Why I won’t be Staying Up Late in the UK to watch WrestleMania 41

Over the years, even when my interest with WWE was at a low point, I’ve checked out where  the Royal Rumble and WrestleMania weekends fall. I haven’t always followed through with a watch but there has been many a time I’ve gone in cold, totally out of touch with the product, and given The Show of Shows a chance. 

It is the professional wrestling world’s version of Super Bowl.

This year, despite watching some RAW and SmackDown on the road to WrestleMania, it’s already been decided that a live watch is off the table. The two night fiasco has devolved into a pair of cards that leaves one a little deflated. Sure, the spectacle will be grandiose, there’s bound to be the odd unexpected show stealer, but it looks like 80% mundane filler. 

Cena and Rhodes—even with the poor follow-up to the climax of Elimination Chamber—is still intriguing. I have booed Cena more than most over the years, but the case for him winning a (WWE) record breaking world title outweighs the arguments for Cody Rhodes retaining. The Punk/Reigns/Rollins Triple Threat match has me interested. The glutton for punishment that I am, is hoping for a Seth Rollins win. I don’t expect it. It also shouldn’t headline Night 1. But The Fed seems to be pandering to Phil Brooks. 

Outside of these two matches, others are only catching my attention for the same reason I slow down to look at a car crash.

Charlotte Flair and Tiffany Stratton have about as much chemistry as Seth Rollins and Becky Lynch. You’d never put them together. Unlike the latter, the women’s match we’ll be made to watch at WrestleMania won’t have the unexpected spark and outcome of the Lopez/Quin union. Flair has reverted to type and rather than think of the bigger picture—the match—she has thought only about herself.

I understand that veterans need to put the next generation through their paces. They need to test the new-blood to see if they’re fit to stand at the top. But what Flair does isn’t tough love. It’s self-serving. Or . . . perhaps she is a genius, because there’s real eyes on this encounter now, despite the tepid heat we saw at the start of the build.

Another car crash has been the Jey Uso and Gunther build. WWE fans have a tendency to be simple creatures when it comes to story. While they may complain that AEW lacks storylines, they miss the nuances and long-term dynamic Tony Khan’s promotion provides. In The Fed, just getting everyone to shout “Yeet!” is supposed to be enough to carry a World Title bout. It isn’t. Gunther’s in ring skills will be sorely wasted on Uso, and should he lose, a cheap five minutes of getting the crowd to Yeet along will severely diminish the value of the championship.

WWE knows this has been a weak build to the weekend. You only have to look at the media and PR in recent days. We’ve seen a terrible waxwork of Triple H. Roman Reigns take flack for saying he likes Trump. CM Punk criticised and immediately responding for staying on the payroll of a “MAGA company”. And Nick Khan taking time to mention AEW. Oh, and The Rock posting a pic of him in a NJPW T-shirt.

It’s a classic trick political parties use: if you don’t want people to notice what you’re doing (or not doing), give them distractions.

This further underlines how they have fumbled the John Cena heel move. And instead of making a stellar, must see card, they have made something over the two nights that resembles a set of House shows for a tour.

They haven’t even got every title on the line or represented over the two nights. How can that be? The Show of Shows with more filler than substance.

The best way to watch this year’s WrestleMania will be a day late and using Netflix’s fast-forward function. When AEW suffers a dip, it’s still guaranteed its upcoming PPV will be top-notch. With this weekend’s card as it currently stands, it would take something close to perfection from each performer to turn lacklustre build, uninspiring match choices, and weak media interviews to elevate it to anything approaching Mid.

I hope WWE can prove me wrong. If only for the people attending in person who had to re-mortgage their homes to afford a ticket.

Understanding AEW and WWE: Streaming and Fan Perception

When I was a kid, I preferred WWF to WCW. There are a number of factors that came into play. WWF was more abundant and accessible. I had satellite TV so caught all their shows and PPVs. As I recall, WCW was restricted to a highlights type show on ITV. That might not be correct, my younger self may have just lacked the smarts to find the rest of its output. 

Regardless, what I saw of them made me think WWF was the real thing and WCW was a cheap ripoff. This feeling of it being a supermarket own brand compared to the real thing came down to how it looked. That’s not to say I liked nothing about WCW and I certainly admired some of their wrestlers. If I’m honest, the main distinction came from a place of snobbery. WCW felt cheap. The Fed had better production values. 

Quite why or how this facet won me over is a mystery because Kendo Nagasaki was my favourite wrestler growing up and the final product on World of Sport was several notches below the American counterparts. 

Later on, Hulk Hogan switching companies had zero bearing. If anything, it underlined how WWF was the superior product. I had never cheered on Hogan and every PPV I silently wished Hulkamania would die before my eyes. The promise of it living forever irked me. The only time Hogan impressed me in the ring was when he played Thunderlips in Rocky III

Not that I was happy with how WCW was represented during the Invasion storyline. I understood the home team was always going to win but I wanted to see a fair fight. Just as if my favourite DC characters went to war with Marvel, I’d want to see Batman try and pin down Spider-Man, Superman respond to a Hulk smash. We didn’t get a true WCW face The Fed. The vortex it created highlights that even as number two, WCW had genuine value. 

Even with my biases and slanted perception, I felt bad for WCW. 

But Vince McMahon has a trait all the best salesmen in the world possess: don’t ask the consumer what they want, just convince them their product is what you need. 

The WWF (and of course, now WWE) has its own, very distinct and formulaic, style. For the majority of Vince’s rule, he stayed true to his vision and it undoubtedly worked — in a business sense. It isn’t a style that cares so much about the actual wrestling. At least not on a weekly basis. When I was younger, sometimes I did prefer the speaking segments and only really appreciated the in ring performances when it was PPV time. That was Vince working his magic on two fronts. He wasn’t giving away stellar matches for free. You needed to pay for the PPV to see genuine classics (which wasn’t a cost bearing exercise in the UK back then). The fact the weekly shows were a step below only elevated those PPV bouts even more. And it led to the second part of the method: the focus was primarily on the characters. 

There’s a reason that Shawn Michaels putting Marty Jannetty through the barbershop window was shocking then and still iconic today. 

The emergence of the nWo caused McMahon to fight fire with fire and deviate to a more adult orientated product. Once the war was over, he eventually returned to the safer PG lands, with cartoonish characters and bland weekly shows. 

And he made even more money.

At its very core, WWE is the home of unoriginal copy cat production. Its innate property is producing something that has already been tried and tested elsewhere. Don’t get me wrong, it often takes the original idea, and as The Rock would say, shines it up real nice. The majority of the time—especially in the modern era—it just creates a soulless copy. Even Cody Rhodes (who has been great since his return to the company) felt the need to steal a Christian Cage scene. 

We have all heard Oscar Wilde quoted as saying: “Imitation is the sincerest form of flattery.”

Well, he did say that, but it’s an incomplete sentence. He actually said: Imitation is the sincerest form of flattery that mediocrity can pay to greatness.”

This is where WWE’s first real rival for decades comes in. AEW has rejuvenated the industry and has tried things outside of the WWE wheelhouse.

And measured side-by-side, the things that AEW does well are great compared to the knockoff Fed version. 

But presentation and perception go a long way. It makes me wonder: if I were a kid now, would WWE’s more polished production and ease of Netflix access win me over?

I think there’s a high chance it would. It took a long time for my despair with The Fed to set in. The younger a person is, the more malleable and open to suggestion they are. Being told WWE is the Grade A product, over and over again, is going to make people believe it without an objective inspection. 

Triple H—and TKO— can run the same template that Vince did before them and expect similar results in terms of return. And in terms of dwindling weekly wrestling performances. 

The Streaming Era isn’t a traditional model. So there are parts of the template that will come under challenge. The Netflix deal is great for WWE. The increased international exposure alone is something that will lead to a further expansion of income streams. Paul Heyman is right to say WWE is mainstream again. Having RAW on Netflix every Monday solidifies this. 

AEW also has an ace in this regard. The MAX deal has been met with some derision on X. The AEW haters see it as an insignificant bonus to its output. Claiming if viewing figures were that good, Tony Khan would be mentioning them. There is probably some truth in that last point. The part they’re missing is AEW content on a prestigious streaming service is exposure money can’t buy. The thing is, they didn’t need to buy it: they were paid for the privilege. 

When MAX is integrated into Sky and Now TV in the UK next year, it appears AEW will follow. The current ITV deal expires as MAX arrives in Britain. Being on free-to-air offers more eyes, but ITV hasn’t been a good home for AEW. Most of the UK fans watch via Triller. Moving exclusively to Sky may place it behind a paywall but it should get a bigger push from the broadcaster. It was a home that did WWE no harm. The live viewing figures for RAW at 1am on Sky Sports exceeded free-to-air wrestling shows at times.  

Even with any potential boost, AEW seems to be on a hiding to nothing when it comes to wider appeal and objective approval. It may just be a matter of time. The Attitude Era found an audience because kids who’d enjoyed cartoon wrestling were older and fancied something edgier. The PG fans will become rebellious teenagers. There might be an audience in waiting. 

Perception also comes with taste. It’s like cola. CM Punk seemingly prefers Pepsi. I’m a Coca-Cola guy. One was the taste of a new generation. In wrestling terms, AEW is the Pepsi and will never win over Coke diehards. I didn’t write that analogy for the incoming pun, but Pepsi made headway with Pepsi Max. Now we have AEW on MAX. It’s the same flavour but its constitutional elements are different. 

Tony Khan has reinvigorated professional wrestling. The industry was drab—apocalyptic in feel—when it was just The Fed unchallenged. 

The appearance of AEW made WWE up its game. The problem is, WWE fans over-hype things in The Fed and have a different set of rules for what is a weak moment when it comes to AEW. 

AEW in turn doesn’t get the credit—or highlight enough—what it does better than WWE and it feels, because of the endless tirade of criticism, can be prone to pivot multiple times with stories to try and win plaudits. 

This method will never work. Tony Khan needs to have faith and stick to his guns. Hangman Adam Page’s journey to his first world title was over a long period. A time when the anti-AEW hate was barely registering. Imagine if that same set of circumstances was being played out in today’s environment. There’s no chance the story would have been given time to breathe and grow. 

WWE’s Bloodline saga has been a resounding success. It didn’t start so hot. But WWE has a history of being stubborn (often to a fault) and seeing the original plan to its conclusion. 

AEW started out as “the alternative”. It should become inward looking again. Ignore the noise. Ignore any free agents The Fed creates. Hard sell its multiple five star matches. 

For some, we’re past the point to be impartial and nothing the rival company does will get the appropriate level of appreciation from opposing fans. Hopefully for the rest, they can take a minute to realise wrestling is like music. Don’t get angry if the latest jazz album doesn’t play like Metallica. You don’t like jazz. You need to listen to heavy metal and rock albums. 

Don’t buy a dog and expect it to meow

Don’t watch entertainment and expect sports. 

Don’t watch WWE and expect AEW. 

John Cena Heel Fail, SmackDown Sucked

Lovers of WWE, along with its sycophants, slaves, and fan service outlets, lauded John Cena’s Brussels Heel pitch. It proved that if you’ve swallowed The Fed shaped pill and drank from their Kool Aid, any above average match is a five star classic and a run-of-the-mill promo is Shakespeare. 

It’s not that Cena’s promo was terrible on Monday’s Netflix show. It was just very . . . meh. After a near perfect execution of his turn at the end of Elimination Chamber, the (delayed) follow up was empty. The turning on the fans trope is tired. Cena’s new character came across as two-dimensional, when he has the capacity to play a much deeper role. There’s certainly scope for a multifaceted Heel Cena. Well, at least there was. Now, we’re left with one who’d had enough of no one asking if he was okay. 

The potential to explore the extent of his new relationship with The Rock should have been front and centre. With that, he could have described what “selling his soul” entailed and what he’s already received. 

Alas, that never happened. It feels all intelligent plans were scrapped and instead, someone read Vince McMahon’s diary from the Seventies to find out what makes a basic bad guy. 

Old school heat — but not in a good way. 

To think, once upon a time when they considered flipping Cena, he made a new entrance theme and sought out different attire. 

When the time actually came, it was more of the same, diluted down into a bitchy, misguided, bitter part timer. 

It was easy to boo last Monday. But it wasn’t because of the excellent character work bringing on genuine heat. It was the standard of the segment. 

And people called this industry changing? Comparing it to Hogan and the nWo. 

The Big Show had better Heel segments and he had more turns than an F1 car. 

SmackDown sucked the following Friday in Italy. A segment with Reigns, Rollins and Punk should have offered the chance to upgrade the verbal barbs. It was short and hardly sweet.

RAW is in Glasgow, Scotland next. A rough, gritty city. Babyheel Cena needs to soak up the local atmosphere and reboot his new persona or the Road to WrestleMania is going to feel like a grind.

The Stranger — Season 1 — Episode 1

“Have you seen the new Netflix show?” A question that is synonymous with getting on board with the latest viewing trend. That’s how I wound up watching The Stranger. With it being on Netflix, I hoped for something edgier than mainstream telly. Something up there with other thrillers on the streaming service.

That isn’t what I got.

Welcome to ITV Sunday night’s from the nineties, replacing the best of those moments (Coltrane) with the camp and absurd.

Richard Armitage plays Adam Price. A guy who’s as inviting as an eye-poking convention. He’s tipped off that his wife, Corrine — ramped up to high levels of annoying by Dervla Kirwan — is a bit of a liar. Adam goes digging and finds out she is.

Somehow, Jennifer Saunders finds herself in the show. After years of telling jokes, she ends up inside one. She’s one of a handful here whose talent exceeds the script. Siobhan Finneran plays the detective who adds levity to proceedings. She’s not the sort of cop that cares for crime scenes. She stands all over the spilt blood from a llama’s head.

That takes place under the watchful eye of Robert Peel’s statue in Bury town centre. It’s fitting the man that made policing witnessed the crime of this series firsthand. Being in Bury, a place Danny Simms has made me frequent, could explain why everyone involved in this project is so out of kilter.

It’s out of intrigue and a love of car crash telly it manages to get a rating of:

5/10

The Great Hack – Review

The Great Hack is the type of documentary that becomes part of pop culture and everyone watching it thinks they’ve uncovered some great unknown. The Cambridge Analytica “scandal” is a modern-day scandal, in that, people’s naivety leads them to shock. It’s best to explain what happened by drawing the obvious comparisons with how things work in the Star Wars universe.

Okay, so Cambridge Analytica is the data observer for the Galactic Empire. It’s hard to pull the strings if you can’t run a bit of propaganda now and again. Cambridge Analytica sells a product that claims to know how voters can be swayed. So, they have the Death Star of press releases, right? No, they just have an extensive database. That’s it. Their leader, Alexander Nix, is a Sith Lord that sells the tool to campaigns needing an advantage. Some say, an unfair advantage.

Like any Sith, he needs an apprentice. Enter Brittany Kaiser. A bright-eyed, morally sound, successful left-wing orientated business developer. Under Nix’s spell, she experiences a step into the perceived Dark Side. Cambridge Analytica are making people not vote in campaigns that run counter to the expectation of the electorate. They plant seeds on the Internet, sometimes in the form of memes, and watch chaos ensue.

Just like Anakin, the Dark Side takes its toll physically. She goes from poster girl to a bloated mess of a character. Then, she decides to speak out against the organisation (who continue to proclaim innocence). And that’s about the gist of the whole, drawn-out affair.

The biggest conspiracy here is how Cambridge Analytica has managed to convince people to part with millions for dubious data returns. The scam is how Nix has packaged and sold something as a Golden Skeleton Key. Fair play for pulling off that deception. It goes to prove: there’s no such thing as bad press.

4/10