AEW drew a wry sort of mirth in some quarters for branding the December 2 show 'Winter Is Coming'.
A year out of date, it didn't help that the Game of Thrones finale was so divisive and the discourse so toxic that, in a rare collective agreement, virtually everybody stepped aside and stopped bothering. GoT is irrelevant. It also didn't help that the cute in-joke of Fyter Fest has somehow become an annual event, and that the 2009 motion picture the Hangover inspired a recent, heavily advertised skit.
But 'Winter' in GoT wasn't just pathetic fallacy. It foreshadowed an invasion.
AEW is the details company. They aren't daft, either. The marketing doubled as a hype-job for the ultra-attentive. Could the Wall act as a metaphor for "the Forbidden Door" - to reset the "balance of power" in pro wrestling?
It did, in a monumental cliffhanger.
'Monumental' neatly summarises the show itself, which was in part highlighted by the debut of Sting. Even if he's "only" in AEW to manage Darby Allin, the massive spectacle of the presentation is a good thing. It's good that AEW puts so much effort into getting over a role that WWE has senselessly abandoned.
Irrespective of where this all this goes, it was a tremendous moment. They nailed the grandeur of his mystique, and, mid-pandemic, generated a monster pop.