10 Ways WWE Completely Buries Babyfaces In 2017
Being good isn't so great.
In the so-called 'New Era', WWE has positioned itself as a content provider akin to Netflix, Amazon and Disney. Though television ratings plummet, Network subscriptions gently rise, suggesting that people are still willing to broadly invest in the output, if not always in the most timely fashion.
It's been been part of a careful move away from wrestling's old star-driven system, where headline heroes were 'draws' and the best heels got their main event payday up against the top babyface. Now, fans pay for a ticket to 'WWE' and keep their fingers crossed that the performers they like will end up on the show.
To the company's credit, they've made it so most will enjoy their night, even if their favourite wrestler isn't on the bill. But the re-engineering of the formula has scythed through the episodic television that was once the organisation's bedrock.
In his 1997 Attitude Era address, Vince McMahon infamously derided the 'passé' adage of 'good guys' and 'bad guys', then promptly became his own territory's biggest heel against his most profitable face.
It's no coincidence that Stone Cold Steve Austin and Mr McMahon created so many memorable, money-spinning moments. It may sometimes have been at the expense of his colleagues' own trajectory, but exactly as Vince channelled his inner evil, Austin understood more than most how to protect his aura as a hero. As a recent guest on his podcast, here's hoping Bayley soaked up some wisdom on how to do the same.
10. They Get Easily Fooled By Heels
Babyfaces, occasionally, have to be tricked. It's hard to manifest a tale in which a hero was hoodwinked by a nefarious nogoodnik if at some point, they're not actually taken for the ride.
However, the writing team's malaise, exhaustion or a combination of the two has hijacked the ability to script a ploy that is even remotely believable.
Wrestling fans aren't asking to be fed the high-brow nuance of The Wire or The Sopranos in every segment, but they will rightfully refuse to get behind a so-called star that walks idiotically into a blatant bear trap in front of their very eyes.
Worse still, it happens with infuriating regularity. Goldust's turn on R-Truth may as well have been painted in 50-foot high lettering akin to his beloved 'Hollywood' sign. Likewise, though Big Cass' first heel turn was born out of necessity thanks to Corey Graves' whistleblowing, his second the following week made Enzo Amore look completely stupid, rather than sympathetic.
Though a scourge of heels and faces, the entrance music distraction finish may be the most damaging 'ruse' of all. Your rival's music blasting through the PA would indeed cause momentary surprise, but not two minute freeze and a sudden inability to kick out of a simple roll-up.