THIS Is The One Man Who Can Save WWE
NXT showcases excellent professional wrestling on what isn't necessarily an excellent TV show on an episodic basis that proves compelling week to week. Those that don't have an undying love for the programme - which despite its huge push on RAW pulls in less than a third of Monday's not-great audience - lack that connection because the storytelling is basic and there is a synthetic, over-produced in-house quality to the show, not too dissimilar to that of the main roster, that replaces silliness and bad jokes with serious, operatic business. This isn't (just) a subjective opinion. NXT only generates serious buzz on TakeOver shows, and even then, the increasing, excessive melodrama influenced by Producer Shawn Michaels is beginning to invite scorn. The ratings reflect the idea that NXT is no longer the future.
If you are in investor in WWE, you are looking at those Nielsen ratings with a certain apprehension over the company's long-term future under Triple H's vision, and that does not factor in his big, failing, money-losing quest of NXT localisation. NXT UK is a ghost town of a brand rejected or ignored by its target audience, while NXT Japan in its embryonic stage is even less tenable.
NXT had the currency, and so (too) much of the talent, and it hasn't transitioned to TV success, which is troubling. It is precision-engineered as a response and alternative to what fans of the main roster have bemoaned, and it is it outdrawn by the main roster to a significant extent.
Is Paul Heyman equipped to take over the creative side?
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