren't getting paid, some people might be hesitant to volunteer to deal with the dumpster fire of the check-in process at the airport to travel for the show. Reportedly, Trump signed an executive order that will get the TSA workers paid, as they should be, and presumably back to a full staff, but if Congress is still gridlocked when they return from their two weeks of vacation (since they've done such a wonderful job so far), it's possible that TSA workers getting paid could become an issue again if a budget deal isn't reached in Congress.

So, is it time for TKO to panic?

No, not really. As I wrote before, much of the concern of the sluggish ticket sales for WM 42 is moot because WWE already has the most profitable WM in the history of the company secured next year when the Saudi government pays at least $100 million to import WM 43 to the country. With the conflict in the middle east, who knows if it will be safe for the performers or the fans, but attendance for that event is also irrelevant because the Saudis bought the show. The Saudi money will keep the stock price stable, and they have a few billion dollars guaranteed for their media rights deals so the sluggish WM 42 sales are minimal in the grand scheme of things. However, the biggest takeaway of this entire scenario for TKO should be that they've hit the limit for what domestic fans will realistically pay for the product.

What's next for Kenny Omega?

Kenny Omega has undoubtedly had a legendary career. Sure, he might have critics, but when you buck the system so to speak and arguably revolutionize the overall style of the business, there will usually be critics. In some ways, while AJ Styles was more hard-hitting and possibly had tighter fundamentals, what he did for the first decade of the millennium, was similar to what Kenny Omega did in the 2010s in terms of pushing the envelope in terms of in-ring presentation. Again, Omega has his share of naysayers, and there are some valid point to be made from that, but you simply can't take away the impact that he had on the industry, both before and after the launch of All Elite Wrestling in 2019.

One of the biggest pieces of his legacy as a performer was his role in the resurgence of New Japan Pro Wrestling throughout the previously mentioned decade of the 2010s. Keep in mind, the Japanese league, as historic as it was, was on the brink of collapse by the early-2000s after founder, Antonio Inoki's failed MMA experiment that tried to capitalize on the popularity of Pride Fighting Championship before a yakuza scandal saw the MMA league implode in 2007. Inoki sold his shares to the THQ video game company in 2005 to keep the organization afloat. There was the Brock Lesnar controversy where he worked for New Japan in 2005 after he failed to make the Vikings NFL squad the previous year, but then refused to drop the IWGP championship after he won the belt upon his arrival. Inoki founded the Inoki Genome Federation with Lesnar as the proclaimed champion of that group, leaving NJPW looking foolish in the process before a bout against Kurt Angle was agreed on. He dropped the belt to Angle so that it could eventually find its way back to New Japan.

Before THQ went bankrupt, they sold the company to Bushiroad in 2012. The trading card company was able provide the cash infusion that the promotion needed to not only be promoted properly, but also bring in more foreign talent, as well as expand the distribution of the product. Furthermore, Bushiroad merchandised the brand much more efficiently to bring in more revenue.

As we know, the combination of the start of AEW and the COVID-19 pandemic that shuttered live events for an extended period of time had a major impact on New Japan, a domino effect that can still be seen today. However, Kenny Omega was a huge part of the success that New Japan had throughout six or seven very solid years. The Bullet Club, the series of legendary matches with Kazuchika Okada, and truly earning the moniker of "best bout machine" through a stellar run of tremendous matches with many different opponents made him one of the top drawing cards of Japan.

The guy that was known for comedy work, albeit athletic comedy work, in DDT had worked his way up the ranks to the main event of the Tokyo Dome.

He received rave reviews in The Wrestling Observer Newsletter, and he, along with The Young Bucks and Cody Rhodes, were the core group of guys that made themselves into legitimate money-drawing acts outside of the WWE bubble. The track record of the sell out crowds that they drew on a smaller scale for Ring Of Honor was essentially a proof of concept for Tony Khan to get his billionaire family to fund a national wrestling project. Make no mistake about it, the chance for fans to watch Kenny Omega on weekly American television was one of the original selling points for fans to check out the product.

Now, almost seven years into the existence of All Elite Wrestling, Omega is slated to challenge Maxwell Jacob Friedman for the world championship at next month's Dynasty pay-per-view in Vancouver. But, does Kenny Omega really have another title run left in him, and if he does, should he even risk more injuries?

The Canadian grappler has been wrestling since his teenage years, and actually had a often forgotten run in WWE's Deep South Wrestling developmental territory in 2006. That amount of time alone racks up a toll on the body, not to mention the high risk style that he was known for most of his 25-year career. At 42, most top stars in the business still have at least a few more years of their theoretically prime left, but that might not be the case for Omega.

Unfortunately, Kenny Omega is one of many cautionary tales that will emerge in hindsight of the modern era. You can only burn the candle at both ends and take the extra risks in the ring for so long until the impact of the style takes its toll. That's not to say not to work hard or put in major effort, Ric Flair was one of the hardest working guys in the business through a few different eras, but he didn't get dropped on his head or take bumps on the floor on a regular basis. Mick Foley cut tremendous promos and had the psychology to make the most of his major runs, but his career was cut short from too many dangerous bumps too often. The random episode of Raw in 1999 didn't need him to crash to the concrete floor, but maybe the risk/reward ratio could've been justified for a pay-per-view.

Way too often in the modern era, way too many performers are taking way too many risks, specifically in AEW. Will Ospreay just returned from neck surgery at the Revolution pay-per-view and in the segment where he attacked the death riders, he did a completely unnecessary twisting moonsault to the floor when he almost clipped his head on the apron.

 By 2021, Omega had to take a year off to undergo a few different surgeries to repair a slew of different injuries. At the end of 2023, he had a life-threatening case of diverticulitis and needed surgery to fix the issue. He was on the shelf for over a year before he returned in early-2025, but he has had a relatively small role in the promotion since that time, which is probably a wise decision. Obviously, diverticulitis isn't directly linked to pro wrestling, and can happen to anyone, including to Brock Lesnar during his tenure in the UFC, but there's no doubt that it has a major impact on the body. Given that Omega had to spend a year on the sidelines to recover from multiple injuries previously, should he really be booked for a main event spot where the odds are that he's going to take risks to try to make the bout stand out on the pay-per-view card?

Granted, I think that Omega is booked for this bout merely to be a credible opponent for MJF, but there's still an argument for him to win the title in Canada to have one last major run as the world champion. The problem is, even if that was the direction that Tony Khan wanted to go, as far as the wholesome victory for the Canadian champion, it's doubtful that Omega could work a full-schedule as the titleholder. That's not a knock against Omega, as I said, the guy is a tremendous performer that will be regarded as a legend after he retires, but the harsh reality is, Omega has been injured more often than not the past few years.

I say that not to discount his contributions, but rather to point out that it's probably not worth the potentially risk to his health again. I'm not being sarcastic when I say this, but what does Omega realistically have to prove at this point in his career? A WWE run was rumored to be on the table before the launch of AEW, but it's not in the cards at this point. As mentioned, he has a place in the history of Japanese wrestling and he was a part of the core group that launched AEW that shifted the dynamics of the industry in America so he should probably consider retirement as more of an option than another title run.

The Wrestling Mayhem show

In the modern era with so much technology that is exponentially easier to access and use than any other time before in history, any yo-yo with a voice app and a wifi connection can claim to produce content online. However, there are a select few throughout different fields that bring such a polished and professional approach to the genre that it stands out among the slew of amateur hour imitators on the internet.

For Pittsburgh, a region known almost as much for its wrestling as the steel it once produced, Mike Sorg is the top producer of pro wrestling podcasts, but also of live event video production through his Sorgatron Media group. Mike and his crew are covering at least one, if not two events every weekend someone on the east coast, as his production turf spans throughout Pittsburgh into other states.

When he isn't calling camera shots for body slams and headlocks, he and his team work with everyone from corporate clients to universities throughout the country. It's often a non-stop grind, but it's a dream job for Sorg, as he parlayed his passion for video production into a career that allows him to be a vital contributor to the industry that has enthralled him since his youth. if he's traveling for corporate assignments, when he's off the clock, it's not uncommon for him to find new live wrestling to attend just to be able to indulge in as many flavors of the unique genre as possible.

"My days are pretty long and I get a full day off maybe 1 or 2 times a month. I am very fortunate that I’ve put myself in a place that anything I’m working on is something I really want to do. Whether it’s a wrestling show, a podcast or client work. I’m exhausted a lot, but I don’t cuss the busy day like I used to when I had the day job. I get to do cool stuff. I have a great crew of people around that come along for the ride," Sorg commented. 

The live wrestling cards that he streams on his indywrestling.live network keep him busy, as he juggles not only the responsibility of capturing the action of a live presentation, but also must maintain the live broadcast of that event online as well. A tight-knit, dedicated team keep the sports entertainment wheels on the tracks, as Sorg calls camera shots to his ringside videographers with a wall of screens and accompanying equipment in front of him.

Sorg's track record for the past several years is very well-regard, both inside and outside of the Pittsburgh scene. When New Japan Pro Wrestling is on the east coast for one of their US events, Sorg is often behind a camera somewhere because of the Japanese league's trust in his skills.

But, he didn't just jump into video production, a studio space, live streaming, and podcasting at the start.

In fact, there are twenty years of experience, effort, and cache put into this career path for him. Long before nearly everyone had the ability to record themselves and upload it to the internet, Mike Sorg launched The Wrestling Mayhem Show, a pro wrestling podcast that brought friends together to discuss the happenings of the industry, in 2006. The venture grew from its humble beginnings into one of the most well-known platforms that it is today with its own studio, live guests each week, and even a pizza sponsorship.

"The faces and voices have changed, but the mission has been relatively the same. It’s the place we can gather and talk about this weird, wonderful thing we all like. It’s a community, it’s my personal release. It’s still the project where I can unapologetically say the F-word," Sorg explained.

The platform worked hand-in-hand with the live event side of the production company. With most of the major wrestling organizations of the western Pennsylvania independent scene distributed through the Indy Wrestling Network, a slew of wrestlers regularly appear on the live video podcast each Tuesday to promote their upcoming events. It goes without saying that the steady stage that Mike provides for the area online has allowed the exposure to the steel city to grow exponentially compared to where it was years ago.

"I used to think that one of the greatest achievements in Pittsburgh area wrestling was to be invited to be on WMS. Sorg has seen so much wrestling and talent all over the world, for him to be interested in your story would seem to be extremely meaningful," said Clayton King, one of the top young lions in the region.

Through the years of producing live broadcast, interviews, and distribution, Sorg has quite the Rolodex of names from through the wrestling circuit so after more than a decade of filming live events, he decided to run his own with "The Wrestling Mayhem Show Presents April Fools" on April 1, a nod to the holiday when anything is possible.

"There’s always been a little bug, but I never felt like I should because I respect what everyone does so much. We used to do these backyard concerts paired with all of us doing backyard wrestling almost twenty years ago so that’s always been in the back in my head. We looked at shows we could run and how to do it but I always backed off for one reason or another. I never thought I had an idea that was different than what others were already doing in such a saturated pro wrestling city like Pittsburgh," Mike remarked. 

The live wrestling event will be held at The Warehouse, the same venue that hosts 880 Wrestling, an upstart league that was named after its original location in New Kensington, PA that was founded on its inclusive and accepting mission statement. Initially a training school project, 880 has grown substaially in just the past few years, as they have an open door policy for anyone that wants to test themselves in the pursuit of being a pro wrestler. The project brings live weekly cards with free events every Thursday on Sorg's platform with Thursday Night Fights, a series that has seen several talents make a name for themselves by sharpening their skills through the valuable experience of live performances. Through Sorg's efforts to provide a spotlight on the upstart league, 880 gained enough of a following online that they host ticketed live events each month as a compliment to the Thursday Night Fights series. Names like Gianni Emricko, MV Young, Nix Wilde, Keith Haught, Liberty L, Tatiana, and others have become fixtures of the success behind the organization.

"When we hit twenty years, everyone telling me I should try this one out, and I really wanted to celebrate that milestone with something different. That gave me the push,  I have three big ideas I want to pull off now. April Fools is the first. 

The vibe is 'What if our weird group booked a show.' We have so many friends in the business that are up for trying out our weird ideas. Now, I’m inspired by the old Chikara and the new Mystery Wrestling vibes. That’s something I don’t feel we have here in the city unless Kaiju Big Battle comes to town," Mike said. 

A myriad of 880 grapplers have already been announced for the live-up, with a mixture of talent from throughout the area also scheduled to compete at the event.

Derek Dillinger and Katie Arquette, a duo that have made waves throughout Pittsburgh, Cleveland, and even into Canada are signed for the Mayhem Show presentation. The Combination of Tyler Klein and Calvin Couture, The Runway, one of the best tag teams on the independent scene, are scheduled to appear. The pesky Clayton King and his sidekick, Some Guy Named John are on the line-up. The agile and talented Mikey Montgomery will be in the house as well. The main event will have championship implications when the Renegade Wrestling Alliance, a blue collar promotion that runs events in West Netwon, PA each month, No Limits championship will be on the line. The newly-crowned champion, Gory, an icon of the squared circles of the steel city for more than two decades, will defend the title against the former champion, The Beastman. After three successful tours of Japan, most recently as a part of the Big Japan Tag Team Deathmatch Grand Prix, The Beastman has also became a regular for Game Changer Wrestling and Juggalo Championship Wrestling, as one of the most traveled talents based in the Pittsburgh area.

"We have a Freaky Friday match where Calvin Couture and KC Warr are swapping places. A Pittsburgh Parking Chair Match, another Top Rope Table Top Rules match,  Martian Mayhem,  and we have the Bakery Boys against The Production. We have an RWA No Limits Match between Beastman and Gory. It’s going to be fun, wacky, and all that weird stuff I love to share. Wrestling purists will probably hate it. 
 I also hope to do some things with presentation on this show I’ve seen from other promotions across the country I’ve worked with or wish we could do with some of the promotions around here," Sorg concluded.


Dennis Condrey passed away

This past weekend, founding member of the legendary Midnight Express, Dennis Condrey passed away at the age of 74. Condrey, who had battled throat cancer on two occasions in recent years, was honored in the ring by FTR during an appearance on AEW television in 2023. On his podcast, Jim Cornette revealed that Condrey suffered a fall at home, breaking his neck and partially paralyzed before he was taken to the hospital where he passed away a few hours later.

Ironically, much of Condrey's pro wrestling career, including his infamous exit from The Midnight Express in their heyday of Jim Crockett Promotions was kept strictly professional and not much was known about his personal life. It wasn't until more recent years, including the AEW appearance and occasional conventions that the former member of the legendary team was in the public eye.

One thing is for sure, Dennis Condrey, very similar to his late partner, Bobby Eaton, was a textbook definition of the term "in-ring worker" in the annals of the industry. Breaking into the business in the Memphis territory in the 1970s, Condrey was a classic heel, everything he did was crisp and sharp to get proper heat on the baby face of the evening, and just as solid as he was on offense, he could bump around like a polished pro to make that baby face shine on the comeback. He was very much a representation of the southern style that brought so much memorable tag team wrestling with it.

It sounds elementary, but with how solid his foundation was, that's why the baby faces were able to shine that bright in the bygone era of the territory days. Furthermore, the level of snug work that teams like The Midnight Express could bring to the table were one of the reasons that tag team wrestling was a pillar of a territory that could draw money at the time because it generated heat and thus had a level of importance to the fan base.

In many ways, Condrey was a true tag team specialist throughout his career to a degree that few others were. He had a notable duo with Phil Hickerson during the early Memphis days before he formed the original Midnight Express with Randy Rose by 1980. During the famous talent trade of 1983 when promoter, Jerry Jarrett and the hard-nosed "Cowboy" Bill Watts agreed to send talent to each of their territories, the rookie manager from the prior year, Jim Cornette was sent to Mid-South. It was there that the legendary Louisville slugger was paired with youngster Bobby Eaton and established veteran, Condrey to form the most well-known combination of the team. The deal to send Eaton, Cornette and Condrey to the same territory had a major domino effect in the years that followed.

It didn't take long for Cornette's verbal sparring, Beautiful Bobby's agility, and Condrey's rugged, but polished style to produce results for Watts' box office. In the nearly two years that the team was in the promotion, they worked a memorable feud with a young Magnum TA and a soon to be heel, Mr. Wrestling II before they collided in a longstanding rivalry with the Rock N' Roll Express, also an export from Memphis, in a series of matches that helped define both teams' career in the sport. Furthermore, when the grizzled Watts came out of retirement for "The Last Stampede" series, it was Condrey and Eaton that were chosen as the villains for Watts and the company's top star, Junkyard Dog. When the bout was taken to the Super Dome in New Orleans, it drew an estimated 25,000 fans in mid-1984.

When they wrapped up their run in Mid-South, they took a six-month detour to World Class in Texas at the request of Watts to help his friend, the equally hard-nosed, Friz Von Erich as the Dallas territory was still reeling from David's death in February of that year. Considering that the Free Bird feud was still at the top of the card and still drawing houses at that point, there wasn't much of a place for The Midnight Express, other than a mid card feud with The Fantastics, the combination of Bobby Fullton and Tommy Rogers, a spin off of the Fabulous Ones.

As unnecessary as the relatively quick trip to Dallas was, the timing still worked out for them by the time they landed in Jim Crockett Promotions in mid-1985. Vince McMahon's national expansion was in full swing with the success of the first Wrestlemania a few months earlier, and Crockett was quickly becoming the only major competitor to the WWF, as the smaller territories simply couldn't keep pace with Vince's expansion into their markets through cable television.

A lot can be said about what JCP did right or wrong during these key years of the mid-80s, but there's no doubt that the NWA was a national platform at that point rather than a regional system so the jump to the Carolina-based group gave The Midnight Express the biggest exposure and biggest money possible in the business at the time. You can argue that maybe this was one of the reasons that Crockett ultimately couldn't truly compete with the WWF, but regardless of the national platform, the NWA still sold its audiences the substance of the pro wrestling business rather than McMahon's offering of the sizzle of sports entertainment. Crockett still sold bell-to-bell action, which probably could've survived, but that's a different discussion for a different time. The point being, the wrestling philosophy of the NWA suited The Midnight Express perfectly, and they had the few years of previous experience to present the team in the best fashion possible on the biggest stage possible at the time.

As much as Ric Flair and Dusty Rhodes were the anchors of the main event scene of that era of the NWA, the same could be said for Condrey and Easton in the tag team division, which was still spotlighted during that time frame. The Rock N' Roll feud was revisited, as it was simply a winning formula, and became one of the staples of the JCP presentation. When closed circuit television started to become a major revenue stream as an early version of pay-per-view, Starrcade 1986 was dubbed, "The Night of The Sky Walkers" to promote The Midnight Express vs. The Road Warriors in a scaffold match. This was also when Jim Cornette took a plunge from the scaffold, suffering a serious knee injury in the process, before he was carried backstage by Big Bubba, the future Big Bossman in the WWF.

After almost two years in Crockett Promotions and four years as arguably the best tag team in the entire business, Dennis Condrey infamously left the company without notice or telling anyone where he was. The story still isn't completely public, but it's said that he was dealing with family problems after almost 15 years of traveling for his career prior to his abrupt exit. Condrey resurfaced in 1987 alongside his original partner, Randy Rose in the declining days of the AWA, which opened the door for a brief, but memorable Midnight Express feud toward the end of 1988 when rookie manager, Paul E. Dangerously brought the original duo to challenge Eaton and Condrey's replacement, Stan Lane, in the NWA, which was just bought by Ted Turner to keep the promotion on his network.

The feud only went on for few months until the teams were scheduled for a match on pay-per-view in February of 1989 when Condrey left without explanation again. He quietly wrapped up his career on the independent circuit the following year without much fanfare before he took a job outside of pro wrestling.

Considering that this was before even VHS tapes were widely distributed, much of Condrey's work was difficult to find until more recent years. He was one of the true, "if you know, you know" cases in pro wrestling. It wasn't until he was in his mid-50s that an unexpected Midnight Express reunion made its way around the independent circuit, including in Ring Of Honor, 15 years after he originally retired that Condrey saw how remembered he was by the fans. By that time, more footage was available to the public so even fans of a newer generation had seen at least some of his NWA work.

I actually had the chance to meet Bobby Eaton and Dennis Condrey when they worked a bout against the late Tracy Smothers and Chris Hamrick at an International Wrestling Cartel event in 2004. I was just 15 at the time, but I knew of their legendary reputation and looked forward to meeting them. They were both very polite, and I was surprised that when I asked how much it was to sign the magazine that I had, Bobby Eaton said in his heavy accent, "for your book? that's nothin' for that." It was really great to get the chance to see the legendary team that I knew had such a stellar reputation wrestle live, considering that their heyday was before my time.

I'm really glad that Dennis Condrey got the chance to see how much fans appreciated his work in more recent years. As much as technology is going to ruin society, the WWE Network published a lot of his Mid-South and NWA footage when he worked alongside Cornette and Eaton. Still, it's wild to think that he had another decade of wrestling behind him before those runs that either weren't filmed or didn't survive since Memphis taped over shows each week.

There's no doubt that the wrestling world lost an underrated legend and one of the greatest tag team wrestlers of all time. My sincere condolences to Dennis Condrey's friends and family at this difficult time. 

The Ricochet situation

Last month, I penned an article asking if former WWE and current All Elite Wrestling performer, Ricochet was  right or delusional? The matter in question was his claim that WWE tarnished his "legacy" and if his philosophy about pro wrestling compared to sports entertainment was valid.

Given his latest blunder on social media, it appears that the question has been answer, the real-life Trevor Mann is delusional.

First, it should be noted that social media is an absolute cesspool and will, in some form or another, lead to the downfall of society. Considering the role that Twitter played with getting the current administration elected and the ongoing war with Iran as a domino effect, the proof is in the orange pudding. Among my many rants about modern society and the role that social media plays in it, I've said many times that while everyone has a right to their opinion (for now, depending on what the orange blob tries to do next)), that doesn't automatically mean that everyone should have a platform to express it or that their perspective on anything has value. Every yo-yo with an internet connection was suddenly a political science major or an expert on the law.

The biggest takeaway is that sharing a meme with little effort or knowledge isn't about the freedom of expression, but rather nothing more than self-important behavior. Is anyone looking for Billy Bob's perspective on the latest economic report? The key is, you have to take almost everything with a grain of salt on social media because sadly, especially in American society, there's very little substance with an overwhelming amount of nonsense. People are too busy spending $7 on Starbucks and paying a $12 delivery fee on Door Dash to put the effort into a dialogue or a vaguely coherent thought.

"When you're born, you get a ticket to the sideshow. When you're born in America, you get a front row seat," -George Carlin.

Secondly, it's important to keep in mind that the public is only aware of what someone willingly puts on social media. The public only knows what you allow them to know, and more often than not, people will overshare meaningless aspects of their lives. Nobody asked about Sue's cousin's mailman's hemorrhoid surgery, but if someone willingly puts it on social media then it's in the public sphere so its fair game to comment on. Don't get me wrong, I hope the mailman recovers with a Snoopy band aid and has one of the cushion donuts for his recliner to allow for an easier healing process, but did anyone need to know the information in the first place?

Too often, too many people put too much of their personal lives online without the thought that someone might criticize or comment negatively. Relationship problems, family issues, or gripes about your job are rarely going to be solved by acquaintances or random strangers on the internet. This goes back to the previously mentioned self-important behavior. Again, one of the many reasons that social media is a dumpster fire is that many people simply want the attention or the validation so that they can get a superficial sense of being important without having to accomplish anything. If someone knocks their boss online and then gets canned for it the following Monday then they put themselves in that situation. Furthermore, there's also the infamous virtue signaling where someone will claim to be offended just to try to score social media points. There's no nobility in standing up for a cause if the intentions behind it are insincere or self-serving.

With that out of the way, Ricochet has once again found himself the topic of discussion because of something he said on social media. To be fair, this story isn't all that surprising because the guy was so insufferable online that it led to him being turned heel on television because his real-life obtuseness showed through even with the pyro and ballyhoo of the television screen. Ricochet had a clip of a backstage segment posted online, and a fan responded by saying that his acting hadn't gotten any better. Considering that he was such a doofus on the mic when he first arrived in AEW that the fans began to boo him mercilessly, she might have a point. Ricochet replied saying that he's glad that the fan has MS.

Ricochet, an athlete in his theoretical prime making great money in his chosen career path, often takes the time to spar with nameless trolls on social media. Sure, there's no harm in observing the circus, but that doesn't mean that he should've become a clown. The most basic problem is that the people that Ricochet responses to are usually the mutants with an anime character as their profile picture and 11 followers. There's zero consequence for them to post nonsense online, but when Ricochet engages with it to the degree that he doesn't, he theoretically has at least something to lose from it because of the previously mentioned national contract that puts him on television.

I'm all for dicing someone on social media that deserves it, but if some neck beard doesn't like Ricochet's moonsault, is it worth the effort to type a response? It's not as though Ricochet puts someone in check for negligence or post a warning so others are aware of a potential safety issue. He's a 37-year-old guy that often throws a virtual temper tantrum if someone online doesn't like his promo this week.

It should be noted that the lady with multiple sclerosis put that information in her biography so technically it's fair game for someone to comment on, but does her criticism of Ricochet's acting skills truly justify his reply that he's glad that she has a debilitating condition? It's not as though she insulted his family or even the real-life Trevor Mann, she took a rather tame jab at his wrestling persona's acting skills.

The bottom line is, for an athlete that was given the physical gifts to gracefully soar through the air to claim that he's glad that this lady endures a serious disorder, especially for a rather tame comment, will never be a good look. It paints Ricochet in a negative light and there's not really any other way to look at it. He said something direct, there's no room for interpretation of what he meant. After the social media interaction was picked up by several news outlets from outside the realm of pro wrestling, Ricochet deleted the tweet and later posted an apology. I think it goes without saying that the apology was merely a result of the online backlash.

Speaking of the result, the sum total of all of this will probably be nothing. Sandi, the lady that Ricochet responded to, will probably continue with the rest of her usual schedule. It's doubtful that she's going to be shattered by what a mid-card wrestler thinks of her condition, as dealing with the disorder itself is much more important. That said, I wish her the best and I hope she can stay as healthy as possible. For Ricochet, the impact of his ignorance will be minimal, if anything at all. He's not going to get fired, and I'm not saying he should be, even if his involvement in the promotion doesn't move the needle either way. There can be a debate about if he deserves to get fired, but that's a decision for Tony Khan to make, and it's a Pandora's box that is too lengthy to discuss now. So, it will be business as usual in terms of his position in the company. That being said, this entire incident makes it tough for anyone to be a fan of this guy. Again, Sandi didn't insult Ricochet personally, and given the seriousness of her illness, his reply went way further than her critique. He could've easily replied that he makes big money with those acting skills, and this is never a story, but of course, that would require him to have an ounce of self-awareness of his place in the industry. Side note, the absolute morons that are sending death threats to Samantha Irvin should be reported to the authorities and face penalties. Only true scum threat violence toward a woman and there's no excuse for that online either. Ricochet has proved himself to be as aloof as he is acrobatic. The bottom line is, this will probably put a ceiling on how far Ricochet can go in the company. Would it really be wise to invest main event stock into a performer that puts this type of nonsense on social media? The world champion is often deemed a representative of the organization, which is why the WWE is so particular with who they put in that spot. This situation more or less proves that WWE brass made the right decision not to invest more TV time into Ricochet when he was there. As far as Ricochet being an asset to AEW, would he possibly be a good representative for the company after the negativity of this incident?

What's the status of Mistico?

Lucha libre is one of the most storied and impressive aspects within the entire history of professional wrestling. The colorful masks, the acrobatics, and the passion displayed, both by the performers and the dedicated fans, are staples of why the Mexican genre stands out as much as it does as something uniquely its own. Furthermore, the sport is a bonafide tradition in the native country, as it's passed down through generations, again both from families in the ring and families in the seats.

That's why the evolving lucha landscape, particularly since the AAA purchase by TKO last year, seems to be at somewhat of a crossroads in terms of the overall direction of the business in Mexico.

There's no doubt that TKO bought AAA because it was essentially a way to buy a WWE foothold in Mexico, something the company simply wasn't going to be able to do on its own. Sure, the Hispanic fan base would attend the yearly spectacle of WWE in their town once a year, but it wasn't their brand. It wasn't built or developed within that previously mentioned lucha tradition. Much like the regional territory system in the United States from years ago, and in some ways still today, the foundation of lucha libre is based on regular attendance of live cards. Obviously, there are television deals in place within the country, but true to the passion of the Mexican audience, the connection to the sport is based on the thrilling live event experience.

The WWE, as much of an international juggernaut as it was prior to the merger, and even more so today under the TKO banner, wasn't going to be able to forge that connection with the audience simply by slapping the WWE logo on a spinoff project. We've heard for a few decades that the Latino demographic has the potential to be a majorly profitable revenue stream, especially within the population in the United States. During its heyday of the early-90s, AAA ran a slew of events in America, including the legendary When Worlds Collide pay-per-view that was produced by WCW in 1994. Still, it was going to take a very concerted and continuous effort to truly expand the brand into the US, which is why the few attempts over the years in various forms yielded mixed results at best. Lucha Libre USA is a forgettable project,despite the fact that it had a short-lived show on MTV 2 and an even more forgettable action figure line that briefly had retail space. Lucha Underground was a cult hit and fell off a cliff just as fast, regardless of having several very talented performers under contract at one point.

Quite simply, the WWE machine has the distribution, and structure, and most importantly, the money to truly expand AAA in both Mexico and the United States.

The potential is there, but as mentioned, nothing is automatic. In fact, there is somewhat of a tug-of-war within the lucha climate right now, as far as the newer AAA brand under the WWE umbrella with a bigger level of star power from the infusion of WWE stars compared to the tradition of CMLL with its weekly Friday night cards at Arena Mexico. On one hand, TKO is integrating authentic lucha libre into the WWE portfolio, and in some ways, it has been successful, albeit of a smaller sample size, with Dominik Mysterio, Grande Americano, and others blended with native stars like Mr. Iguana, Vikingo, and Psycho Clown. On the other hand, especially given the political turmoil, particularly with the immigration issue, it's possible that the Mexican fans won't be thrilled to embrace a brand that is ultimately owned by an American corporation so closely associated with Trump.

The other side of the coin is that CMLL had a strong year with Mistico at the top of the card, drawing regular sell outs of the previously mentioned Arena Mexico, as the famous venue in Mexico City is considered a major tourist attraction even among people that aren't pro wrestling fans. Sure, tickets are kept affordable, both for the domestic and international fans, but getting people in the door is revenue, and the fact that people are willing to spend money on the product is an undeniable metric of success. Part of the reason that the organization has remained such a staple in the country is that it owns some of its key buildings, including Arena Mexico, Arena Coliseo, and Arena Puebla.

One of the ways that CMLL has been able to avoid being overwhelmed by the WWE effort to promote AAA to a bigger level is that the promotion has continued to bring in AEW talent on a semi-regular basis through their current working agreement. Claudio Castagnoli won the CMLL heavyweight title a few months ago and has worked often for the company since that time. Mercedes Mone just dropped the CMLL Women's title to Persephone earlier this month. MJF worked a few matches for CMLL in mid-2025 when he won the Light Heavyweight belt before he dropped it to Mistico in a stellar mask vs. title bout. Granted, AEW performers don't have the level of star power or are as well known as the WWE names that have been used for AAA, but there's no doubt that the All Elite aspect has been beneficial to CMLL. Again, tickets sold and revenue are indications of success.

The Wrestling Observer's Dave Meltzer has touted the success of CMLL more recently than in past years, which has more to do with catering to his base as a contrarian to WWE than anything else, but the evolving dynamics of the lucha scene can have an important domino effect on the entire industry. Make no mistake about it, the WWE bought AAA to monetize the Mexican market as much as possible, and if they are going to be successful, they are definitely looking to take a portion of the market share away from CMLL. That's not nearly as provocative as the greedy corporation trying to take revenue away from a smaller organization, it's often the case with the expansion in any form of business.

After he won a portion of the meaningless AEW Trios belts at the Revolution pay-per-view, it was announced that Mistico had signed a deal with the company. It's not necessarily shocking because Tony Khan has signed almost every international star that gets any type of significant praise in the Observer newsletter, and the lucha headliner already worked for the company a handful of times before anyway. However, it was still somewhat surprising because Mistico is the top guy for CMLL so this means that an AEW contract will either take him away from his home promotion to a hindering degree if he's not available to work major events in Mexico City, or it could help solidify CMLL's position in the business as they will theoretically have access to more American talent to bolster the live event cards going forward through a more extensive partnership with an American promotion.

This past weekend's AAA Rey De Reyes event was held in Puebla at Auditorio Seguros, a bigger venue than CMLL's Arena Puebla. It's not necessarily the fact that its a bigger building, but rather the fact that WWE is running events around Mexico City that makes it clear that they know how important it is to get more of the market share of Mexico. This is where Mistico's signing and theoretically an expanded partnership with CMLL is a key piece of the puzzle in the grand scheme of things. Tony Khan said during the post-PPV press conference that Mistico would split his time between the two groups, and Tony, despite his eccentric personality, knows that he has to keep Mistico strong on his television show to avoid doing any damage to the CMLL brand. Besides being known as a genuinely nice guy, even if his slapstick approach to the booking process has its critics, Tony has an undeniable respect for the business. He's not going to do anything that could hinder Mistico's position in Mexico.

When Tony is going to book CMLL's top star, there's obviously a level of trust there from the Mexican office, and again with a step forward in the partnership between the two groups, it gives CMLL access to more talent to keep their shows strong. If some ways, it's also a way to make sure that Tony's bloated roster doesn't sit at home or in catering because he can always send talent to CMLL if he doesn't have anything for them in AEW.

Of course, TKO is a billion dollar company and in the vast majority of cases, they could throw enough money at anyone to get them to sign a deal to work for AAA. Angel Garza's recent response to a fan's question on social media about why he re-signed with the WWE instead of opting to work for CMLL is proof of this. Garza, who is from a wrestling family, explained that he makes exponentially more money working for the WWE and had to make the right decision for his family. Ironically, Mistico would probably be the exception after his absolutely disastrous run in WWE several years ago so it's doubtful that he would be offered another contract. But, similar to any other industry, it's extremely important, both for the wrestlers and the fans, that there's a measurable level of competition. It's a positive for AAA to get the increased exposure and expanded distribution of TKO, but there would ultimately be less overall opportunists for talent in the future if the expansion had a negative impact on CMLL so the working agreement with AEW, specifically the signing of Mistico, is a key point for the industry.

AEW Revolution review

All Elite Wrestling kicked off its 2026 pay-per-view schedule with Revolution, a sold out event with more than 10,000 fans in Los Angeles. It's wasn't a record-setting crowd, but when you can move that amount of tickets for a show, you're doing something right.

So, why does it seem like the office got the pay-per-view so wrong?

The show kicked off with the conclusion of the battle royal for the National title that started on the pre-show. As I've said before, this is a neat way to start the pay-per-views, as it's something to differentiate the presentation from the WWE, an aspect that they probably could do more with in terms of the presentation. The WWE pay-per-views have become notoriously bloated with more ads and commercials than in-ring action so for All Elite to have the action literally from the moment that the broadcasts starts, it gives the organization something unique from a production standpoint. I'm not sure Jack Perry winning the National championship means anything in the grand scheme of things, as the title is nothing more than a prop based on the countless belts already in the company. Furthermore, I'd put very little stock into Perry, as his track record suggests that he doesn't have the mindset to be successful in the business. "Real glass, cry me a river" will be what Perry is most remembered for.

The first match of the pay-per-view card was FTR defending the tag belts against The Young Bucks. In truth, this chapter of the feud really should've been how the rivalry started when FTR debuted almost six years ago. It was rather telling that when The Bucks resurfaced after the backstage fight with CM Punk, FTR was MIA, prompting speculation that the EVPs might have wanted to avoid another team outshining them. It also led to speculation that maybe FTR would end up being overlooked in All Elite similar to the way that they were in WWE. Thankfully, this recent run put a renewed spotlight on them, and in some ways, made The Young Bucks relevant again. The tongue-in-cheeks heel run where they leaned into the fact that the audience had Young Bucks fatigue didn't have the reserve psychology effect that it was designed for. On a better note, this tag team bout was tremendous and a major example of the good portion of AEW programming. This was a fast-paced, physical bout that showcased just how talented these two teams can be when they're put in a scenario where the best match possible is the objective, not a backstage agenda. It was fun to see the Jackson family being used for the entrance, and it gave something for FTR to work with as heels. This was crisp and smooth tag team action that should be an example of how the tag division can still be a draw in the modern era. Nick Jackson and Dax bled buckets, adding to the intensity of the segment. Nick hulking up was a little goofy, but it was far from the silliest stuff that happened on this show. The near falls toward the end of the match were very well done, which added a lot of drama as the advantage tilted back and fourth before the conclusion. FTR hit an impressive shatter machine from the ropes to get the win and retain the titles.

Now, the major problem with this is that this all happened in the first match of a four and a half hour pay-per-view card. We saw the high spots, the blood, and the razor-close near falls. What else is the rest of the card supposed to do without it either being a retread or diminishing returns? It was the opening match and two guys were already bleeding, why would blood on the rest of the card matter? In a vacuum, this match was great, it gave  the fans their money's worth and was a great example of the company's tag team division, but the placement of this as the first bout on the card was a total booking blunder. Again, how does the rest of the card follow a 20-minute fireworks show? This is why booking and pacing a card is so important because the proper way to do so maximizes the overall presentation, which is what fans are paying for when they order the event. Furthermore, after the match, Cope and Christian returned for what looked to be a set up for a feud with FTR. Copeland and his former tag partner are superb performers with Hall of Fame careers, but is anyone really looking forward to more Edge in 2026? Furthermore, the post-match angle took the attention away from the stellar match that just happened. But, hey at least Meltzer will give it six stars.

Toni Storm beat Marina Shafir with a small package in about 10 minutes. This was a good change of pace from the dazzling spot fest that the audience just saw before it. Credit to Shafir, there was a point that she was as subpar as anyone on the roster with the infamous, "you know me" promo, but she has developed into a decent heel throughout this recent run with the death riders stable. Her in-ring work with the strikes and body language gave the impression of a vicious heel, and essentially, spotlighted her positives, while hiding the weaknesses. There was no reason for this bout to go any longer than it did, as it accomplished the goal of a solid match and wrapped up before it got tedious. The back suplex spot that Toni took on the floor was brutal. Unfortunately, the Ronda Rousey cameo at the end of this segment was rather pointless. Despite her friendship with Shafir, Ronda completely soured the fans with her comments about pro wrestling after she was given the featured position during her original run with WWE. Furthermore, her second run with the company showed that she completely floundered when she wasn't catered to. Considering that she has a Netflix fight in two months with Gina Carano, she can't do anything on the show that would risk injury so what's the purpose of her appearance? More importantly, there simply isn't a demand to see Ronda Rousey involved in pro wrestling again.

Jon Moxley vs. Konosuke Takeshita was a 25-minute bout that blended a little bit of everything as they exchanged technical maneuvers, strikes, and took bumps off the top rope. This one went a few minutes too long, but was still a quality bout and something that could be used to represent the AEW brand in terms of what the alternative can bring to the table. However, the major flaw of this match was two-fold. Just two matches ago, we saw two wrestlers bleeding, and now Takeshita had to bleed when it really added nothing to the match. The tag match was booked and structured like it was a co-main or main event, but that literally wasn't the case. The same can be said for this bout, it was given the time and then structured like it was going to close the show, but yet again, how is the rest of the card supposed to follow it? By the end of the night, when the actual main event, theoretically the most important match on the show, tried to do much of the same stuff, it's not nearly as effective because the audience has already seen it several times throughout the night. The other major problem is just like there was already blood two matches ago, the lights went out again. This time, it was Will Ospreay's return to the company after he required neck surgery to repair a serious injury. In the course of fighting the death riders, Ospreay did a twisting moonsault to the floor and almost clipped his head on the apron, more or less proving that he learned nothing about the injury that put him out of action in the first place. Keep in mind, I say that because I think Will Ospreay has the talent to be the franchise guy for AEW the same way that AJ Styles was the representative of TNA. There's simply no reason for Ospreay to take risks like this since he has the ability to be much more important to the success of AEW.

The Divine Dominion beat The Babes of Wrath in five minutes. This segment should've been saved for an episode of Dynamite. They all have the potential to become stars, but when a show is over four and a half hours long, this is something that could've been trimmed from the line-up.

Swerve and Brody King were able to put together a match that stood out from the pack so to speak. Their match was based on hard-hitting strikes and some nasty bumps, but was done in such a way that made the most of the risks they took. If there's a correct way to work a modern match like this then these two had the right formula. The apron and floor bumps, including the vertebreaker on the outside were brutal. These two are solid pros and this performance reflected that. One of the aspects that set this apart was the fact that there was selling of those previously mentioned bumps. Swerve got the victory after the jumping kick to the face. Post-match, there was another run-in when Kenny Omega, who Swerve put through a table on Dynamite a few weeks ago, made the save.

The Thekla vs. Kris Statlander two out of three falls match was very well done, both from an in-ring and psychology perspective. Everything they did was solid and made each of them look good in the process. A side note, the Thekla video package that aired before this bout did more to explain her character than anything done since her debut so it would've been wise to put such a video package on television before she debuted. Thekla using the ropes to get the pin on the first fall was basic, but effective psychology. It put heat on the heel, and gives the baby face odds to overcome during the match. Statlander tied it up before a ref bump prevented her from getting the win. A visual pin is a way to keep the baby face strong, but still get the result of the heel retaining the championship. There was outside interference, allowing Thekla to get the cheap victory. There should be more fundamentals like this used throughout the entire AEW product.

The next three matches were fine for what they were, but they were either forgettable or unimportant in the grand scheme of things. Mistico and Jet Speed winning the trios belts means nothing because those champions have no cache and are just more props on the show. The Bandido/Andrade bout was very solid lucha wrestling, but at more than three hours into the show, it became a tedious viewing experience, especially when it went almost twenty minutes. Furthermore, Andrade won, but Bandido is the ROH World champion so why exactly does the result matter? The other six man tag match where Darby Allin, Orange Cassidy, and Roderick Strong beat The War Dogs faction wasn't needed and could've easily been put on television. Again, that matters when the card is so unnecessarily long on a Sunday night.

The main event was promoted as a Texas Death Match, but it was actually a last man standing match. There was more than 45 minutes of overkill and crash TV. Both Adam Page and MJF were bleeding early in the contest, which is exactly why there didn't need to be two wrestlers bleeding in the first match. There was gimmick broken glass, barbed wire, and several tables used all before the half way point of the segment. The syringe with the needle through Page's mouth was just gross and makes the entire company look bush league. This is supposed to be a national promotion, not an Ian Rotten indy group in front of 150 people in a barn. Quite frankly, MJF is and should be much better than this attempt to "shock" the audience. Some of the same thing can be said for the use of light tubes. This isn't meant as a knock on Game Changer Wrestling, but there's a reason that GCW successfully markets itself to a niche demographic. The glass and blood everywhere to such an excessive level is completely misguided for an organization on TBS. The exploding table was ridiculous because there was no logical reason for it to be there, and the fact that both competitors were on their feet within nine seconds more or less hindered its effectiveness anyway. Speaking of illogically, Page jumping up to no sell before the finish sequence just looked silly. Eventually, MJF used a dog collar to choke out Page to retain the championship.

As I said, if the company can sell 10,000 tickets to this show, the pieces of the puzzle are there, but as is often the case with AEW, almost none of those pieces are anywhere near the right place. There was too much blood, too many risks, too many bumps on the floor, too many run-ins, too many matches, and the show itself was just too long. The entire presentation was overkill and most of the show was reduced to crash TV rather than a pay-per-view that built to the main event. Sure, this type of PPV is serving the All Elite audience, but the problem is that the number of people that are willing to pay for it has been stagnant for several years,which is why the AEW buy rates are usually the same. More importantly, some of the stuff that was booked for this card will do more to sour fans on the product rather than increase the fan base.