More About Me

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Since the "About Me" section of this blog is limited to a specific number of characters, I decided to write a post that discusses more about what I have done in the pro-wrestling industry, beginning with when I first started in it and leading up to now.

Technically, I started back in the 1990s, contributing to "Pro Wrestling Illustrated" and then "Pro Wrestling Torch". In 1997, I contributed to The Official Website of the NWO. That same year, I briefly published my own newsletter, "The Wrestling Express".

In 1998, I taught myself how to design websites and served as a consultant for various independent promotions. That next year, I worked as a website designer/maintainer for Dylan Summers (Necro Butcher), who was running the Texas-based Power Pro Wrestling Federation, and later was involved with Texas Outlaw Promotions.

During the period of 2000-2002, I was involved in many different projects at once. I was working as a website designer/publicist for talent, contributing to WCW.com, writing columns for independent promotions and the website of former WCW star The Stro, and writing for a variety of pro-wrestling media sites (including WrestlingObserver.com and PWTorch.com). In 2003, I began running my own website, World Wrestling Optimum, which consisted of news, articles, and interviews.

From 2001 to 2013, I worked as a Sports Desk Assistant for Southern Westchester BOCES Athletics, responsible for inputting schedules and assigning officials for all public high school athletic events in the greater New York metropolitan area. This gave me an opportunity to hone my skills in organization and logistics. I also acted as in-house technical support.

In 2004, I started working for the Michigan-based Ultimate Championship Wrestling as a publicist/columnist. They were an affiliate of American Wrestling Association Superstars Of Wrestling, and I soon became the publicist/columnist of the main governing body of AWA as well. During my time working for UCW, I played a major role in bringing in new talent, due to my having come into contact with many talents being underused and going unnoticed in the industry over the years. Also, attendance increased by a significant amount.

In 2005, I started doing a column for 3PW. With DVDs sold nationwide, they had the potential to become much bigger than they already were at the time, and they were very open to my ideas. I pushed for many changes behind the scenes. I had encouraged management to improve the production quality of their DVDs, which led to them dealing with a different production company. 3PW management had planned on waiting for its fan base to increase before getting TV for 3PW. I explained how getting TV for 3PW is what would increase its fan base, and I was then given the green light to find networks that were interested. Two networks were very interested, and I encouraged 3PW management to meet with them as soon as possible. Unfortunately, the owner of the company instead opted to shut 3PW down, due to losing interest. Working for 3PW put me in connection with the UK-based 1PW, where I worked as a columnist.

After 3PW shut down, I began working as a publicist for independent promotions, including CHIKARA. I also worked as a columnist for CZW. Interestingly, though, it was 2006 at this point, yet I was still most recognized for the work that I had done for 3PW and AWA/UCW.

In 2007, I started working as a columnist for XCW, a promotion that was seen nationally on MAVTV, had a national DVD deal, and also had PPV events. Working for a promotion of national status was my biggest achievement at that point, and two years later, I reached a bigger achievement- Big Japan Pro-Wrestling. Along with working for them as a columnist and an Administrator for their Facebook page, I helped bring Big Japan Pro-Wrestling together with Combat Zone Wrestling to form a working relationship after a previous working relationship between the two promotions had fallen apart. This new working relationship led to Big Japan Pro-Wrestling having its first event in the United States.

In October 2009, I assisted publicity & promotions company MGM Management with the HULKAMANIA- Let the Battle Begin tour by distributing their press release to pro-wrestling news sites that are popular with Australian fans, and conducting an interview with Solofa Fatu Jr. (better known as, "Rikishi"). Also, in 2012, I wrote a number of columns for Women Superstars United, which was known as Women Superstars Uncensored at the time.

In May 2018 I did social media for Great North Wrestling.

In April and May 2021, I did blogging and social media for Kyushu Pro Wrestling. During that time, the promotion gained 220 new subscribers and 52,746 new views on its official YouTube channel.

Recently, I have done blogging and social media for Yanagase Pro Wrestling. Since the time I began writing for them, Yanagase Pro Wrestling has their anniversary events at a venue where they have had 300 fans. All previous Yanagase Pro Wrestling events took place at a 50-seat venue.

I have also recently written for the China-based Middle Kingdom Wrestling in a Publicist capacity. My work is an essential piece in the multilingual activation, with it being adapted to traditional Chinese for readers in China. I am the first native English writer to have written for a Chinese wrestling organization in history.

In 2019, I began writing for Michinoku Pro Wrestling, in charge of international wrestling as its International Officer. Since the time that I began writing for them, Michinoku Pro stopped choosing Shin-Kiba 1st Ring for its Tokyo events and began focusing on the much larger Korakuen Hall for its Tokyo appearances. The Korakuen Hall is known as a place where many historical moments in the Japanese pro-wrestling scene have occurred. It's to Japan what Madison Square Garden is to the pro-wrestling scene in the United States. Michinoku Pro had a sellout, standing-room-only event on December 13, 2019 at the Korakuen Hall. The event had an attendance of 1,890. That was the highest reported attendance at the Korakuen Hall to date for a pro-wrestling event since April 2015.

In addition, I have blogged for the Allied Independent Wrestling Federations.

My articles, "A Look at the History and Future of WOW" and "Will WOW Go From Las Vegas Residency to an Even Higher Level?" were endorsed by WOW - Women Of Wrestling on social media in August 2025 and October 2025, respectively. My articles, "Why Florida Makes a Perfect WOW Superhero Stronghold", "Miami’s Sweet Heat on Beast Games Season 2: A Major Win for WOW", "WOW Hits the Jackpot: Women Of Wrestling Secures Season 4 & Groundbreaking Las Vegas Residency", A History of Women's Wrestling in America", "The 11 Most Must-See WOW Matches Right Now", "A Potential Game-Changer for Sophie Cunningham: The WOW Opportunity", "Independent Gaijin Dreams and the Japanese Experience of WOW's Superheroes" and, "A History of Wrestling Managers" were endorsed by WOW as well. In November 2025 and December 2025, WOW's official website saw a 122% increase in monthly visits, as my analyses initiated search traffic that the official domain then converted into brand engagement.

Many of my articles have been cited as sources in online encyclopedias Wikipedia, Grokipedia, and Hubbry entries on topics including Women of Wrestling, the Global Wrestling Federation (GWF), Michinoku Pro Wrestling, Kyushu Pro-Wrestling, MLW, 3PW, Japan's MMA business, WWE house shows from a business perspective, Right to Censor, the York Foundation, the impact of Japanese wrestling on the global wrestling scene, a comprehensive comparison of Japanese and American wrestling, the history of wrestling commentary, Hisashi Shinma as WWE President, the true power of joshi puroresu, the history of professional wrestling in Canada, the history of wrestling in South Carolina, the history of pro-wrestling in Osaka, the future of women's wrestling in America, Alex Shelley, Mad Man Pondo, Angel Orsini, GAINA, the early history of WWE video games, WWE Raw on Netflix, Strong Style Pro Wrestling, and more. Additionally, my 2013 interviews with the original cast of GLOW (Gorgeous Ladies of Wrestling) served as a primary historical resource for The Telegraph in their coverage of the true stories behind the hit Netflix series.

My work is used as a resource on learning platforms. My ebook "The Business Side of Wrestling: A Look Behind the Curtain" is available for lending internationally, across two major library systems: CLEVNET Library in Ohio and Dubai Public Library in the Middle East. My article, "The History of American Wrestling," has been used in Google Classroom by an educator.

In July 2025, I developed the core corporate communications and original strategic press release for the founding team of youth sports platform True Lacrosse announcing their strategic partnership with the incoming Private Equity partner, TZP Group, launching the new national platform, True Sports. The final deliverables were used as the basis and foundation for the final, official, public-facing, published corporate release and announcement. The document passed final approval by the founders and TZP Group.

After living in Japan for ten years and writing English content for Asian companies during that time, I am currently based in the US and open to new writing opportunities in the US, Japan, and globally, from event previews & results reports, to press releases, to wrestler spotlights & social media. I offer sponsored content and an international audience. Check out my samples and see how I can take your brand to the next level:
https://harold-williams.com/2012/05/samples-of-my-work.html


My platform averages over 80,000 monthly impressions across the digital ecosystem. This includes direct traffic, high-authority visibility on Google, Bing, ChatGPT, Yahoo, and Yandex, as well as significant engagement from networks like Facebook, LinkedIn, X, Threads, and Reddit.

My rate typically falls within the range of $500 to $800. info@harold-williams.com

I graduated from university with a major in Business and a minor in Computer Applications, which makes me an asset not only as a writer but in a business and technological capacity as well.

I am also a Technology Writer specializing in AI, VR, AR, NFTs, 5G, Web3, streaming, and the metaverse in the context of wrestling. My insights on this frontier have been recognized by wrestling-related outlets; including, Fightful cited my deep dive into specific applications of AI in wrestling as a key resource in an article.

I am a subject matter expert in the business side of Japan's MMA, baseball, soccer/football, lacrosse, and other sports.

In additon, I am working for TELUS Digital as an Online Data Analyst, developing and improving AI models by contributing data, assessments, and insights via writing and data collection/annotation/labeling.

The $500 Launch Phase: Why Your Promotion Isn’t Growing (And How to Fix It)

In the professional wrestling industry, there is a massive gap between a high-quality in-ring product and a global digital footprint. Many promoters want to take things slow, but in a digital-first economy, slow often leads to being invisible.

When I work as a Strategic Communications Consultant, I don’t only offer marketing. I offer a 30-Day Launch Phase designed to turn local promotions into international destinations. Here is the blueprint I use to bridge that gap.

1. Stop Being Local and Start Being Global
If your digital reach is limited to your local zip code, you’re leaving money on the table. My background in the US (working with promotions like WOW - Women Of Wrestling) and Japan (like being the International Officer of Michinoku Pro and a social media writer & blogger for Yanagase Pro Wrestling) have shown me that fans internationally are hungry for new content- they just need a reason to care about that content.

- The Strategy: Position your brand as a premier destination by framing it through a business lens. If a promotion features international stars, their reputations should be leveraged to ensure the promotion's digital reach matches the talents' in-ring reputations.

2. Leverage Search Authority Over Social Media
Social media is rented land. Search authority is real estate. Most promotions have YouTube channels with solid foundations, but they aren't converting that into ticket sales.

- The Strategy: Use a high-ranking global platform to create strategic event previews. By funneling active search traffic from fans looking for a specific style of wrestling product directly to your ticket pages, you create a measurable ROI.

3. The Power of the Narrative
For unique promotions, growth is about more than the matches; it's about the presentation.

- The Strategy: If it's a medium-size or larger promotion, frame it as an evolving entertainment property. If it's a charity organization, highlight its charitable impact so that it becomes eligible for community-focused media coverage that traditional promotions can't access.

4. Making Small Look Large
By creating high-impact brand analysis, a promotion can be made to appear bigger than it actually is. This can take it from a venue that seats 50 fans to one that seats 600.

- The Strategy: It’s about search authority. If your promotion looks like an international property online, the fans (and sponsors) will treat it like one.

The Bottom Line
If you're driven by a desire for growth, you need a digital strategy. My Launch Phase covers content optimization, search authority, and media syndication for a flat fee, ensuring the work pays for itself through increased visibility and sales. Reach out at info@harold-williams.com

Guide to Attending Japanese Professional Wrestling (Puroresu) at Korakuen Hall

The Korakuen Hall is known as a place where many historical moments in the puroresu (Japanese pro-wrestling) scene have occurred. It's to Japan what Madison Square Garden is to the pro-wrestling scene in the United States. If you want to experience puroresu in Japan, Korakuen Hall should be one of your planned destinations.

Here is a guide for attending an event there:

1. The Ticketing Landscape

- Korakuen Hall 5th Floor Office: Head to the 5th floor of the brown building at Tokyo Dome City, which has "5F" written on a white sign.

This office handles advance tickets and same-day tickets. A member of the staff will show you a seating chart so you can pick your exact spot. If you go to the office and the show that you want to see is sold out, it won't be a wasted trip- they always have flyers and tickets for other Korakuen Hall events.

- Champion: This pro-wrestling shop sells tickets in-store until around the day before the event. Champion also sells merchandise that includes DVDs, VHS titles, T-shirts, magazines, books, photo albums, clothing, event pamphlets and posters, masks, figures, autographed shikishi (traditional Japanese art boards), and other autographed items.

- Ticket agencies: Loppi (at Lawson), Ticket Pia (at 7-Eleven), and FamiPort (at FamilyMart) are ticket agencies/in-store kiosks used to purchase or print tickets. Also, e+ is an online option.

- Direct: Many promotions offer ticket reservations directly, via an online shop, phone, or social media. A number of promotions use fan clubs to provide early access to tickets via lotteries before they go on sale to the general public as well. It is also common for pro-wrestlers to offer ticket reservations through social media for shows that they appear on.

- Tokon Shop: Tickets for NJPW events can be purchased at this shop, as well as T-shirts, baseball caps & other items related to NJPW.

2. Korakuen Hall’s Seating

The Korakuen Hall is roughly divided into Ringside (floor) and Reserved (everything else) seats. Every seat is good, but to make sure that you have the exact experience that you want, you should make note of how each section is different before choosing a seat:

- South (the section at the bottom part of the graphic above)
The South side is where the hard cameras are located when an event is broadcast or taped.

- Rows A-H: These are the lower-level permanent seats. They provide an elevated view as the rows go up. Below is a perspective from Row B at a Michinoku Pro event:

Rows I-R: These are the upper-half of the South side. The picture below is from when Michinoku Pro drew a sellout, standing room only crowd of 1,890 at the Korakuen Hall in Tokyo in December 2019, which was the highest reported attendance at the Korakuen Hall for a pro-wrestling event since April 2015. As you can see, every seat was filled, but because the seats are inclined, everyone had a clear view of the action.

- East & West
These are the wooden, bench-style seats. The picture below was my view from these seats, which are right behind the folding chair floor seats, at the We Are SUZUKI-GUN event that took place in June 2015.

While brawls often carry out into the South side, wrestlers have easy access to the East and West sections, as these seats are located near their entrances. At this event, the chaotic monster Takashi Iizuka decided to charge his way through my section on his way to the ring, and with him being 5 feet 11, over 231 pounds, and wielding his Iron Finger from Hell, everyone got out of his way.

- North
The North side mainly consists of bleachers located directly behind the ring announcer and timekeeper, as you can see in this picture from Real Japan Pro Wrestling's June 2015 Legend Of The Gold event.

Sometimes the seats in this section are not utilized, as can be seen here in this picture that was taken at SEAdLINNNG Summer Blast 2018, where this section was instead used as an entrance stage.

- Ringside
These are folding chairs placed around the ring. These seats are the closest to pro-wrestling action.

When a brawl carries out of the ring, the first three rows are usually where it will go.

- The Balconies
If a show is standing room only, they will sell tickets for the balcony sections.

East/West Balconies: These are the narrow strips above the bench-style seats, giving a bird's-eye view, as can be seen in the picture below from the December 2019 Michinoku Pro event.

3. Logistics

- Start Times: On average, Korakuen Hall hosts approximately 350 combat sports events per year. This includes 250 professional wrestling events and 100 boxing events, as well as occasional MMA, kickboxing, and even TV show tapings. Because it is so heavily utilized, it is not rare for the hall to host two different events in a single day- one in the morning/afternoon and one in the evening. So if you are used to Western wrestling schedules where almost everything starts at night, remember not to assume that is the case for an event that you plan on attending at Korakuen Hall. Also, if it indeed will be starting at night, check to see whether there will also be a pro-wrestling event taking place earlier that day- you might have an opportunity to see a double-header of pro-wrestling.

- Concession Stand: Although there are many restaurants in the Korakuen Hall area, the concession stand in the lobby is a great place to buy food, featuring everything from pre-made sandwiches to hot food.

- Merchandise: Merchandise tables being utilized as meet-and-greet areas are set up in the lobby.

4. Venue Etiquette
The atmosphere in a Japanese venue during a pro-wrestling event is a mix of deep respect and enthusiastic energy.

- Crowd noise: Cheering and clapping is encouraged, but there is often silence during technical wrestling, with the crowd being focused on the action. Generally, fans at Korakuen Hall wrestling events are also more likely to be quieter at events than fans at many other venues in Japan, being analytical of the wrestlers and the matches. However, they become loud when it appears that a match is going to end, as it seems that a wrestler they like is about to win or lose.

- Photography/Video Recording: Most promotions allow still photography but not video recording of the matches.

5. The Promotions
Many wrestling promotions have shows at Korakuen Hall regularly, each with its unique style and loyal following. While NJPW quickly comes to mind for many, there are other notable promotions, including Stardom, NOAH, AJPW, BJW, Michinoku Pro, and Dream Star Fighting Marigold, SEAdLINNNG, and World Woman Pro-Wrestling Diana- which celebrated its 15th anniversary at Korakuen Hall this past April.

Each offers a distinct style of puroresu, from the power of joshi to the King's Road style to the hardcore style to the lucha libre style to promotions that have a unique blend of wrestling styles.

6. Post-Show
Just like in New York, there will be many places that you can go to in Tokyo after a show. But keep in mind that the Japanese train system usually stops running around midnight. If you stay out past this time, night buses, bicycles, or staying in a karaoke box or capsule hotel until the first train runs at roughly 5:00 AM are common solutions. Alternatively, you can take a taxi or stay overnight at a hotel near Korakuen Hall.

Why American Professional Wrestlers Never Stop Studying Japan

When comparing Japanese and American wrestling, you can see that while both styles have matches that focus on technical skill and athleticism, showmanship is another important aspect of American wrestling, while Japanese wrestling often emphasizes physicality and competitiveness. In America, pro-wrestlers ranging from veterans to rising stars watch and study Japanese wrestling, not only being entertained but also inspired.

The conversation recently resurfaced during an episode of Official WOW Podcast With Nigel Zane, where Animal Instinct tag team partners Goldie Collins and Katarina Jinx discussed their mutual interest in the Japanese wrestling style and how they bond over it. Jinx hit on a point that demonstrates the emotional aspect of the true power of joshi puroresu.

"It brought the physicality to a new height," Katarina Jinx said regarding Japanese wrestling. "they are so invested in that moment and it it brings out a different kind of fierceness that I think most people would shy away from it...this almost sense of honor that they have to prevail and there's so much strength there...for us especially here in the US you get that 'oh well, maybe I'll get them next time.' In Japanese wrestling, you have less of that. It’s more of like, "I have to do it now."

This fierceness that she described elevates joshi matches beyond athletic contests; they become compelling dramas that present the theme of the human spirit. When a wrestler adopts that Japanese sense of urgency, the match goes to another level. That excitement sells tickets and further builds a brand.

Goldie Collins, who watches Stardom, noted how Japanese wrestling has brought out the best in talented wrestlers. "I just think that anyone who comes back from their training is better for it," she said. "I think that there's a lot to aspire to."

She also explained how even though she has not wrestled in Japan, observing the style of Japanese wrestling has influenced her as a wrestler, which shows the impact of Japanese wrestling on the global wrestling scene: "I think it's easy for me to be like, 'Oh, I came from this performance background and one of the harder things to step into was the physicality. I knew how to be a showman, but did I really know how to get gritty and fight?' And I watched these women throw their bodies like they do was like, 'Oh, okay. So like you really have to lean in and commit and put it all out there and that's how you succeed.' And so yeah, I just have really admired anyone and everyone who I have ever watched."

This professional passion isn't something new- it's the foundation for some of the most resilient careers in the business. Before former CZW star and No Holds Barred - The Chains owner Danny Demanto's 26-year journey began, he would sit in high school counting down the minutes until he could leave and go to the Doghouse wrestling school, where he would watch Japanese tapes with his trainer. Along with experiencing his fandom, seeds were planted as Japan became Demanto's main pro-wrestling goal. In 2025, that decades-long objective culminated in him doing it his way and taking his promotion to Japan. A wrestler who looks at the industry outside of their home base puts themselves into a position where they can eventually navigate the global market.

Some of the keenest watchers of Japanese wrestling can be found watching it in the early hours of the morning. AEW star Bryan Keith knows what it's like to be up after midnight watching Japanese wrestling, and that degree of enthusiasm likely played a role in his pro-wrestling career, taking him to Japan in 2024 to wrestle for DDT, where the matches he participated in included an opportunity to wrestle MAO, who was defending the DDT Universal Championship.

Beau James, who has wrestled for over four decades (crossing the 90s, 00s, 10s, and 20s) and today is also the promoter of Southern States Wrestling, represents a generational bridge in the business. While James has only watched the Japanese style here and there over the years -and is currently shooting for his fifth decade in the ring- his work ethic reflects the exact same grit that Western talent sees when watching Japanese wrestling. For a traditionalist like James, the focus has always been on the timeless psychology of the industry- proving that whether a wrestler studies southern style wrestling or Japanese wrestling, physicality and competitiveness are a universal language.

Sam Adonis is a star in Mexico's AAA, where he is a former AAA World Trios Champion. But the main focus of his pro-wrestling fandom since age seven was Japanese wrestling, as he obsessed over FMW and later also NJPW and AJPW, dating back to the 1970s. This helped in his eventual travel to AJPW, where he wrestled from 2017 to 2019.



American professional wrestlers who never stop studying Japan see a place for showmanship in the ring, but also see value in prioritizing a display of emotion and fighting spirit. Promoters generally view this type of wrestler as the most valuable asset in the industry, as this hybrid style bridges the gap between the American and Japanese wrestling styles. Showmanship ensures the spectacle and character-driven moments that sell tickets and merchandise, and the displays of emotion and fighting spirit make the match more compelling, as the wrestler builds a connection with the audience that is a foundation for support, increasing the drama of the action. By blending these elements, a wrestler satisfies the promoter’s need for a complete package: someone who can play to the cameras and social media clips while maintaining the intensity required to keep fans emotionally invested in the outcome of the match.

The Maverick Who Changed Pro-Wrestling: Remembering Ted Turner (1938-2026)

The passing of Ted Turner isn't only a loss for the world of cable news and philanthropy; it is a moment of reflection for the professional wrestling industry. While many will remember him as being outspoken or the man who revolutionized news with CNN, the wrestling world also knows him as the visionary who provided the platform and the capital to challenge an industry leader.

Long before the Monday Night War, Turner Broadcasting System (TBS) provided a platform for Jim Crockett Promotions (JCP), which helped keep wrestling a staple of American television. In 1988, TBS acquired JCP for $9 million and rebranded it to WCW. This deal was one of the most monumental acquisitions of a sports entertainment company during that century. Not only did Ted Turner buy an organization, but he also preserved a legacy.

Ted Turner’s strategy was a masterclass in the loss leader business model. While wrestling didn't always attract the top advertisers of the era, he knew that its massive, loyal viewership was the engine that powered TBS. By transforming his station into a superstation, distributing it by satellite in 1976, Turner made wrestling, which was low-cost, high-rating content, the anchor of the TBS lineup and available nationwide. Cable operators across the country carried TBS because wrestling provided reliable, consistent viewership, forcing them to include it in their lineups. This kept eyeballs on the screen for his other ventures, such as the Atlanta Braves baseball team. This is the same blueprint we see today with media giants like Amazon and Netflix, who invest billions in live sports and entertainment not just for immediate profit, but to build an ecosystem that viewers never want to leave.

Ted Turner was the only person with the boldness and resources to go head-to-head with WWE. His goal was for WCW to be competitive with WWE, which would be no small feat- WWE was the #1 company, with a loyal fanbase behind it. Founded in 1952, it took WWE over 30 years to become a major success (and without true competition). And yet, Turner wanted Eric Bischoff (as Executive Vice President) to come up with a way for WCW to pose as a serious competitor to the giant of the pro-wrestling industry. Bischoff suggested to him that WCW needed a prime time show in order to be competitive with Vince McMahon and WWE. Turner gave WCW a live time slot on TNT opposing WWE Raw during that same meeting, and this led to the launch of Monday Nitro, which later led to the formation of the New World Order (nWo) faction, an 83-week winning streak against WWE Raw in the ratings war, and triggered WWE's Attitude Era.

Ted Turner's competitive spirit and going against WWE head-on caused WWE to adopt a more spontaneous and unpredictable product in order to respond. The transition to weekly live TV and improved production values are direct descendants of the Turner era.

Ted Turner understood the value of the pro-wrestling audience when others, including at TBS, looked down on it. He gave the business respect, prime-time slots, public support, and a level of financial investment that was unprecedented. Turner was ahead of the curve in the advertising industry, seeing wrestling fans as a loyal consumer demographic. It was easy for him to do this, being that he himself was passionate about the pro-wrestling product.



Today, as we look at the diverse landscape of wrestling on cable and streaming, we are seeing the seeds Ted Turner planted decades ago. He changed the industry for the better during a time when no one felt that change was needed.

Rest in peace, Ted Turner. You took pro-wrestling to another level, and your impact is still being seen today.

How Idol Culture and Pro-Wrestling Fandom Overlap

The world of professional wrestling thrives on spectacle, and joshi puroresu is an example, with its vibrant costumes, dazzling athleticism, and a unique brand of professional wrestling that has captivated audiences worldwide. In addition, it features a unique brand of idol culture that is significantly impacting how Western fans perceive joshi puroresu, shifting the focus from purely in-ring action to a broader, character-driven entertainment experience based on personality, personal growth, deep emotional connection, and intense fan engagement. Idol culture is a system prevalent in East Asia where a performer presents a perfect, accessible, and relatable persona, which often includes singing, dancing, and public appearances.



The Japanese idol concept originated in the music industry of the early 1960s, and became very popular in the 1970s and 1980s via TV-based idols Momoe Yamaguchi, Seiko Matsuda and the Onyanko Club. Their fans were supporters invested in their growth as performers. Idol group AKB48 popularized handshake events (akushukai) after their debut in 2005, and cheki (polaroid) sessions became standard for independent idols around the late 1990s to early 2000s.

Promotions like Tokyo Joshi Pro-Wrestling (TJPW) have fully embraced the idol concept. TJPW shows often open with the Up Up Girls (Miu Watanabe, Raku, Shino Suzuki, and Uta Takami), wrestlers who perform music and dances. For Western fans, it has quickly become a cornerstone of their appeal

Meanwhile, promotions like Stardom and World Woman Pro-Wrestling Diana have partially embraced the Japanese idol concept by blending high-level athleticism with entertainment-focused styles designed to build deep, personal links with fans:

Stardom emphasizes visual presentation through cute personalities, neon hair, and selling branded merchandise like calendars and photobooks (featuring wrestlers such as former High Speed Champion Saki Kashima) to create a visual product that thrives on idol-style popularity. Bringing in over $1.2 million per month, Stardom is the most successful company in joshi puroresu when it comes to idol-style marketing.

World Woman Pro-Wrestling Diana, which features a mix of legends and new-generation talent, making it a promotion that has something for everyone who enjoys women's wrestling, utilizes young talent like former World Woman Pro-Wrestling Diana World Champion Haruka Umesaki to incorporate high-speed, cute elements, blending traditional matches with idol-like personalities to appeal to a wider demographic.

A reason why idol culture works in pro-wrestling is synchronicity -both wrestling and idol culture unfold in real-time. A wrestler’s career milestones -birthdays, injury returns, or graduation from a promotion- happen alongside the fan's life.

As streaming services like WRESTLE UNIVERSE, Stardom World, and Diana Live continue to grow (with Western subscribers representing a significant, highly active subscriber base), we are seeing a localization of Japanese fan habits. Furthermore, Western fans are utilizing social media to show support and buying merchandise via specialized shipping.

The Western fan is no longer only a spectator; they are investing in the person behind the persona. Whether it's the pre-match songs or the post-match photograph opportunities, the intersection of these two worlds has added more fun, emotion, and excitement to the pro-wrestling industry.

What if Tony Khan Had Successfully Purchased WWE?

In the spring of 2023, when Vince McMahon officially put WWE on the market, it was expected that either Disney, the Saudi Arabia Public Investment Fund (PIF), Comcast, or Endeavor would buy WWE. Endeavor was the successful buyer and merged it with its subsidiary, UFC, to create TKO, but what if Tony Khan had secured the winning bid in an acquisition that changed the industry and merged the two largest entities in the pro-wrestling industry under one man's control?

While TKO is a public company driven by quarterly earnings and shareholder value that needs to focus on immediate profit-maximization, Tony Khan runs his sports teams (the Jacksonville Jaguars and the Fulham Football Club) as private entities- he would have been able to prioritize long-term coordination between AEW and WWE. Rather than dissolving WWE into AEW, Khan would likely have operated them as separate brands under a single umbrella, WWE remaining a global touring entity, while AEW continues as an alternative.

For the first time in the history of both brands, there would be an exchange of talent between the two. WWE Superstars like Randy Orton could appear on AEW Dynamite for one-off matches, and AEW stars Kenny Omega and Will Ospreay would be able to perform at WrestleMania.

We could have seen matches between AEW and WWE talent that were previously not possible, through a cross-brand pay-per-view event:

Kenny Omega vs. CM Punk
Gunther vs. Chris Jericho
Will Ospreay vs. Randy Orton
Cody Rhodes vs. Adam Copeland
Christian Cage vs. Roman Reigns
MJF vs. The Miz
Brock Lesnar vs. Claudio Castagnoli
Rey Mysterio vs. Jon Moxley
Kazuchika Okada vs. Seth Rollins
Johnny TV vs. Sami Zayn
Drew McIntyre vs. Samoa Joe
Rhea Ripley vs. Mercedes Moné
Adam Page vs. Shinsuke Nakamura
Hikaru Shida vs. IYO SKY

The competition between AEW and WWE for talent, TV deals, and fans would be over, with a dominance similar to WWE's in the post-WCW era in 2001, and the ripple effects would be felt globally. Small promotions would have become developmental feeders, while ROH and NXT likely would have been merged into a single, global scouting system. Without being able to play AEW and WWE against each other for bigger contracts, talent would have lost some leverage in salary negotiations, although they would be pleased with the AEW-style travel schedule, which has roughly 68% fewer events than WWE's. In addition, AEW has a flexible contract model that potentially would allow WWE Superstars to appear in many other promotions.

While many of WWE’s corporate staff would probably be retained for their logistical expertise, the company's booking strategy would likely change, with in-ring work and athleticism becoming prioritized, showcasing a diverse range of wrestling styles, from high-flying artistry to demonstrations of technical skills. This would create a stronger emphasis on showcasing the individual journeys and in-ring capabilities of its wrestlers. More attention being put on in-ring work and showcasing a variety of wrestling styles would make WWE more appealing to die-hard wrestling fans.

The most significant shift would have happened at the negotiation table. Tony Khan would have unified the libraries of WWE, AEW, WCW, ECW, the AWA, World Class Championship Wrestling, and the GWF- the majority of US professional wrestling history would be under one owner, creating an unparalleled content library that would represent the largest repository of wrestling content in existence. He would have licensed the library to partners while maintaining ROH/AEW content on a smaller proprietary platform, eventually consolidating them after existing contracts expired. Later, a deal to make HBO Max the home for the entire historical library while airing current AEW/WWE shows could be negotiated.

With WWE's booking strategy likely changing, casual wrestling fans who prefer a highly polished and entertaining product that prioritizes spectacle and mainstream appeal would possibly be dissatisfied with AEW's booking strategy. This would have created a massive gap in the market for a new, WWE-style promotion to form, competing against the now-combined Tony Khan-owned entity.

For this reason, it may be for the best that Tony Khan's bid for WWE was not successful. While fans and talent alike would celebrate new possibilities and the end of political barriers, there would be less competition and one less promotion to cater to the different tastes and preferences of wrestling fans. Plus, for a wrestling company, thriving in a competitive market is often better than having less competition, as it forces innovation, improves product quality, and forces companies to think of ways to utilize talent better and refine their storytelling. While less competition reduces immediate pressure, having a healthy, competitive landscape -where multiple companies exist and succeed- is better for the overall health of the industry.