Ospreay vs. Moxley

I've written a lot the past few years since Will Ospreay's arrival to All Elite Wrestling that he should be spotlighted as the franchise guy of the organization, very similar to the same way that AJ Styles was the franchise player for Total Nonstop Action in the early days of the promotion. Ospreay should be the wrestler the represents the All Elite brand, specifically because he's such a graceful high flyer, much the same way that AJ was during his in-ring career, that the British grappler can be the personification of AEW's strong points. The Will Ospreay presentation should be the main selling point of the overall package of All Elite Wrestling.

Granted, some will say that the die has been cast in terms of what AEW is or isn't so the ceiling is already set as far as much how of an audience that the company will garner at any given time, but that's a different discussion.

The point is, Ospreay's coronation as the champion at Wembley Stadium in London, dethroning Kenny Omega for the AEW world title, was a key moment in All Elite history. Despite the laundry list of serious injuries, including a life-threatening bout with diverticulitis, Omega proved with his recent string of bouts that he can still go at a tremendously high level bell-to-bell. That being said, there's no doubt that his career will ultimately be cut short because of the risky style that brought him notoriety more than a decade again. It should theoretically be a cautionary tale for Ospreay as the torch was passed, but I doubt that it's something that the new champion will take into account. Omega burned the candle at both ends with the risky bumps and high impact style, which brought him an international reputation, leading to the best contract of his career working for Tony Khan. The trade off for that was that it was going to take a significant toll on his body at a relatively younger age. Everyone pays the piper.

That's why it's so important for All Elite Wrestling that Will Ospreay has a very strong title reign to cement him as a true focal point of the organization, emphasizing his skills as much as possible so that he can excel in the position as the top guy. Omega's career isn't over, but even at 42, there's no doubt that he's going to be in a more secondary role going forward. Tony Khan isn't going to be able to play the Omega card in an effort to boost numbers nearly as much in the future as he did in the past. Ospreay is younger and healthier, at least for now, than Omega so it's his time to be the flag bearer for All Elite.

Obviously, Will Ospreay can't wrestle himself so he will need solid opponents and compelling storylines to maximize his potential as a draw for the promotion.

This is where things can get more complicated since Tony Khan is a matchmaker, not a booker. That isn't to say that he hasn't done anything right, since Wembley's attendance is proof that he did, but rather to point out that it's much easier to pair great wrestlers together to have a great match than it is to construct a storyline that is intriguing enough to invoke an emotional investment from the audience. The combination of the amount of pro wrestling content available in the modern era and the current economy makes that a tougher task than it was in the past.

That's why Khan's decision to book Ospreay against Jon Moxley in his first title defense at this weekend's All Out pay-per-view is somewhat puzzling.

The entire storyline with Ospreay randomly joining the Death Riders after the stable previous injured him in an effort to get ready for the biggest match of his career in his hometown was odd and convoluted. The baby face trying to win the world championship in his hometown shouldn't need extra motivation since the admirable pursuit of greatness is enough of a baby face trait. If that is the basis for this title match at All Out this weekend, the logic or lack thereof is shaky at best.

The much more questionable portion of this match-up, particularly when it comes to trying to sell the pay-per-view to the viewing audience at the traditional $50 price tag is, does anyone want to see Moxley back in the title picture? Is the prospect of Moxley as the champion again something that the fans will want to pay to watch? Yes, I understand that this is and should be the first of numerous title defenses on pay-per-view for Ospreay, but the entire point of booking a title match on pay-per-view is the possibility of the title changing hands.

The original Death Riders storyline and Moxley's title run during it was illogical drek that didn't have a point and dragged on way too long. It soured a portion of the audience on the concept of Moxley as champion, and given that he had several title reigns already, there's no reason for him to be in the main event picture. If you want to know how effective Moxley's heel run was, consider where Adam Page is now after beating Moxley was supposed to push him back to the top of the card. There was a time when Jon Moxley was the MVP of AEW, carrying the title picture on his back when a series of injuries put some of the main event scene on the shelf, but that was years ago, and as I've discussed since Page beat him for the championship at All In Texas last year, Moxley is overexposed to the audience. The notion of "Moxley fatigue" is a legitimate criticism so again, I'm not sure him challenging for the AEW title sells All Out.

As we know, the WWE is running When Worlds Collide in the same city of Chicago on the same day of the pay-per-view, with a stacked line-up, including an appearance from Oba Femi, and CM Punk in his hometown as a part of the six man tag main event. The Lucha Brothers are also scheduled for a tag match. As of this writing, there's no announced plans to broadcast the event so it's essentially a house show, but there was some speculation that it could eventually surface on the newly-launched Club WWE service.

I understand that the WWE has such a massive portion of the market share, but when When Worlds Collide, a house show, has just over 11,000 tickets sold, and the All Out pay-per-view has just over 9,000 tickets sold, it really puts the scope of the industry into perspective. Chicago is a wrestling city, it has history that goes as far back of the DuMont Network with Wrestling at The Marigold in the 1950s so it's not surprising that the market can support two events on the same day, especially given the history of AEW in Chicago. Still, when the pay-per-view, a premium event by nature, sells less tickets than the house show, at the very least, it creates questions about if Moxley was the right choice to challenge Ospreay in his first title defense. Taking the entire situation into account, it might've been better to immediately book the Ospreay/Omega rematch for All Out since it sold more tickets for Wembley, and the rave reviews of that bout could've been used as a selling point for the pay-per-view this weekend.

What's next for Gable Steveson?

This past weekend, the octagon traveled to the west coast when UFC 331 was hosted at the Crypto Arena in Los Angeles with nearly 20,000 fans in attendance, headlined by the rematch of Joshua Van vs .Alexandre Pantoja for the Featherweight championship. Van won the title late last year when a fluke arm injury to Pantoja less than thirty seconds into the first round prompted the referee to stop the fight. The previously undefeated Pantoja lost the belt, but certainly wasn't beaten for the title so there was a level of anticipation among purists, as the match-up was solid of paper, but didn't offer the star power usually associated with a UFC pay-per-view main event.

The UFC 331 card was much of the same way, it was going to offer substance in terms of fight action, but didn't have the sizzle of the big names in the featured slots. Thankfully, the line-up delivered three highlight reel KOs in a row between decisions on the scorecards, with the very entertaining slugfest between  Alonzo Menifield and Iwo Baraniewski as the opener, and then Pantoja vs. Van was an all action main event. After Van won the belt via injury stoppage, he defended the title against Tatsuro Taira via TKO in the fifth round this past May, but there was still unfinished business with Pantoja. Van won a very competitive fight with a unanimous decision on the scorecards, and given the nature of the first contest combined with the quality of this main event, there's a case to be made for a trilogy fight between the two featherweights.

Van and Pantoja went back and fourth, with the advantage tilting throughout 25 minutes, depending on your perspective. There's no specific formula for when or how someone can make themselves a star in mixed martial arts,. but this victory could be a career-defining moment for Joshua Van in the grand scheme of things.

While Van and Pantoja put in a gritty 25 minutes in what could boost their profiles among fight fans, it took just 12 seconds for one of the under card fighters to potentially sour the audience on him as a competitor in the UFC.

Gable Stevenson, former Olympic gold medalist in freestyle wrestling from the 2020 Tokyo games, was knocked out in just 12 seconds, one of the quickest finishes in the history of the UFC, with a vicious right hook from underdog opponent, Sean Sharaf, a heavyweight with a pro record of 4-2 prior to Saturday.

Despite his extensive collegiate and Olympic accomplishments, for whatever reason, the former four-time Big Ten Conference champion has struggled to translate those mat skills to the pro ranks in any form or fashion. As we know, he signed a Next in Line deal with the WWE, inking a contract with the organization in 2021 while he still had a year of eligibility left at the University of Minnesota. His WWE tenure was sporadic and rather underwhelming. Granted, the transition to the scripted world of pro wrestling where cooperation is key rather than the strict competition of the amateur mat is difficult, but with the accolades that he had fresh off of the victory in Tokyo, he either had to make the adjustment on a curved scale so that the office could capitalize of his medal status, or he would have to move onto the next venture. It's a harsh reality, but when you have that type of natural athletic ability, there's simply no reason that the WWE is going to monitor his progress or lack thereof when he's at the Performance Center, a facility with some of the best trainers in the world, the same way that they are going to track the progress of a bodybuilder that started from scratch. The WWE simply didn't have the time to invest years into getting Gable ready for WWE TV when his skills should've made up the difference, and there was no guarantee that everything would eventually click for him as a sports entertainer. Keep in mind, Steveson signed a solid contract since he had other offers on the table at the time when he was fresh off of the Olympic win. He had a few cameos, and and a horrendous match with Baron Corbin in NXT. He was released from the company in 2024, which would've had more to do with his lack of progress at the Performance Center than any individual cameo or match.

Following his WWE exit, he tried to get a spot with the Buffalo Bills, despite not playing football in college because of his commitment to the wrestling program at Minnesota, but was cut by the NFL squad before the start of the season. In 2025, he began a career in mixed martial arts, fighting on the regional circuit as a pro without any prior amateur MMA experience for his first three career bouts. He debuted in the UFC this past July when he finished the virtually unknown Elisha Ellison in the first round. Clearly, UFC management saw the potential to make the former Olympic champion a star, and it makes business sense, when he was back in the octagon just a few months later for UFC 331 on pay-per-view.

Sean Sharaf, who had a UFC record of 0-2 before he stepped into the cage against Steveson this past Saturday, was another virtually unknown opponent, but that's not to say that UFC management was trying to protect Gable, mostly because the margin for error in the heavyweight division is very slim, which was proven by the quick result. Again, Steveson had no amateur fights so the UFC paired him with someone of a comparable experience level. Taking into account that Sharaf was winless in the promotion before this, it's possible that he was fighting for his job. Steveson was the name, and ultimately, the narrative of the bout was based on how he would continue to develop as a fighter after a successful debut.

It's not the knockout loss that will damage Steveson's marketability, everyone knows that it only takes one punch, especially in the heavyweight division, but rather how Steveson handled the defeat. Despite getting knocked out, Gable appeared to be coherent and recovered after the fight was stopped. Instead of staying in the cage while the result was announced to congratulate his opponent, he left the octagon immediately, garnering boos from the crowd.

Rocky proved that you don't have to win the fight to make fans. The audience knows that anyone can get caught with a punch. The lack of humility and grace in defeat does absolutely nothing to make the fans want to see him fight again, specifically because his skills alone won't draw the crowd. Don't get me wrong, I don't think Steveson will get cut from the roster unless he proves to be completely non-competitive in the division on a long-term basis, but given the way that he left the cage because he lost the fight, it doesn't give the UFC hype machine much to work with in terms of promoting his next bout.

I could be wrong, but taking into account that his skills are more or less completely one dimensional, and that at least right now, he's a novice striker at best, I'm guessing this will be a scenario where Steveson is not going to be well-rounded enough to develop into a competitive MMA fighter. Furthermore, he had legal issues and assault accusations made against him in 2019 that weren't pursued by law enforcement due to "lack of evidence" so it's not as though it would be easy for the general public to rally behind him to begin with. The assault allegations weren't proven or unproven so it left somewhat of a gray area in terms of public opinion. Regardless of the viewpoint of that situation, it's much easier to see why the fans wouldn't get behind a sore loser, especially because a lack of heart in the fight game is much more detrimental to fanfare than the loss itself.

As I said, I could see Steveson's UFC tenure eventually fizzling out. He debuted for Real American Freestyle earlier this year, with two wins so far, and all things considered, as long as freestyle wrestling can bring him a decent payday, he should probably stay in that sport since his skill haven't transferred to other genres within the sports industry.

Is TKO complacent?

Is pro wrestling missing the risks?

That sounds like a contradictory question, especially when you consider the reckless stunts and the injury rate of the modern era, but there's a big difference between silly risks in the ring that have an unbalanced risk/reward ratio, and the risks a promoter can take to evolve the presentation of their product. The evolution of the business will be debated as long as the industry exists, there will always be those that proclaim that pro wrestling was better back in their day, and sometimes they might have a point, but the other side of the coin is that some pundits will automatically yield to the past because of a previous successful track record.

Unfortunately, that's one of the booking pitfalls that can lend itself to complacency and a stagnant product. One of the reasons that sports entertainment as a money-drawing commodity has survived the peaks and valleys of the business is that it often evolves with society.

To be clear, this has nothing to do with wrestlers literally setting themselves on fire to try to pop the crowd, but rather the risk of a promoter to bet on a new star to be the next legitimate money-drawing performer on the roster. I pondered this question because I stumbled across a clip on Youtube of The Wrestling Observer's Bryan Alvarez questioning the decision for Penta to do the job in Mexico City instead of winning the title in his native country. While Alvarez slates more toward the modern approach with sports entertainment, he has a much more balanced analysis than Dave Meltzer. who will defend anything All Elite Wrestling does at more or less any cost, presumably because it's well-known that Tony Khan is a longtime subscriber to the newsletter. In short, I'd put more stock in Alvarez's viewpoint since it appears to be less biased. As I wrote in a previous article, while I didn't think that Roman Reigns was going to lose the championship, which is probably why they did the Sami Zayn switch on Smackdown, as a way to give the Hispanic audience something noteworthy from the tour, I thought that it would've been the right move to have Penta win the championship, not so much for the totality of the title run, but for the memorable moment it would've provided. Alvarez had similar comments in a video posted this week, debating if pro wrestling bookers were willing to take calculated risks to add fresh wrinkles to the fabric of the organizations or if they had to stick strictly to the initial plans.

It's a question that stretches far beyond Penta vs. Roman, or any other individual scenario. Alvarez examined the current tends of what took place over the past year, but for this article, I'd like to look toward the future, particularly with how the lack of flexibility could impact the perception of the industry.

It goes without saying that an effective storyline needs a solid conclusion, but it's just as important to factor in the reaction to the angle as it progresses. These are drastic examples, but when Steve Austin propelled himself in popularity, it was critical to push him into the main event spot of Wrestlemania in 1998 to be able to maximize his potential as a money-drawing star for the WWF. There was a specific time and place that the office had to capitalize on his momentum to make the most of it, and clearly, they did since he went on to become the biggest star in the history of the business. Management tried to catch lightning in a bottle again when they brought back The Ultimate Warrior in 1996, but it fell apart within three months so they had to pivot away from the nostalgia act, and more or less the same thing happened in WCW in 1998.

Speaking of which, since WCW folded, the business, primarily an industry with one key organization for the vast majority of that time, has struggled with a stagnant status more than once. Basically, without competition to push them forward, the WWE became too comfortable in the top spot, allowing personal agendas, not business, to dictate the direction of the product. If Nitro was an option in 2011, there's no way Vince McMahon would've allowed the CM Punk negotiations to go down to the eleventh hour before he re-signed prior to winning the title in Chicago. If WCW was still in business in 2014, it wouldn't have been such a struggle to get Bryan Danielson his rightful place in the main event of Wrestlemania after he was undoubtedly the most over wrestler on the roster.

Don't get me wrong, the hotshot approach, which is basically what the Attitude era was for roughly five years, can lead to an even longer down period because it burns through so much material at such a fast pace, but there's definitely a middle ground between crash TV and some of the drek we were subjected to in the late-2010s. The Roman Reigns forced baby face super push was an utter failure for years, generating so much discontent with the audience that it ultimately created the demand for what eventually became All Elite Wrestling. Vince knew that if fans wanted to watch pro wrestling in the United States then they were going to watch WWE. For context, Impact literally had ice fishing as its lead-in programming if anyone could find the channel that aired the show.

Obviously, All Elite Wrestling fell woefully short of expectations of another major competitor for WWE, which is why its first-ever television show seven years ago is still the highest-rated episode of Dynamite of all time. A portion of wrestling fans samples the product and decided it wasn't something for them. That's not to mention the steep decline in viewership after CM Punk left a few years ago. Still, with the billionaire Khan family funding the project, there are at least options for talent and the fans, which is why, despite some of its glaring flaws, the existence of All Elite Wrestling is very important to the overall health of the industry.

The flip side of that, and the contrast is apparent when you take into account the differences of previous eras of the industry, when the WWE was the only major league option, particularly after TNA was canceled from Spike TV, there were several years when the product was essentially exactly the same for years without any movement toward the future. Throughout most of the 2010s and even all the way through to more recent years, the WWE took the paint-by-numbers approach to bring in part-timers from the past that were expotentially more popular in their heyday than any of the full-time roster at that point. The Rock, Batista, and Brock Lesnar were given the top spots, which made the full-time roster look secondary. Vince wasn't going to gamble of putting his chips of a new star because he didn't have to, he could use a part-timer for a "quick fix" so to speak around Wrestlemania each year. The WWF in 1992 looked completely different in 1997, and that looked completely different by 2003. The modern WWE often looks exactly the same in terms of structure and presentation for several years at a time.

With the slew of retirements in recent years, there's more pressure for the office to find the next generation of guys that are going to move the needle, and that's not an easy task for a global, publicly traded corporation. That's not just the main event scene, but rather the overall format of the product that is going to draw money in the future.

Of course, we saw Roman Reigns organically evolve into a major superstar after he was allowed to naturally do so, but as I've written in recent articles, the Bloodline angle is being recycled so there's no doubt that the writing team has to find something fresh for everyone involved. Cody Rhodes is a top guy and does well in the role, but within the past year or so, even Cody hasn't had a firm direction, especially after the lackluster build to Wrestlemania.

That being said, I'm not sure management is going to be too eager to shuffle the deck, mostly because it goes against some of the interests of TKO, which isn't nearly as ominous as it sounds. This is where WWE is in a tough spot because it's a machine that produces live content every week throughout the year with no off season, and signature events that require a card that will sell tickets. That alone is difficult enough, but it becomes even more difficult when you take into account that TKO quite literally has a legal obligation to serve its investors. That's the biggest issue in terms of evolving the product, the WWE has a lot of masters to serve, and the stock price is a major reason why the company is worth billions of dollars. The bottom line is, TKO must serve its investors before it serves its fan base, and when it comes to investment, stability is the key. The status quo and guaranteed money through the media rights deals are what shareholders look for because its a relatively safe investment to yield a solid return on their money. The nature of what works for stock investment for TKO can conflict with the nature of what makes new stars for the WWE. That's why I find it doubtful that the WWE will take any major risks to make new stars until they absolutely have to, but if that will be at the right time and place to make the most of it is a completely different situation.

Ki MMA

Scott Coker, former MMA boss of a few different leagues over past few decades, is back in the MMA business, or at least that's what he claims.

At a media event in New York earlier this week, the 63-year-old executive announced that not only had he secured $60 million in funding for a new MMA project, but that he had aspirations of putting together a truly global organization.

Coker, the former head of Strikeforce and Bellator, currently runs a regional group, Fight Night at The Tech, alongside Gilbert Melendez, but has much grander aspirations with the brand new "Ki MMA," inspired by the Japanese word for energy, promotion. The initial plans call for a 32-man featherweight tournament with events in North America, South America, Europe, and Asia to eventually lead to a world champion to be decided in the finals. There are also plans for "super fights" with major names in the sport to serve as a compliment to the tournament bouts. Outside of a planned launch of early-2027, no roster or dates have been announced for the Ki MMA concept.

I have to be honest, upon hearing of this story, the first thing that I thought was, "how in the wide world of sports did someone put up $60 million for another MMA project?" and then my second thought was that I will wait to see if any of this actually happens before I put too much stock into Coker's vision of a new MMA format.

In truth, this is one of those concept that looks great on paper, but will falter in application. Ideally, from a purist perspective, the best 145 LBS fighters from different continents competing in tournament to crown a literal world champion sounds spectacular, almost as if it was something from a  Jean Claude Van Damme script. 

But, the logistics and reality of the fight game will rain on that MMA parade.

The reality is that the Ultimate Fighting Championship is the undisputed king of mixed martial arts for a reason, a position that was only strengthened through the merger with the WWE to form the TKO corporation, and the massive $7.7 billion Paramount deal that puts the UFC pay-per-views on the streaming service for the next seven years. The once pricey pay-per-views are included in the $7.99 subscription to Paramount+ so more fans will have more access to UFC PPVs than any other time in the history of the organization.

If I had to guess, I'd say that the investors of Coker's new project probably view a media rights payoff as the carrot on the stick so to speak, as far as the long-term goal with the promotion. Assuming that the $60 million of funding is legitimate, and there's no reason to believe that it isn't, at least at this point, it sends the message that this isn't a novelty venture. If these guys are willing to put up serious money like that then this appears that it will a legitimate attempt at the ambitious global strategy.

As mentioned, details were sparse, with no fighters, dates, or locations announced. It was noted that the bouts will take place in a ring rather than the standard cage usually seen in America. With the ring, as well as the Japanese name in the title of the company, it's obvious that Coker wants to re-create a slice of Pride Fighting Championship from its heyday in Japan in the early-2000s. The meteoric rise and fall of Pride is a different discussion for a different time, but Coker borrowed from the Pride playbook in the past, with bouts like Ken Shamrock vs. Kimbo Slice or Shamrock vs. Royce Gracie under the Bellator banner.

There's no doubt that the sideshow fights can garner attention, a 60-year-old Mike Tyson getting back in the ring to fight Jake Paul drew more than 65,000 fans at AT&T Stadium in Texas, and brought in such a mega audience for Netflix that the streaming giant almost crashed because of the sheer amount of viewers that tuned in around the world. In some ways, Coker proved that he can get the general public to pay attention to his MMA ventures when he used a similar business model.

The problem is, the novelty wears off and eventually the actual substance of the product will succeed or fail based on its own merit. It's easy to capture the public's attention for one night, and if you're promoting a one-off, you can "steal a house" so to speak in terms of a draw based on superficial content, but there's a reason that none of the sideshow concepts, including some of the groups that Coker was involved with, truly found their audience in the grand scheme of things. Bellator or Strikeforce had cards that the general public paid attention to for the evening, but the UFC was still regarded as the representation of the sport in the United States.

As I said, the concept is fantastic, but assuming that the timeline that was announced is accurate, how are Coker and his investors going to realistically put this together within six months or so?

I'd say that the main reason that I don't put any faith in this company getting off the ground is that it's simply too ambitious. Rome wasn't built in one day, and if you're religious, even God had to rest after he created the earth. It took the UFC a few decades in business, and several years under the ownership of the media powerhouse of  Endeavor to truly expand itself to a global entity. It's a process, not just with building a brand name that can draw in different countries, but also with the ability to properly promote and effectively advertise within foreign markets. For example, Ki MMA might be able to generate ticket sales in Brazil for their South American plans, but how will that concept translate to Europe? If ticket sales are sluggish in London, that could be a net negative to the bottom line. It sounds trivial, but something as elementary as finding the right venues in the right cities could be a hurdle to success with something on a global scale.

Furthermore, and this might be the biggest piece of the puzzle, where is Ki MMA going to find 32 featherweights to stock this tournament? More importantly, how is the organization going to properly promote 32 different fighters around the world? Where's the star power? Again, the bottom line is, while the featherweight division has some very talented fighters, the top talent are under contract to the UFC, There are simply not enough known featherweights for Ki MMA to be able to realistically generate an audience for its product.

Granted, Coker could bring in some legends from the past to be the selling point of these shows, allowing the younger guys in the tournament to theoretically have a platform to make a name for themselves, but how many of those aging legends would be able to safely get back in the ring to compete? Are there really enough of those match-ups to serve as the drawing card for the tournament contests to be held on the same events?

As we've covered, the rights fees are where the big money is right now, as the media landscape continues to evolve, continuing to find its balance between how many streaming options will the market support compared to what will remain staples of traditional television. What distribution will Ki MMA secure? If the group is going to try to run cards in different locations around the world, you'd assume that they would need a streaming deal so that anywhere with an internet connection could potential watch the events. It goes without saying that landing on a mainstream streaming platform instead of just a random place online is going to be key for the success of the project as well.

The bottom line is, while I can appreciate the ambition, there are too many hurdles for Ki MMA to make a dent on a global scale, and with the UFC low on star power currently for a myriad of reasons, it's not as though there's a demand for more MMA among casual sports fans the way there was two decades ago when Coker worked with Strikeforce. The ESPN deal arguably put too much content behind a paywall and the overall UFC eroded as a result. The Paramount contract is part of a rebuilding process to make the sport more accessible to more viewers at a cheaper price. The demand just isn't there for another MMA option. If Coker wants to re-create Pride in some form or fashion, he's somewhat misguided. Pride Fighting Championship was legendary for the impact that it had on mixed martial arts, but it was very much a commodity of its time and place. More specifically, Rizin has more or less been a decent, but lesser version of Pride in Japan for more than a decade. Yes, there are more platforms now Ki MMA to find distribution, but the other side of the coin is that there's also expotentially more competition for viewers across the sports and entertainment industry today. All things considered, there are too many obstacles, particularly on a global scale for Ki MMA to find a profitable portion of the market. 

Sami Zayn wins WWE title

It's been well-documented that WWE has lost some steam over the past year, an almost unavoidable scenario since every peak needs a valley, and the peak of the current era was when Cody Rhodes finally dethroned Roman Reigns for the championship a few years ago. In many ways, TKO bought themselves a safety net of an extra year to keep the drawing power strong through the John Cena retirement tour. It was the smart business move, as the corporation maximized the exit of the last mainstream star that the WWE made for the general public. Make no mistake about it, Roman Reigns, CM Punk, and Cody Rhodes have all done a solid job in the position as the top guy in the company, but Cena is still the most recent pro wrestler that the average American will recognize. If individual performers can reach that status today with the structure of how the WWE promotes the brand ahead of specific stars is a different discussion for a different time.

So, TKO had a selling point throughout 2025, but there was no doubt that this year saw the momentum slow to some extent, and the product cooled off. The sluggish ticket sales for Wrestlemania, and TKO's insistence of Pat McAfee's random involvement to almost point out the flaws didn't help the situation. McAfee was put in a no-win situation to the point that he stepped away from the business completely after the conclusion of the storyline. At the same time, TKO CEO, Mark Shapiro more or less thumbed his nose at the criticism toward the conglomerate that ticket prices soared while pay-per-view broadcasts were littered with more commercial time than anything else. When audio of Shapiro giving a lecture at a college surfaced online, he acknowledged that TKO's business model would sour some fans, but the goal was to make new fans in the process. If that strategy or lack thereof erodes the overall fan base in the process is definitely a debatable topic.

In many ways, it appeared that TKO tried to convince the audience that they were watching some grand spectacle simply because of the WWE logo, but more often than not, at least within the past year, the content didn't live up to the hype. There was a lot more sizzle than there was substance, leading to some underwhelming viewing experiences. The 30-minute main event between Roman Reigns and Seth Rollins at Summer Slam wasn't this epic drama that saw The Shield have a full-circle moment. Instead, it was a slow, boring segment that dragged on way too long, making both athletes look less impressive than they usually are in marquee matches.

The Bloodline angle being recycled doesn't do anyone any favors either. In short, the WWE needed to shuffle the deck, as very few on the roster seem to have purposeful roles on the shows, while most competitors get thrown into a random storyline to keep them busy rather than to progress the overall narrative. The LA Knight title chase literally is a carbon copy from the original Bloodline angle when they had a match at Crown Jewel three years ago.

When Sami Zayn won the WWE championship in a triple threat match against Cody and Gunther this past June, it was somewhat of a surprise, not because Sami isn't championship material, as we've seen he's one of the best in-ring workers in the entire business. but rather the notion that TKO isn't going to venture too far outside of the typical look of a pro wrestler at a time when the WWE continues to look for more mainstream exposure through the ESPN deal. When someone is channel surfacing through the ESPN line-up and finds The Golics simulcast of their ESPN radio show, it's much easier for the casual fan that might remember the Attitude era to identify Roman Reigns as a WWE wrestler from pure aesthetics than to understand the value of a performer the caliber of Sami in the ring if he's sitting at a desk.

When Sami dropped the title to CM Punk on Raw less than two weeks later, it was assumed that he was used as a transitional champion to set up the Punk/Cody bout that was one of the main events at the previously mentioned Summer Slam weekend. In truth, Sami doesn't necessarily need the belt since he makes the best of anything he's involved with, but him unseating Punk on Smackdown in Mexico City adds some variety to the product, if for no other reason than it sends the message to the audience that anything can happen on any given week, even the WWE title changing hands on television. That spontaneity is key to avoiding complacency, especially outside of Royal Rumble season when the pieces of the puzzle start to get put into place for Wrestlemania.

Granted, this might be another short-term run with the belt for Zayn, and maybe it was something booked specifically for Mexico City since it had been several years since the WWE ran TV tapings there, but the intrinsic value is the same, it brings a more organic presentation to the table, which is something TKO has needed for the majority of the year. Furthermore, it gave the Hispanic audience a title change, which might be used as somewhat of a substitute for a noteworthy result in the country if Penta is going to do the job in his match against Roman on Raw tonight.

Obviously, it remains to be seen where things go from here, particularly with Sami as champion, but that's the point of the surprise switch, it avoids the stale or predictable direction. From what we've seen so far, it looks like CM Punk/Kevin Owens is going to be a money feud, and I'm not sure it would need the championship to be a featured match based on the quality of the promos already. Still, the booking of the actual title contest kept CM Punk strong with him getting the visual victory with the submission on Zayn with the interference from Candice LeRae and Johnny Gargano before Owens' involvement.

One thing is for sure, regardless if Sami keeps the title for an extended period or not, it's a good thing that the office has added some variety to the product. As much as Johnny Gargano was made to look like a dork for months, maybe this will lead to something more meaningful for him to do in the grand scheme of things. If I had to pinpoint one specific reason that this year was so flat, it was probably because that the current crop of main event guys have more or less already done everything there is to do, which happens much faster now than it did in the past with the two-night format for signature pay-per-views, along with the rest of the expanded calendar. For example, the Bron Breakker/Oba Femi bout could've theoretically been booked for a major pay-per-view, but Sunday Night's Main Event needed some big matches to justify its place on the line-up. I'm not saying that Sami Zayn has to main event Wrestlemania next year, but hopefully, his tenure in the main event scene will be longer than the two weeks he had with the belt prior to this, simply for the chance to booked fresh matches in the next few months.

Zuffa boxing

Could professional boxing have an opportunity to re-establish itself in the United States?

Stretching as far back as the closed-circuit, the predecessor to pay-per-view that was instrumental in the national expansion of pro wrestling years later, era of the sweet science, boxing had a way to monetize itself on a major scale. Basically, the sport was on the forefront of mass distribution, regardless of what the form of media was at the time. The Rumble in The Jungle saw fans flock to those previously mentioned closed-circuit location. When HBO launched as a form of premium television when basic cable was still in its formative stages, the ability to watch live boxing cards, along with movies that had recent theatrical runs, was one of the main selling points for consumers to pay a little extra. As time went on, Mike Tyson became a pay-per-view exclusive, but there was still a portion of his prime that aired on the subscription networks. The same can be said for some of the biggest names in the sport. Furthermore, when technology advanced to the point that customers could order the events directly at home, boxing often generated a few million buys a year between the handful of major bouts that were broadcasted. Oscar De La Hoya, Evander Holyfield, and Lennox Lewis generated four million buys between four pay-per-views that were held in 1999.

As we know, the political red tape, especially as networks expanded and there was more money on the table, almost completely destroyed the sport. For decades, the top fighters clashed in classic battles that made the sport not only as popular as it was, but a part of pop culture in America at different points in time. In the late-90s, there were almost weekly cards on HBO, and ESPN had the Friday Nights series to showcase the up-and-coming fighters as well. The cards every few weeks on the linear HBO channel were used to promote signature pay-per-view events, and it kept the business model strong. At the same time, legendary slug fests such as the Gatti-Ward trilogy maintained the selling point for the subscription channel itself, along with newer dramas like The Sopranos and The Wire.

The bottom line is, when the top fighters competed against each other, the industry of boxing was much healthier. By the mid-2000s, that changed and it became more about promoters that wanted to protect their golden goose rather than draw the biggest money possible. Floyd Mayweather, a masterful defensive technician, was in position to be the top name in the sport, specially after the peak heavyweights of the late-90s had retired, and he secured a career-defining win against the previously mentioned De La Hoya in 2007.

Unfortunately, Floyd became more about protecting his brand than fighting the best competition possible. He fought a 23-year-old Canelo Alvarez before the Mexican superstar had the experience to truly be a threat to his unblemished record. Neither Victor Ortiz nor Robert Guerrero had any business being in the ring with Mayweather, and the same could be said for Andre Berto later in Floyd's career. Marcos Maidana was competitive against him, which was proven by the debatable split decision that Floyd won on the score cards before he won a unanimous decision in the rematch. Essentially, Mayweather's career devolved into glorified exhibitions, Showtime actually lost money on the contract that he had with the network when buy rates didn't cover his hefty guarantee. He strategically fought a diminished Manny Pacquiao five years too late, and the super fight that the public waited years to see was woefully underwhelming. HBO and Showtime, networks that were major distribution channels for the sport, got out of the boxing business almost decade ago when the economics were no longer profitable for their platforms. 

Floyd vs. Conor McGregor was the last money grab of Mayweather's pro boxing career, setting a pay-per-view record for the novelty alone, but the one-sided bout wasn't sold on the competition.

In the past decade, the previously mentioned Canelo Alvarez, Terrence Crawford,  Gennady Golovkin, Tyson Fury, Vasiliy Lomachenko, and a few others provided boxing fans with quality performances, particularly when Alvarez made Cinco De Mayo and Mexican independent day weekends staples of the calendar. However, the majority of those contest didn't capture the attention of the general public, as casual sports fans didn't have boxing on the radar. It didn't help the situation when Saudi Arabia offered expotentially more money, including $100 million per fight to get Alvarez to compete in the country, than other promoters could realistically offer so marquee bouts were held in the middle of the afternoon in the United States without major fanfare.

Without those fights in a primetime spot or the mainstream distribution to make it easily accessible to the general public, the results of major fights become a note online or blurb on Sports Center rather than something sports fans tuned in for. The attention turned to sideshow fights like when the 60-year-old Mike Tyson fought Jake Paul that drew such a massive number that it crashed Netflix. Jake Paul's lack of credibility as a pro boxer was exposed when he lost to the mediocre Tommy Fury in 2023, and when Anthony Joshua broke his jaw when he knocked him out in the sixth round last December. 

I have my doubts, mostly because of the track record that boxing has of self-sabotage for the vast majority of the past 15 years, but a few of the recent cards, and more specifically the potentially of the deals put in place, might be a way for the sport to rebuild itself, at least to some degree among the American market. In July, TNT and DAZN formed a partnership to bring "The Fight" series to both the streaming platform and the linear cable channel, with the concept of monthly fight cards. The debut card, Abdullah Mason vs. Albert Bell, which isn't exactly a match-up with major star power, still drew a reported average of 750,000 viewers. Last week, Andy Ruiz, the heavyweight that gained brief fame for his surprising knockout victory against the previously mentioned Anthony Joshua in 2019, lost a unanimous decision to Damian Knyba for a contest that garnered 678,000 viewers.

Clearly, there's an audience for boxing when fights are accessible and affordable.

UFC boss, Dana White was a longtime critic of the boxing industry, mostly because of the political nature of the sport.He formed Zuffa boxing with the Saudi government, with the most important piece of that puzzle being the cash that the Saudis can afford fighters. The organization started running monthly cards last year, with Canelo vs. Crawford under the Zuffa banner. Last night, Ryan Garcia pummeled Conor Benn, prompting the referee to stop the bout in the second round. It remains to be seen how impactful the Zuffa project will be on a long-term basis, but the fact that the cards are included in the $7.99 Paramount+ subscription.

Again, the fights are easy to find and don't have the outrageous price of traditional pay-per-view.

With the pending merger between Paramount and Warner Brothers Discovery, it's possible that all of this could end up under the Zuffa banner, but the point is. there are two entities are currently running live monthly cards, which gives fighters a chance to make a name for themselves and thus become stars in the process. As I said, I really doubt that boxing will avoid the pitfalls that originally diminished the sport, but between the TNT and Zuffa deals, this is the best chance that boxing had to rejuvenate itself in years.

Bill Dundee passed away

In light of Andy "The Butcher" Williams' sudden and tragic passing after a tag team bout at Enjoy Wrestling's fifth anniversary event in Pittsburgh at the age of just 48, I wanted to wait to pen this column in an attempt to give the pro wrestling world a chance to properly mourn, as many are still reeling from the shock of the gravity of that situation.

Andy Williams was still in the prime of his life, a brute of a professional athlete inside the ring and a talented musician that toured extensive outside of it. It just doesn't make sense that he could be slamming in the ring and jamming on stage then abruptly his life is cut short.

Unfortunately, the pro wrestling industry lost another grappler that same day, "Superstar" Bill Dundee, an institution of the legendary Memphis territory, especially at its peak throughout the 1970s and into the early-80s when the local matches drew thousands of fans to arenas throughout the circuit on a weekly basis.

In stark contrast, Dundee, who was 82 and had battled dementia for many of his final years, had lived a long and accomplished live, whereas given the nature of Andy Williams' accomplishments, his story feels unfinished, as if he had more left to do.

In situations like this, the difference is that the wrestling world can celebrate the life of Bill Dundee, but must mourn the loss of Andy "The Butcher" Williams.

As mentioned, the grappler dubbed, "Superstar" had the chance to live a long and accomplished life. He broke into the business in the early-1960s in his native country of Australia, working for Jim Barnett's original World Championship Wrestling group before he arrived in the United States by the mid-1970s.

This is where the view on Dundee's career depends vastly on perspective. Outside of a brief cup of coffee in the Ted Turner version of WCW in1993 as a manager alongside Lord Steven Regal, Dundee never had the national platform or the exposure that goes along with it. Some might consider that only regional success, putting Dundee in a different category that some of the other major names from his era, but at the same time, it wasn't as though Dundee wasn't over enough to go elsewhere, but rather that he was so over in the Memphis territory that he didn't have to go anywhere else to make a full-time living in the industry.

Keep in mind, Jerry "The King" Lawler is rightfully known as one of the best in-ring workers of all time for his ability to truly connect with an audience, regardless of it was as a heel or a baby face. The King knew how to get the paying audience emotional invested in what he was booked for over the course of decades. The difference was that Lawler got the national and international exposure as an announcer later in his career through his work during the Attitude era, a time when the business had its biggest audiences.

Don't get me wrong, I'm not taking anything away from Lawler, but rather to point out that while "The King" ruled Memphis as a pillar of the territory, "Superstar" was right behind him in terms of the foundation of what kept the territory operating, even as the other regional organizations evaporated during Vince McMahon's national expansion of the 1980s. I'm not sure if Dundee's in-ring accomplishments are held within the same regard as Lawler since "The King" is more well-known to the causal fan, but make no mistake about it, there was a reason that Dundee was the one that could feud with Lawler for years, switching between the heel or baby face roles to still draw money. Of course, it was no coincidence that Dundee often wore a jumpsuit, and Lawler called himself "The King" when they wanted to gain fame in Memphis.

Besides their status as the top drawing cards in the area for literally decades, Lawler and Dundee had other similarities and their work that contributed to the reasons why they were so over with the audience for so long. While they could both work holds and maneuvers, neither Lawler nor Dundee were going to get comparisons to Lou Thez or Dory Funk Jr. in the squared circle. That's not to mention that Memphis wasn't based on the scientific aspect of the sport, more than anything, Memphis drew money based on the heat of an angle, which is why the emotional investment from the fans mentioned prior was key to the consistent business the territory had. Both guys were smaller in statue, but through their charisma and believability, they had audiences rallying behind them as baby faces or generating jeers as heels. Bill Dundee didn't need to be a giant to convince the audience that he was a dangerous and manacling villain.

As I said, some might consider Memphis a smaller pond, and they aren't necessarily wrong, but there's something to be said for the ability to draw money to the point when someone reaches the level of a cornerstone of the region the way that Dundee did. However, he did venture outside of Tennessee for periods of time, mostly notably when he took over as the booker for Bill Watts' Mid-South promotion.

Bill Watts' ran the territory after Leroy McGuirk's NWA Tri-State had folded, and despite a solid roster of talent, by 1983, Watts' knew that he needed to add some variety to the events, opening the door for Dundee to bring in a slew of talent that had flourished previously in Memphis. In 1984, The Rock N' Roll Express vs. The Midnight Express feud was one of the highlights that made it a notable year in the history of the promotion under Dundee's direction. After a two-year stint working for Watts, Bill Dundee returned primarily to his stomping grounds of Memphis.

In an example of his sustained popularity, Dundee was able to find work in the area through more or less every permutation of Memphis, as the scale of the operations fluxed over the course of time as the industry on a national scene evolved. When World Class Championship Wrestling crumbled by the end of the decade of the 80s and the Memphis territory was struggling in the aftermath of closure of the rest of the territory system, Dundee worked for the USWA on a regular basis until it official shutdown in 1997. Still, as different groups took over the wrestling market on the regional level, Dundee wrestled for the majority of them during the latter portion of his career. He consistently found work in Memphis, regardless of the initials that promoted the shows. Bill's son, Jamie Dundee also had stints of success in the business, primarily throughout the mid-1990s and into the late.1990s. As JC Ice in the tag tam PG-!#, alongside Wolfie D, Dundee and his tag partner worked for the USWA, the WWF, ECW, and even WCW for a handful of matches by 2000. Aside from appearing with the Nation of Domination at Wrestlemania in 1997, the biggest national exposure that PG-13 had was probably when they had a match against The Dudley Boys at ECW's second pay-per-view, Hardcore Heaven that same year.

Amazingly, Bill Dundee still occasionally wrestled on the independent scene as recent as the early-2010s for cameos. In more recent years, with his health deteriorating, "Superstar" Bill Dundee still made appearances at autograph signings since he still enjoyed getting the chance to meet the fans. Despite the lack of a national platform throughout most of his career, there's no doubt that Bill Dundee has an accomplished and notable spot in the history of the industry. 

What's next for Johnny Gargano?

After several months of laying on a crate backstage without saying a word, looking like a total doofus and everything that a solid baby face shouldn't be, Johnny Gargano sprang up to challenge CM Punk for the WWE championship last week on Smackdown in his hometown of Cleveland, Ohio. Of course, if the office was going to reignite the former NXT champion as a competitor again, that was the place to do it since it would give him the best reaction possible, thus making him look like more of a star in the process.

But, was last week on Smackdown enough to reinvigorate the WWE career of Johnny Gargano? Furthermore, is there anything on the horizon for him beyond this one-week payoff after he was made to look foolish on television for months?

Obviously, it remains to be seen how or if the writing team will follow-up on the CM Punk match from last week, but considering the quality of the match itself, there's no doubt that management has something to work with in terms of Gargano's in-ring ability. In fact, since the time that he appeared on WWE programming in 2015 before he officially inked a contract with the company the following year to be a part of the developmental brand, the in-ring ability of  Johnny Gargano wasn't in question. He was brought into the fold during the main era of when Triple H was the boss of NXT, and was dubbed, "a Triple H guy," similar to his tag partner Tommaso Ciampa, who opted not to renew his WWE contract this past January before he debuted on AEW Dynamite the following week.

That would lend itself to Gargano being booked in a better position with Paul Levesque as the head of creative of the WWE after Vince McMahon was exiled in disgrace. That's not meant to imply that it would be a form of nepotism, but rather to point out that any booker has performers that they believe can accomplish their vision for a particular show or brand. Keep in mind, when Paul Heyman was put in charge of Raw, and Eric Bischoff was the executive producer of Smackdown, individually for a cup of  coffee in 2019, there was a brief, but specific shift in the spotlight that was focused on certain performers at the time, such as Aleister Black since Heyman had a belief in him. The fact that the moves were merely lip service for investors since there was a growing level of discontent with the creative direction of the company from the fan base, which is why the roles were eliminated for Heyman and Bischoff within a year, is a different discussion.

The point is, Levesque had a belief in Gargano during his time as the boss of NXT, and a lot of the success of the brand at the time was based on the specific players that Triple H picked to run with his concept of the show, but for whatever reason, it never translated to the main roster in any significant or meaningful way.

Johnny Gargano actually decided not to renew his WWE contract when it expired in late-2021 to be able to spent more time with his family when his wife, WWE wrestler, Candice LeRae was going to give birth to their son early the next year. Eventually, Gargano made a surprise return to Raw in August of 2022, which provided the artificial pop when someone is back on the show, but the vast majority of the past four years saw him more or less under the radar in the company.

Gargano had a few injuries during that time, including a shoulder injury that put him on the sidelines almost six months, and there was speculation that the routine that saw him planking on a crate since the start of the year was because he re-aggravated the previous shoulder injury. I understand that it was a way to keep him on the show, but even if that was the case, I'd argue that being off of TV completely would've been a better option than making him look like a dork for months on Smackdown.

If I had to guess, I'd say that this return to the ring was a one-off that won't amount to much in the grand scheme of things. That's not to say that Gargano couldn't do more on the show, he certainly can, or that the audience wouldn't get behind him since they probably would, but the reality is that there's no track record to imply that the WWE machine will truly get behind him on the main roster to see how far up the ladder he could go if he got a chance to work to his fullest potential.

As much as I think Gargano has the skills to have a regular, bigger role within the WWE landscape, there is an argument to be made, or a least you can see the reasoning behind why the office might be hesitant to do so.

At 39. Johnny Gargano definitely has a few more years of his theoretical prime left in his career. There are a slew of reasons for it, including talent avoiding many of the pitfalls of the previous generation, as well as the advancements in treatment for injuries and overall recovery for the body, but the reality is that outside of major injuries that can completely derail an in-ring career, the current generation can extend their careers longer than those of a prior era. More protocols, medical staffs, and access to some of the best doctors in the world are much better options than self-medicating and taping up injuries.

So, Gargano isn't at the end of his career by any means, but at the same time, when you consider the history of his career, it skews toward the latter portion of his time as a wrestler.

He started in the sport during his teenage years and had a few injuries, including a serious back injury, during his independent run. Since Gargano started so young, he simply has fewer years left now than he would've otherwise. Along with that, the series of injuries that he had during his time in WWE might get him labeled as injury prone, in terms of how much of an investment the company would or wouldn't be willing to make in him.

Besides that, he has a few other things working against him, at least from a promotional point of view. TKO, especially at this point, has a business model that looks to promote the larger-than-life aspect of the WWE more than maybe even Vince McMahon would have. Vince's troupes about sponsorships and commercials were discarded in favor of the bottom line. TKO is trying to sell so much of the sizzle that the argument can be made that they've fallen woefully short of the expectations of the substance of the product, souring some fans in the process. It goes without saying that Vince made questionable personal decisions, and not every professional decision that he made was a home run, but it can't be denied that McMahon's tireless work ethic was designed to give the audience their money's worth the vast majority of the time. There's something to be said for that, because fandom often became generational under McMahon's leadership.

Does the TKO business plan have any room for someone like Johnny Gargano?

I'm not saying there shouldn't be, and everyone can rally behind a solid underdog narrative, but taking into account the way that TKO exploits the current assets of the company, with seemingly no thought toward the future, is Mark Shapiro going to see the value in the effort to invest those promotional dollars into Gargano?

The problem is, Johnny Gargano is smaller in statue and doesn't have the look of a major star. When the bell rings, the guy can go, but who's going to better represent what the TKO brand is selling today, Roman Reigns or Johnny Gargano? Bron Breakker or Gargano? Oba Femi or Gargano? On the other end of the spectrum, Danhausen isn't as tall as Andre, but he has a very marketable gimmick. whereas Gargano looks like your friendly neighbor that would help carry your groceries into the house.

So, I don't think that there will be a major resurgence in his career, but that doesn't mean that he won't be successful. The bottom line is, Gargano has made a full-time living from the WWE for more or less the past decade. Given his pure skills in the ring, it seems like he would eventually be a good fit for either the role of a coach at the Performance Center or a producer for Raw or Smackdown so it's very possible that he will continue to work for the company for years after he retires.

NXT releases

The annual purge of talent from the WWE roster is usually around Wrestlemania each year, prompting some discussion about where performers will go next, who was underutilized, etc. But, as we've seen since the WWE merger with the Ultimate Fighting Championship to form the TKO corporation a few years ago, the conglomerate takes a much more direct approach to its talent relations.

Cutting talent is unfortunate and disheartening, it's tough to see anyone lose their job, especially their dream job in many cases, but it's a harsh reality of the business side of the genre. The name of the game is to develop and promote talent that can draw money on the biggest scale possible. There are a lot of boxes for potential WWE superstars to check, many of them that extend beyond just the in-ring skills, which is why the money-drawing stars in the largest sports entertainment company in the world are a rare breed. Some of that has to do with the modern philosophy of promoting the brand ahead of any individual star, which gives the organization more of a margin for error, so to speak, if any injury that might put a main event name on the shelf, or if there's a contract depute that would take the talent off the roster until a resolution was agreed upon. The other side of the coin is that the specific performers aren't over as much as the previous generation when the focus was on those individual stars rather than the initials. Steve Austin, The Rock, and Mick Foley were over bigger in their heyday individually than the WWE is today, in terms of pop culture popularity, partially because they were given the spotlight, not the initials. Sure, each of those guys represented the WWF brand, but a lot more Austin 3:16 t-shirts were sold than the standard WWF logo t-shirts. It's a lot easier for the audience to emotionally invest into the character than the corporation, and that's taking nothing away from the massive success that the WWE has become as far as being a global, publicly-traded organization.

Still, even taking that equation into account, the amount of talent that can excel in the top positions where the big money is made, is a select group of high-level performers. As of today, there are only a handful of names that can truly move the needle, especially since the retirement of a slew of legends in recent years. In fact, you could say that WWE was able to ride the wave of the John Cena retirement tour to still draw major crowds last year when the rest of the product probably didn't justify it. Cody Rhodes, Roman Reigns, CM Punk, and Rhea Ripley are on the short list of WWE stars that the general public will take notice of these days. That's not to discount any other extremely talented performers on the roster, but rather to point out how exclusive the top-tier is.

They have to be able to go in the ring, they have to be able to cut the promos to sell the pay-per-views, they have to do the media rounds to keep the sponsors satisfied, they have to be able to sell merchandise, and they have to be able to avoid the countless pitfalls of the modern age of technology when everyone has a smart phone to be able to record almost everything, particularly on social media.

There are also the countless wrestlers that get shuffled through the Performance Center, and if the program has a 10% success rate based on the number of athletes they sign to a relatively cheap developmental deal, the investment is more than worth it. When you have that many prospects coming through the doors, it's an easy decision to release a few that may or may not be progressing at a fast enough rate since those cuts make room for new prospects.

That's why even though the WWE had its extended list of releases a few months ago, it's not too surprising that ten wrestlers were cut, according to a report from Fightful Select.

Adriana Rizzo, Wendy Choo, Anya Rune, Zena Sterling, Braxton Cole, Marcus Brown, Gary Wilson, Jasper Troy, PJ Vasa, and Ellen Akesson were all given their walking papers.

The majority of this list is cannon fodder, not to say that they don't have a future, but rather that their status among the landscape in WWE, or even just the developmental system is moot. For example, Marcus Brown and Ellen Akesson were recruits from the bodybuilding world that were inked to contracts in March, but never actually had a match. In this case, they were prospects with an athletic background that probably couldn't make the transition to sports entertainment. The totality of the investment is minimal and their relatively quick exits clears space for the next group of prospects that might make a better transition to the squared circle. Gary Wilson was a referee that spent four years under contract, and it might've been a situation where there just wasn't an open spot for him further up the ladder. Braxton Cole, Anya Rune, PJ Vasa were all signed within the past year and competed on Evolve. This is where the impact of most of these cuts is more or less zero because the developmental brand within the developmental system is more about the analysis of progress for the talent rather than any type of star power or cache as a commodity. The Evolve brand is basically there to give prospects some type of in-house television exposure so to speak before they would be considered for actual television exposure on the NXT brand on the CW. The reason being that Tubi is under the radar enough that rookie mistakes won't be exposed enough to sour the audience on a wrestler that is still getting experience, but it's enough of a WWE style production that the performers can learn how to work a WWE television environment. 

Adriana Rizzo worked primarily as an interviewer on the Evolve show, and this might be a situation similar to Gary Wilson, maybe they just didn't have a spot for her further up the ladder in the system. Zena Sterling was a part of the LFG series, and despite the television exposure, the viewership was minimal so the impact of her release is as well. Jasper Troy was the winner of a season of LFG and had a stint as the WWE Speed champion, but again, the viewership was so minimal on anything that he was involved in so the vast majority of the WWE audience, including fans of the developmental brands, probably don't know who he is.

The biggest release from the list might be Wendy Choo, who originally signed a developmental deal in 2019, but had spent a few years on the sidelines after a serious ankle injury that required surgery. Choo had been enough of a part of the NXT brand in various roles that she had an action figured released by Mattel that sold very well, including a chase variant. The others on this list weren't far enough along to get merchandise, which is one of the reasons that I'd say that Choo was the biggest cut, as she had proven to be at least somewhat marketable, albeit for a smaller sample size. I think it goes without saying that Choo is going to get offers going forward, and TNA is probably where she ends up since it's a more natural transition since there's a working agreement between the two organizations, allowing the door to be open for an eventual NXT return.

As mentioned, it's tough when people lose their jobs, but in some ways, this could allow the talent cut from the roster to use the experience they gained in the developmental system to be make to  still make a better first impression than they would've other wise since the majority of fans still don't know who most of them are. Getting cutting from the WWE isn't the end of a career, Drew McIntyre is a great example of that, but this scenario shows just how much of a machine the TKO corporation is because they can cut ten performers from the list and still have a full roster since it's just another day at the office.

The Butcher passed away

Life is so fragile. 

In the professional wrestling business, an industry often built upon the larger-than-life performers, we often see so many death-defying maneuvers and over-the-top spectacles that it becomes routine that the grapplers that take the bumps and bruisers are back to their feet to continue the bout after thrilling moments in the ring. These guys are such top-notch performers that falling twenty feet, landing on the canvas from the top rope, or crashing through a table is a part of the job description, especially in modern pro wrestling. Sure, injuries happen, but at the end of the day, these athletes always find a way to lace up their boots and get back through the curtain one more time, which is why almost nobody truly retires from the ring.

Again, we see these performers, especially at the highest levels, always get back up. It happens so often after the legitimate risks they take as pro wrestlers that it's expected that they can dust themselves off to make it to their next match.

Unfortunately, a tragic situation unfolded in Pittsburgh last night when a routine tag match, a contest without any of the risks that are often seen on national television today, ended with one of the performers not able to answer the bell.

Enjoy Wrestling, a progressive pro wrestling company that was celebrating it's fifth anniversary before they plan to conclude their operations next month, held its event at the Mr. Smalls Theater in the Millvale neighborhood of the city. Enjoy had carved a sizable niche for itself in an area that has a plethora of sports entertainment options, with a lineage that traces back to the Bruno days of Pittsburgh Studio Wrestling. There are live cards somewhere around western Pennsylvania almost every weekend. Still, despite the variety already in the area, Enjoy brought something fresh and innovative to the table, garnering a dedicated following over the past few years. Running roughly half a dozen events a year, Enjoy showcased unique talent from outside of the region that wasn't seen in Pittsburgh often such as Su Yung, Sonny Kiss, Effy, and others. At the same time, the group gave an enhanced spotlight on the stellar local crop of talent as well, while promoting inclusivity and acceptance.

The local league has a following that stretched beyond Pittsburgh through their Youtube content, and while the news of the end of the project was met with sadness, there was still a noticeable anticipation for the finale at Mr. Smalls.

As a commentator on the Pittsburgh scene, I didn't get a chance to see Enjoy's product in person, simply because I was often already scheduled to announce at different events on weekends that they had shows lined up, but I was always happy to see the fresh talent and opportunists for many of my friends from the local circuit. In particular, I was looking forward to getting to watch Lee Moriarty vs. Amazing Red at some point within the next few weeks.

The Butcher and The Blade, the former AEW duo, were scheduled to compete against TME, the pair of Duke Davis and Ganon Jones Jr. When it comes to some of the absolute best of the current Pittsburgh generation, TME are near the top of anyone's list. They are great performers, but even better guys outside of the ring. Matt Cardona spoke very highly of Duke Davis on his podcast after they worked a match together at an International Wrestling Cartel event last August. 

Sadly, around 8:45 PM last night, I heard from a few of my friends that were booked for the show that The Butcher had some type of medial emergency after the match and an ambulance was called immediately. I didn't realize how serious it was until photos from fans in attendance were posted online. I knew it had to be very serious for the medical team to be working on the real-life Andy Williams directly at ringside in front on the audience. Credit to Enjoy Wrestling for not only having a medical staff there to address the situation so quickly, but for also ending the event after the medical incident. It goes without saying that this scenario was much more important than a pro wrestling event, and the Enjoy management made the right call.

I was told that a few of the other wrestlers had accompanied Williams to the hospital, but didn't want to intrude for updates beyond what was already confirmed publicly. I was hoping for a positive follow-up at some point today, although, I have to be honest, I was very concerned because of the nature of the situation.

It was confirmed earlier today that Andy Williams passed away at the age of 48. As of this writing, no cause of death has been announced.

The Butcher broke into the sport later in life than most aspiring pro wrestlers, but not only did he land a contract for seven years with a national promotion of the decade that he spent in the genre, he also had a full-time music career as well. He was most known a a metal guitarist for the ETD band before he worked with Atomic Rule after the original group dissolved. When he wasn't in the ring, he was often on extended tours with the bands, achieving notoriety within that music scene.

Even though he started as a pro wrestler in his late-30s, that's probably what made The Butcher character work as well as it did. The trademark mustache and monocle made him look like a raging Monopoly man, as he alternated dropping to one knee to mimic an amateur wrestling exerciser in a menacing fashion. Someone that is in their early-20s simply wouldn't be able to get that persona over. There's no doubt that Andy Williams passed the airport test because you could look at the guy and know that he wasn't working a 9-to-5 job in a cubicle.

All things considered, The Butcher and The Blade were a very solid tag team in terms of their performance in All Elite Wrestling, even if they didn't get the opportunity to achieve as many accolades. The Blade suffered a serious neck injury that required surgery so he was on the shelf for the past few years. With The Blade on the sidelines, The Butcher only worked one match for the company in the past two years. He worked a handful of independent shows during that time, but continued working in music on an almost full-time basis. But, who was or wasn't full utilized during their stint in a pro wrestling company seems so secondary in comparison to the tragic situation that happened last night.

Despite his imposing demeanor in the ring, tributes have poured into social media, praising his kindness. It's an ironic dichotomy that the brooding persona that stomped around the squared circle was soft spoken in real-life interviews.

Obviously, Andy Williams is gone way too soon. Considering that the medical staff was there to work on him immediately, and from what I read online, he was taken to Allegheny General Hospital in Pittsburgh, which is world-renowned for it's level of care, everything that could be done was done to try to prevent this tragic result. As I said, it's impressive that The Butcher had a national contract for seven of the ten years that he worked in wrestling, and the argument could be made that he was even more successful in the world of music with extensive tours.

Despite his life being cut tragically short, the biggest takeaway from Andy Williams was the positive impact that he had on fans and his peers. Sadly, situations like this remind us of how unexpected, and often unfair, life can be.

My sincere condolences to the friends and family of Andy Williams at this difficult time. 

Should Penta win the title?

In less than two weeks, Penta, who beat his real-life brother Fenix to earn a shot at the World Heavyweight championship on Raw this week, will challenge Roman Reigns for that belt when the broadcast is hosted in Mexico City on September 14th. The Monday night show that will be headlined by one of its countryman in the main event will be the wrap up of an important few days for the AAA brand, which WWE bought last year. The first night of Triplemania, the biggest event on the lucha libre calendar, will take place at the MGM Grand Garden Arena on September 11th before the second night takes place just two days later at Arena CDMX as a part of the WWE's series of shows in the country. Despite what was mentioned in the WWE video packages to hype the lucha events, Triplemania has taken place over the course of multiple nights in the past.

Still, this is a pretty big time frame for the Mexican expansion of the TKO umbrella, as more major stars, including the legendary Rey Mysterio, became a regular part of AAA programming.

In many respects, putting those WWE stars into the fold of the lucha project sent a message to the audience that this wasn't meant to be an American takeover of their homegrown product, but rather a way to make their native promotion even bigger in the process. If that is how the chips fall into place in the long run remains to be seen, but at the very least, it establishes a level of goodwill with the Hispanic audience that TKO wants to promote authentic lucha libre on a global scale, not Americanize it.

With that in mind, is it possible that Penta could unseat Roman Reigns to win the World Heavyweight championship in Mexico City?

On the surface, the answer would be no, but a look at the WWE schedule opens the door for the possibility. Let's be honest here, for the most part, the WWE has cooled off compared to where it was a few years ago, that's a natural decline, and at this point in the year, specifically the span of time between Summer Slam and Survivor Series, the product can hit an unintended plateau. Outside of the Sunday Night's Main Event special on Peakcock this weekend, the next pay-per-view isn't until October 10th for the Money in The Bank PPV so there's undoubtedly time to add something fresh into the mix before the main event scene potentially gets reshuffled before Royal Rumble season.

Don't get me wrong, Roman Reigns is still one of the top tier guys for the company and should remain in that position until he retires. He's one of the very few stars from the modern era that have any type of connection with the mainstream public, and that's not anywhere near the level of stars of the past so it's a rare asset in 2026 that management will look to keep strong. At the same time, will dropping the title for a month or so really damage his status within the WWE? One thing is for sure, a championship win over Roman in Mexico City would propel Penta into a completely different level of stardom. I'd argue that even if it's a short run, that isn't the difference maker in the grand scheme of things. Penta becoming the champion would be about the moment, not the title reign itself.

I understand that there's a hierarchy within the WWE system, and Roman Reigns rarely loses matches. Maybe in the past it wouldn't have been seen as the most feasible option from a marketing perspective to have a wrestler that only speaks limited English defeat Roman Reigns for the world title, but taking into account that the WWE owns a lucha libre propriety, and Penta has a gimmick that lends itself to being extremely marketable, I'd say that they should go with the surprise victory and give Penta the championship until the next pay-per-view. Again, I have to point out, and this is meant as a compliment, I don't think Roman Reigns loses any status if he loses the belt. He has reached a point in his career that he's as over as he's going to be and he's solidified in that position, regardless of if he has the championship or not.

That being said, I don't think the belt will actually change hands when Raw is scheduled for Mexico City. I get the point of why they'd want a native performer to get a title shot to draw in the traditional audience, but I still think it would be somewhat of a letdown if or when Penta comes up short in his quest for the title, especially after the tournament on television the past several weeks to build up to the bout. Sure, Roman will probably shake Penta's hand and endorse him in the post-match segment, but it would still seem like somewhat of a missed opportunity, given the location, and more importantly, TKO's continued efforts to expand lucha libre under the WWE banner.

Obviously, it remains to be seen what move management makes for the title contest, but at the very least, it becomes another way to spotlight the lucha project. As I wrote at the time of the AAA purchase, I was skeptical, and in some ways still am, of what WWE is really going to do with a lucha organization. If something gets really over, there's a tendency to move it to the global stage of WWE rather than the national stage of AAA, or at least that would've been the philosophy under the previous regime. It was a pleasant surprise, at least so far, to see that the office hasn't cherry-picked AAA's most popular acts to import to the main roster. Since there are decades of examples of how the office had to put the WWE brand first in more or less every situation, even when they owned other properties, including WCW and ECW, I'm not going to be totally sold of their commitment to AAA until at least a few years from now. Keep in mind,Triple H had to pin Sting at Wrestlemania 15 years after WCW folded because Vince McMahon was still fighting the Monday night war.

One of the only good things that the TKO executives might bring to the table, as they ignore even the most respected wrestling troupes of that past, is that they don't have the irrational loyalty to the WWE initials. Vince McMahon beat Sting, and Goldberg had a horrendous run in 2003 because McMahon was simply not going to spotlight WCW guys. The suites at TKO don't care what the letter are, but rather how to make as much money as possible either the assets they own in the portfolio. We've seen how TKO has significantly increased the international footprint of the WWE brand, and they aren't going to derail the opportunity to make as much money as possible in the Mexican market just because McMahon Sr. founded Capital Wrestling with Toots Mondt in 1953.

One of the encouraging signs of the investment being put into the AAA brand was that at the recent comic con event, it was revealed that Mattel will release a full line of lucha libre action figures, with a nod to the past with throwback versions of Rey Mysterio and Psychosis as well as current stars from the promotion. Realistically, I find it very doubtful that there will be a title change on Raw, but there's no doubt that Penta winning the championship would be a memorable moment in Mexico City.  

What's the status of The Acclaimed?

According to Fightful Select, The Acclaimed, the duo that consisted of Anthony Bowens and Max Caster, could be on their way out of All Elite Wrestling after their current contracts expire in just a few weeks on October 1st. The report also said that it's unclear if any negotiates had taken place between Bowens or Caster and management, citing that it could be an indication that the former tag team and trios champions could exit the organization after almost six-year tenure in the organization.

It's less about parsing detail of what could've or should've been with the career of both Anthony Bowens and Max Caster in the company, and more about what the sum of their AEW careers represented as a microcosm of the bigger picture among the AEW landscape.

Despite some legitimate talent and potential to work with, in terms of fresh faces for a newer pro wrestling  commodity on the national level, the totality of the careers of The Acclaimed in All Elite Wrestling were the textbook definition of running in place.

Yes, they were discovered on AEW Dark at a time when more or less any independent wrestler was being shuffled through the Youtube series in the midst of the pandemic. Anyone that was fully trained and could test negative for COVID at the time was given a chance, even if they weren't exactly destined to end up on TBS or TNT since the pandemic brought many limitations with it. And, yes, they stood out from the pack of countless independent names to not only became regulars, but also sign a full-time contract with the promotion. Furthermore, yes, they went from the smaller stage of Youtube shows to national television to become one of the most popular acts in the company, albeit for a relatively short period of time.

On the surface, there was progress made, but was there really progress made in the grand scheme of things?

This isn't a knock on their talent in any way, shape, or form. Neither Bowens nor Caster were Lou Thez or The Dynamite Kid in the ring, but they were solid performers that proved that they had the skills to work for a national promotion. More specifically, they got over with the crowd and could work the audience more effectively than most of the roster.

It might not be something that can be rated five stars, but Caster's freestyle raps for the entrance, and Bowens role as the hype man worked. Their act connected with the audience, and their stable with Billy Gunn probably got over a lot stronger than anyone originally expected. Even when Bowens was on the shelf for a few months with a knee injury, he was still on AEW programming with Caster, and the team was still featured as a commodity. 

They had a nearly four-month run with the tag team titles from September of 2022 through the early part of 2023, which was probably their peak as stars on television. Since that time, for whatever reason, there was no plan of any substance or firm direction for them. Very similar to many others that are under contract to the Khan-owned organization, The Acclaimed faded into the background, almost as if they were forgotten about. Their tenure as the Trios champions with Billy Gunn in 2024 was also forgettable.

At the beginning of 2025, the tag team officially dissolved, and the brief attempts for a reunion fizzled out quickly. The opportunity to truly propel The Acclaimed as a valuable asset was missed. Again, this had nothing to do with their talent, but rather the way it was handled or lack thereof. Caster and Bowens were cast as secondary figures, and quite frankly, the audience moved onto other performers, and bigger stars in the tag team division. For example, The Acclaimed weren't booked to work with Adam Copeland and Christian in a storyline that could've made them look like rising stars, and the perception from the audience of both Caster and Bowens reflected that after the tag team disbanded.

Caster hasn't worked a match for AEW since last December, and Bowens only had about a dozen matches for the company each of the past two years. Bowens joining The Opps this past April didn't do much for him since he was just a background figure since that time, most recently working an eight-man tag team match on the pre-show of All In almost two weeks ago.

The reason that I said that The Acclaimed are the textbook example of running in place is, do they truly have bigger name value in 2026 than they did during their early days in AEW?

They certainly have the talent and the television experience to have a bigger profile in the industry, but aren't anywhere near as popular as they were at their peak a few years ago so it leaves them at a point of indifference before they appear to be set to test the free agent market.

However, that's not to say that they'd have to settle for the independent circuit if they wanted to continue to make money in the sports entertainment business.

As with most that had previous national TV exposure in the modern era, Total Nonstop Action could be a possible landing spot for them, especially after the departures that the company had over the past year. If not TNA, or at least something after a possible stint there, I could see The Acclaimed having a successful run in NXT, similar to the way that Ricky Saints and Mike Santana made the jump to the smaller pond of that brand. To speculate if Caster and Bowens would be able to make the transition to the WWE main roster would be getting too far ahead of ourselves in the process. Despite their individual contracts expiring with AEW at the same time, allowing them to work anywhere else on their own, I'd say that they should remain a package deal. Caster and Bowens had their biggest success as a team, and the argument could be made that they had more to do as a team than they were given the opportunity to do in AEW so I'd say that it makes the most sense for them to make their next move as a team. That's not meant as any type of criticism either, but instead to point out how entertaining the tag team is. When the whole is greater than the sum of the parts, it's often an indication that the act gets over so well because it was tailored to be a tag team. They are dramatic examples, but Hawk and Animal were always going to be more over as a team than singles stars. Bobby Eaton and Dennis Condrey would too good of a tag team not to pair them together on the card.

Obviously, it remains to be seen, and technically, they could reach a new contract with Tony Khan at some point in the next few weeks to stay a part of All Elite, but they would basically resign themselves to sitting in catering to collect a paycheck. I'd suggest that they have more talent than that, and the previously mentioned Mike Santana is a good example of the upside of performers that bet on themselves when management doesn't have a bigger role for them. All that being said, the biggest takeaway from this story is that the notion that performers can end their tenure in the company at virtually the same place where they started in terms of career progress or star power is a pattern in AEW.

Brawl under the bridge

Pittsburgh is a region known almost as much for its pro wrestling as the steel it once produced. Bruno was a mythical hero, Douglas was a rowdy rebel, and Angle was an Olympic champion. As much as the potpourri of ethnic backgrounds came together to form the unique blend that is western Pennsylvania, there's an equally diverse independent circuit that brings a variety of action to the area.

In an apropos setting, Homestead, a historical location for a myriad of reasons acted as a "bridge" between the industrial and entertainment roots of the steel city. The Keystone State Wrestling Alliance, a throwback to the days of Bill Cardille and Pittsburgh Studio Wrestling, had a memorable 25-year run before the finale of the promotion last December.

For nine of those years, KSWA, anchored by local legends like T. Rantula and Dennis Gregory, as well as mainstays such as Lou Martin and Shawn Blanchard, presented "Brawl Under The Bridge," a live event hosted under the Homestead Grays Bridge. A wrestling ring and hundreds of fans would pack underneath the structure that runs along the Monongahela, one of the city's well-known three rivers.

“Brawl Under the Bridge was originally a cool stop on the Keystone State Wrestling Alliance’s ever-expanding road tour. Planting the KSWA ring under the Homestead Grays Bridge in Homestead was an experience, especially for those of us like me and Bobby O who have a great affinity for baseball history. At first we brought in a wrestling “name” like James J. Dillon, who got his in-ring start in Pittsburgh. He was honored with proclamations for that distinction. KSWA featured the Rock n’ Roll Express, and in his last single’s match, Brownsville native, Demolition Ax. Nicolai Volkoff came in from Baltimore and talked glowingly about his time living in Green Tree and working Studio Wrestling as Bepo Mongol. He sang God Bless America so well I swear you could still hear him if you put your ears to the rafters underneath the bridge. , said Tom Leturgey, KSWA's longtime ring announcer, known affectionately as "Trapper" to the audience.

"The event is a wonderful community participation moment in a stunning urban setting. Mixed with the thumps of the ring are the cars rumbling overhead and an occasional train blaring past at high speed with maximum noise. The crowd packs the space, enjoying every type of food and drink available. Being part of this event is an annual highlight and a wonderful time for wrestlers, officials and fans alike," added referee, Mark Charles. 

Located in Allegheny county, the borough has its place in history as the spot of the infamous Homestead Steel strike of 1982, a brawl clash between the mill workers and the forces of corporate executives. The positive side of the Homestead narrative is that it's the home of the internationally-known Carnegie Library, and a museum dedicated to its steel heritage. The borough also has a special place in sports history as well. The Homestead Grays, one of the premiere teams of the Negro Leagues in the 1930s, was the organization that the powerful hitter, Josh Gibson played for during two different stints in the line-up. The 1972 National Baseball Hall of Famer played for the Pittsburgh Crawfords for four seasons in between his time playing for Grays.

Today, The Homestead Grays Bridge is named in honor of that pioneering Negro League team, and one of Gibson's jerseys is on display at the Heinz History Center, a five-story building that is a branch of Smithsonian Institution, located in the Strip District.

With so much culture, history, and sports background, it's easy to see why the pro wrestling presentation under the famous bridge became such an  anticipated attraction over the years. Over the course of those nine years, it became as much of a community event as it was a spectacle of the local wrestling calendars.

That's why there was such a void within the past two years since the last KSWA showcase there, particularly since the final bell of the promotion last December, prompting questions about if the popular production ended as well.

On September 19th, a new banner will be hoisted to pay homage to a Pittsburgh tradition when Ryse Wrestling, brings back the concept of Brawl Under The Bridge, right back in its signature location in Homestead.

Ryse entered its 10th year in 2026, looking to expand beyond its home base in Uniontown, a blue collar region in Fayette county, as a way to provide more live event opportunities for both fans and its roster. Founded by the legendary Brandon K in 2016, the original mission statement of the promotion was to provide a platform for the next generation of aspiring hopefuls that looked to make their name in the industry. The Stronghold Academy, the training center associated with the company, was a piece of the foundation of  the project and remains a key ingredient of the formula today. Stronghold alumni include AEW's Lee Moriarty, NXT's Thea Hail, and MLW's Lady Frost. Aside from it's usual cast of hard-working grapplers, national stars, including independent wrestling legend Delirious, Lexus King, Fandango, Ethan Carter III, Donovan Dijak, Shane Douglas, and Dr. Tom Prichard have made cameos for the promotion.

"The bridge is an iconic wrestling venue that has earned legendary status over the years. Ryse is proud to have the opportunity to continue the tradition and honor the work of KSWA and everyone who helped make The bridge such a legendary space in professional wrestling," Brandon commented.

"Brawl Under the Bridge became a Mon Valley institution. I work in the Mon Valley, and people started to ask me about it year-round. It became our largest event of the year. Those memories cannot be topped. When KSWA finished our 25-year run in 2025, so did our Brawl Under the Bridge. I hoped that an established and mainstream, family-friendly organization would pick up the mantel and Ryse Wrestling is among that very short list around Pittsburgh," added Trapper Tom.

The announcement of the September 19th event has generated a buzz around the region, both for fans of the unique setting and those that participated previously.

"I am one of the few people who have participated in the bridge event every year since 2022 through today, first with KSWA, then with FNW and now, I’m very proud to say, under the Ryse banner," Mark Charles commented.

True to its mission statement since its inception, Ryse's Brawl under The Bridge event will look to showcase much of the young talent on the roster. The dynamic Pat Angel, Jace Mara, John Lee Kirk, and Ascension champion Edric Everhart are among those already scheduled. The popular trio, White Trash Forever, including Ron Mathis, Bruce Grey, and Tyler Vox are slated to appear. Iron city icon, Gory, who broke into the sport more than two decades ago at the age of just 18, will be in action. The Troublemakers, Glenn Spectre and Canaan Kristopher, former Ohio Valley Wrestling Tag Team champions, are advertised as well.

Just a few days after the Ryse debut in Homestead, the organization will take the squared circle to the Clearfield Country Fairgrounds for live matches on September 24th as a part of the American Motor Fest. But for now, the focus shifts to September 19th when Ryse Wrestling continues the Brawl Under the Bridge tradition.