A Day In The Life Of A WWE Creative Writer
An editorial note reads “GOD*MNIT, Chad Gable needs more fire!”
“Are they firing him now? What’s going on? He’s in the King Of The Ring final,” the writer asks aloud. They haven’t heard anything official, and so they concoct a scheme to put smiles on peoples’ faces. That’s what WWE does, so by golly, that’s what they’re gonna do. What makes people happy, what makes people happy. Hmmm.
“I know!” the writer declares. People are happy when the hero takes the easy option!”
And so Chad Gable is scripted to run into Shane McMahon backstage, who reminds our intrepid new hero that his opponent has suffered an ankle injury and is unable to compete.
“It doesn’t matter who his replacement is, Shane. I will take on anybody,” Chad Gable doesn’t say, not channeling his competitive Olympian spirit. “I know,” Gable does say. “I get a bye. I’m going straight to the finals.”
The writer has misapplied his training. Wrestling babyfaces are smart, and so perhaps this leap in logic was a misinterpretation of that. Babyfaces are not cowards.
Gable wins in the end—he beats the Best In The World, twice!—so that’s job done, right? We’re tellin’ stories, the writer tells himself, satisfied. It’s a bit strange that Gable didn’t get a pop, and had to work his ass off to get a reaction from the live crowd—which suggests the TV viewers won’t be interested in the build—but no matter.
The writer is also faced with the task of building the Fire and Desire versus Alexa Bliss and Nikki Cross programme.
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