Why Wrestling Has A MAJOR Problem Right Now
When NJPW's Will Ospreay turned up on AEW Dynamite, an absolutely unreal prospect in 2019, it just felt like the normal course of business.
In a senseless overload, Khan had already made parody the device by bringing in W. Morrissey, Big Damo and Jonnny Elite a month before the Forbidden Door pay-per-view. The timing was as preposterous as the notion that these three particular performers were truly worthy of the "Holy sh*t!" chant. The idea of an AEW/NJPW cross-promoted show was scintillating a year ago; now, the mere term 'Forbidden Door' has developed a familiarity incongruous to what it is meant to convey. The roster in general is overstuffed, so much so that Hangman Page's World title reign, the pivotal moment in the company's history, the moment everything built towards, was just another segment on the show. People clamoured for WarGames in the 2000s and early 2010s. Modern wrestling has already cannibalised the great lost gimmick match, the match we never thought we'd see again. What's left to look forward to?
All professional wrestling needs is a great story, a great source of conflict, and two performers gifted and creative enough to pull it off. WWE, a promotion buried ritually by the people who can still be arsed, did precisely this at Hell In A Cell - and despite a legendary, gutsy display on the part of the babyface, the heel was cheered for bringing out a table.
Still, there's no reason why, for example, a returning CM Punk and Kenny Omega can't tell a gripping, intriguing six month storyline using only the most basic elements: a grudge, a microphone, and two pairs of boots. The issue now is that AEW has made this sort of thing difficult for itself, or at least more difficult than it needs to be. The exhausting amount of good things has been normalised; a great programme is going to struggle without some violent shortcut or surprise angle or other.
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