Wrestling is so good when it's perfect.
The chemistry between Ric Flair and Ricky Steamboat was perfect. The way in which Steamboat exploded in the face of Ric Flair was the very platonic ideal of what it means to be a babyface performer and how it feels like to get behind a babyface performer. There's a spot in arguably their best match, the WrestleWar '89 classic, in which Flair bullies Steamboat over the guardrail. A chop battle ensues. Flair sends Steamboat flying into his people, but in one seamless motion driven purely by affinity and heroism, lashes back to send Flair crashing to the floor in an instantaneous bump. Flair can only run away; Steamboat follows in a flash, pulling his pants down, as Flair shows ass in an incredible display of glorious wrestling visual poetry.
The chemistry between Mitsuharu Misawa and Kenta Kobashi was perfect. Misawa was the stoic, immovable object with an ever-shifting arsenal impossible to strategise against. Kobashi was pure, instinctive fire, so easy to believe in that his fans did time and time again despite several losses to All Japan's Ace. Imagine Roman Reigns' current character arc, but it actually working.
The chemistry between Hiroshi Tanahashi and Kazuchika Okada was perfect. There was something bittersweet about the incredible and incredibly-performed tale of a hero's fall - an emotion rarely explored even in wrestling's endlessly diverse fabric.
On Saturday, Kenny Omega and Kazuchika Okada improved upon perfection...