More About Me

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", "Will WOW Go From Las Vegas Residency to an Even Higher Level?", and "How WOW’s 'Human First' Digital Strategy Works in 2026" were endorsed by WOW - Women Of Wrestling on social media in August 2025, October 2025, and June 2026, respectively. In May 2026, my article, "An Education on The Enlightened: WOW's Psychological Supergroup," was endorsed on social media by the group's founder, Samantha Smart, which was followed by an exclusive Q&A with her, which she shared on social media. My articles, "WOW Superhero Spotlight: Jessie Jones & Big Rig Betty - Southern Attitude", "WOW Superhero Spotlight: Gabriella Cruz - A Brazilian Bombshell With Lucha Libre Influence", "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.

My article, "How World Woman Pro-Wrestling Diana Is Succeeding Globally," was endorsed by World Woman Pro-Wrestling Diana President Taishi Fuwa. I have also written event previews/wrestler spotlights and done social media for Diana.

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 history of wrestling commentary, Hisashi Shinma as WWE President, the true power of joshi puroresu, the history of wrestling in South Carolina, Alex Shelley, Mad Man Pondo, the early history of WWE video games, WWE Raw on Netflix, Strong Style Pro Wrestling, and more.

My articles have been used in research. 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. Also, my article on the evolution of social media in professional wrestling was cited in an Indiana University thesis submitted by a student to the faculty of the Graduate School in partial fulfillment of the requirements for the degree Master of Interdisciplinary Studies in the School of Social Sciences.

My work has been used as a resource on learning platforms. My ebook "The Business Side of Wrestling: A Look Behind the Curtain" has been 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 300,000 monthly impressions across the digital ecosystem. This includes direct traffic, high-authority visibility on Google, Gemini, Bing, Copilot, ChatGPT, Yahoo, Claude, DuckDuckGo, Ecosia, Perplexity, and Qwant, as well as significant engagement from networks like Facebook, LinkedIn, X, and Reddit.

Project rates typically start at $500 depending on scope and turnaround. 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, which 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 addition, 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.

Get an audio summary of my skills and experience below:

How I Would Structure and Launch a Wrestling Promotion

I often see a massive gap between a new, high-quality pro-wrestling product and a sustainable business infrastructure: The promotion has the potential for big things, but instead of focusing on what will help the promotion grow behind the scenes, it’s only satisfied with booking names that draw- despite the fact that only 20% of a wrestling promotion's success hinges on what happens on a show. As a result, the promotion does things like burn through capital on a venue that doesn't work for its budget and show size, treats social media like a temporary bulletin board, and doesn't build search authority past its immediate zip code.

If I were to help start a new wrestling promotion from the ground up, I would want it to be designed for long-term brand equity, media expansion, and financial sustainability, instead of it being created for something "just for fun". The wrestling business can be fun or frustrating, exciting or stressful, but it is always a business, and should be treated as such.

This is not an article about who I would book or what storylines I would create- this is an operational blueprint I would use to structure, market, and scale a pro-wrestling promotion.

Building the Promotion's Brand

The first thing I would do is decide on the promotion's brand identity. I would look at what successful promotions are doing, and do something that they are not doing. In order to be very successful in business, a product must be either better or different from the competition. I would accept the fact that the new promotion is not going to be better at presenting a style that an established promotion is already offering, and present a promotion that would provide an alternative for fans as well as talent. After deciding on what type of wrestling experience the product will offer fans, I would develop a marketing strategy that clearly defines the product in a way that appeals to the target audience.

Location Selection & Financial Risk Control

Not yet having an established audience, I would find a venue that has a capacity of 50 to 100, as opposed to a medium or large venue. For most new promotions, the max attendance for its first event is 75, which means having it in a larger venue would result in a venue full of empty seats and an unnecessary drain on my operating budget from rental and staffing costs. A small venue like a black box theater, community center, or VFW hall would be significantly cheaper to rent and would require less security and staff, protecting my bottom line. If I'm financially in a position to stream the event, a packed venue of 50 fans can create an electric, energetic atmosphere that translates well to video. In addition, small venues are beneficial to pro-wrestlers, since they are able to connect with fans more easily, and they would prefer to perform in front of a full house. When my local fanbase grows to consistently sell out my smaller venue, then it will be time for me to scale up to larger spaces.

Choosing Talent

I would only book talent that I could afford- no payments in a handshake, a hot dog, a pizza, a pack of cigarettes, or gas money. Wrestlers who are paid what they are worth are the ones who will keep returning and help the promotion grow. And this would also help the promotion stand out from other promotions, attracting the interest of the best wrestlers available. Wanting to avoid the promotion having a toxic backstage environment, I would only book talent that has a good backstage reputation- ones that don't have a lot of heat with promoters and other talent. I would also book at least one respected veteran, someone who can act as a locker room leader, having enough experience to settle personal friction that may arise, and is someone who can give advice to wrestlers who are wise enough to pick their brains.

In addition, Japan is a territory that represents an untapped source for American independent wrestling promotions, many of which automatically assume that while the wrestlers in Japan would elevate the in-ring product, they would demand a high booking fee. The truth is, there are young and up-and-coming talents in Japan that are waiting for their chance to shine and are very interested in wrestling in America. And it wouldn't be for the money- it would be for the opportunity.

If I have a streamed event, I would recruit commentators who prioritize focusing on the drama, emotional stakes, and entertainment value of professional wrestling, using their voices to amplify the narratives and reactions, while also utilizing ones who are generally more focused on the action and technical/historical description of a match.

Ticket Logistics

Since many promotions struggle with low online conversions, leaving them dependent on unpredictable walk-up crowds, I would go the flat-rate box office software route as opposed to using the ticketing agency model, to secure my revenue while at the same time streamline operations and give me 100% control over my ticket pricing.

Securing Sponsorships

Securing sponsorships is one of the first things that promoters try to do, because it provides financial stability, expands reach, and enhances the overall production value. However, If you want someone to sponsor you, they will wonder, "How would I benefit?" I would need to build a product that commands dollars and has the value that a brand would want to sponsor.

Digital Footprint: Real Estate Over Rented Land

Limiting my local reach to my zip code would be leaving money on the table, and not only is social media rented land, but it is a toxic trap that thrives on quick, often negative engagement that buries informative, high-value content like a link to an article, news/information about a promotion, information about an upcoming show, a promotion's DVDs, venue logistics, etc.; This is why, although I would leverage social media, I would use a high-ranking global platform to create strategic event previews for the wrestling shows. On that platform, I would also create high-impact brand analysis to make the promotion appear bigger than it actually is- framing the promotion through a business lens would position it as a premier destination. Having search authority that makes a promotion look like an international property online psychologically affects fans (and sponsors) by making them treat it like one. And by funneling active search traffic from fans looking for a specific style of wrestling product directly to the promotion's pages, a measurable ROI would be created.

Creative Structure & Promos

Promos would have a clear purpose tied to a storyline or match build, ensuring the talent hits necessary narrative beats. However, I would utilize a balanced, hybrid approach where I would give wrestlers bullet points rather than word-for-word scripted lines. Rather than requiring memorization of a script, talent would be given specific objectives to accomplish while being allowed to use their own voice and improvisation, because a character is best presented when its performer is comfortable with what they're saying- unless the performer feels that they need direction, which sometimes is the case.

Media Scaling: The Roadmap to Television & Global Streaming

Whether a promotion aims for television syndication, a TV deal, or global streaming monetization, broadcast partners and network executives look for one thing: a passionate, highly engaged audience that converts across platforms. For a new promotion, high-quality written content, press releases, and spotlights build the brand, establish an identity, and develop a core fanbase from the ground up. This foundation is what will eventually make the promotion an attractive prospect for a station, network, or streaming platform. In addition, a promotion can transform good publicity into higher ticket & merchandise sales, and long-term brand partnerships.

Business Growth Services

Building a promotion requires a balance between creative storytelling and disciplined business administration. If you are a promoter looking to take your promotion to another level, an investor planning a new venture, or an established organization seeking strategic communications positioning, I offer consulting/part-time/full-time services tailored to your operational needs:

- Strategic Communications: Developing press releases and brand narratives.

- Digital Strategy & Search Authority: Building digital assets that scale beyond social media's limitations.

- Operational Strategy: Advising on venue logistics, creative, talent relations, and ticketing workflows.

To discuss how we can structure or elevate your wrestling business, contact me directly at info@harold-williams.com, or learn more about me on my More About Me page or explore my portfolio of published work on my Samples of My Work page.

The Somebody Obsession: The Wrestling Book You Haven't Read Yet

When most people buy a wrestling autobiography to read, they usually choose one written by a legend of the ring, such as Hulk Hogan, Bret Hart, or Ric Flair. Meanwhile, ones written by wrestlers who focus on the independent wrestling scene often fly under the radar.

Although not becoming a household name with a million-dollar contract, there are many independent wrestlers who have built respectable careers to be proud of. One of them was Matt Murphy, author of the autobiography, "The Somebody Obsession".

Matt Murphy's promotional blurb says, "Many stars have shared their success stories in the crowded genre of professional wrestling autobiographies. But for every star there are a hundred also-rans, those of us who fell short of our dreams. We, too, have a story to tell. In my autobiography, THE SOMEBODY OBSESSION: A NOBODY'S DESPERATE JOURNEY TO STARDOM, I reveal how I overcame an impoverished, troubled childhood to live my lifelong dream of becoming a professional wrestler. I had to succeed; failure meant damnation back into the white-trash hell from which I came. While self-medicating the scars of my tormented youth with sex, booze, and wrestling, I reached for the stars and could feel them at my fingertips before my amazing ride crashed to an abrupt end. My story is THE BULLPEN GOSPELS meets I HOPE THEY SERVE BEER IN HELL. Funny and poignant, it is an inspirational and cautionary tale for anyone who dares to dream. It is about overcoming challenges and shows that the dreamer's biggest obstacle is often the one that stares back at him in the mirror."

Matt Murphy was trained by legend Harley Race and was the first graduate of the Harley Race Wrestling Academy. Murphy began his pro-wrestling career in 1999 at World League Wrestling (WLW), a Missouri-based promotion that was founded by Race. After having a seven-month winning streak that included a victory over former WCW star Bobby Eaton, Murphy later went on to be a foundational part of WLW's tag-team division. Along with becoming the inaugural co-holder of the WLW Tag Team Championship after it was established in 2001, he held it two additional times.

Matt Murphy became lead instructor of WLW in 2000 and, as a standout in the promotion, earned two opportunities to appear in WWE in 2001, as well as tenures in the Japan-based NOAH in 2001 and 2002, which included being trained there and participating in the inaugural GHC Junior Heavyweight Championship tournament. In addition, he wrestled in IWA MS in 2002 and participated in that year's Ted Petty Invitational.

Being able to seamlessly transition between the polished style of WWE, the King's Road / Strong Style of NOAH, and the gritty style of IWA MS showed how versatile a performer Murphy was in the ring and why his "All That" nickname was fitting.

You've read the stories from performers who have been on major supercards and at the top of the pro-wrestling industry. "The Somebody Obsession" gives you the perspective of a wrestler who had a different form of success in the business, as they also discuss the difficulties that they experienced along the way.

How Technology Is Reshaping the Professional Wrestling Industry

Technology has firmly embedded itself in the business of professional wrestling. AI is commonly used in archive tagging and content management, and as technology continues to mature, it will further reshape the industry.

Looking at the landscape in 2026, technology in wrestling is impacting both real-world logistics and corporate priorities. Here is how the pro-wrestling industry looks currently and where it's heading next.

Presence: Technology vs. Authentic Human Connection

For quite some time, the future of wrestling broadcasting has been shaped by cutting-edge technologies. In 2018, WWE began taking steps to pioneer and provide fans with immersive virtual reality (VR) experiences by partnering with NextVR, a virtual reality distribution technology company that specialized in broadcasting live events in virtual reality. For free, members of the WWE Universe were able to watch a WWE channel within the NextVR app and see WWE action as if they were ringside at the event.


By partnering with NextVR, WWE offered fans the opportunity to experience the excitement of a WWE event from a unique, ringside perspective. As VR technology continues to advance, we can expect even more innovative and immersive wrestling experiences in the future.

In January 2025, WWE went down a different technology-driven broadcasting format path, announcing a multi-year partnership with global technology company Cosm to begin bringing WWE Premium Live Events to fans in Shared Reality at Cosm's experiential venues.

Shared Reality is a cutting-edge form of immersive entertainment that blends digital and physical elements to create a shared experience in a physical space. Unlike VR, which typically involves a solitary experience using a headset, Shared Reality is designed to be enjoyed with others in a shared environment, bridging the gap between home viewing and live attendance. This means fans at Cosm locations can feel like they're ringside at major events like WrestleMania, SummerSlam, Royal Rumble, and Elimination Chamber, even if the event is taking place thousands of miles away. Cosm's technology utilizes large-scale 87-foot-diameter 12K+ LED domes that surround the audience, creating a sense of being transported to another location.

However, while these technological advancements offer a unique and engaging experience, live wrestling events have their own irreplaceable appeal. The enthusiasm of the crowd, the social experience of attending a live event with friends and family, being in a venue with people who love the entertainment value of professional wrestling as much as you do, and the opportunity to see your favorite wrestlers perform in person are factors that cannot be fully duplicated in a virtual environment. Ultimately, Shared Reality and traditional live events will continue to coexist, with each offering distinct advantages to fans. Shared Reality provides convenience for people who do not live near an event that is taking place, while live events continue to offer the unmatched "human first" emotions and passions of a live crowd.

In 2020, WWE began having Virtual Meet & Greets, where members of the WWE Universe could meet their favorite WWE Superstars from the comfort of their own home, only requiring the purchase of a ticket. After the one-on-one private video chat, the conversation and video could be downloaded via a link.

This is different from the people-focused strategy, which features the irreplaceable primary emotional driver of professional wrestling: the authentic human connection between the fan and the athlete, with the unmatched branding asset of a fan looking at their favorite performer in person and eye to eye. But at the same time, virtual meet & greets have no travel costs or geographical limitations, which means it's definitely valuable and has a place in the industry.

Production

Advanced technology is being utilized by WWE beyond the live event experiences as well. AR overlays will provide real-time stats, match analysis, and interactive elements during live events, enhancing the viewing experience. WWE has already heavily invested in virtual production in their studios to create flexible content for broadcasts that are more immersive and engaging. In 2024, the company launched a state-of-the-art 30,040-square-foot facility in Stamford, Connecticut. The new headquarters features a specialized virtual production stage (Studio 3) utilizing Sony’s Crystal LED VERONA screens and Disguise technology.

Also, some promotions use AI-powered video editing tools to automate basic tasks like highlight reels or create personalized wrestler entrance packages, showing the potential for AI to streamline production processes.

Post-show highlights and short-form video clips are automatically generated and targeted to specific demographics within minutes of a segment airing. In addition, industry leaders are heavily piloting AI-powered live dubbing and language translation. The goal is to take a live promo cut in English and instantly translate it into Japanese, Spanish, or German using the wrestler's own cloned voice. However, human oversight remains critical to ensure words and cultural nuances are translated accurately.

WWE frequently utilizes on-screen QR codes during live television. When a fan scans a code during a segment, the tech backend tracks immediate user traffic, geolocation data, and click-through velocity.

Furthermore, there has been a creative revolution via AI in the pro-wrestling industry, as it has evolved into a powerful force, reshaping traditional roles and workflows. WWE's Crown Jewel 2024 event featured an opening montage that reportedly was partially generated using AI. Since then, promotions frequently integrate generative AI into marketing, graphic design, and video production to cut costs and turn around promo packages on tight schedules. While this has caused some to fear job displacement, others see AI as a tool to enhance creativity and efficiency. Human creativity remains essential for knowing how to promote wrestling events effectively- it's one of the reasons why some wrestling shows draw 1,000 fans while others draw 45. The winning formula for technology in wrestling in 2026 and beyond is for technology to be an assistant, utilizing its speed, while humans use their knowledge and experience.

In addition, keep in mind that there will be times when the impact of AI on wrestling jobs will lead to new opportunities. For example, AI could create new job opportunities in areas like managing and maintaining AI systems.

Business Operations & Logistics

Ticket sales are a cornerstone of revenue generation for wrestling promotions, and the strategies used are increasingly sophisticated. One main tactic is dynamic ticket pricing. This involves fluctuating ticket prices based on real-time demand. As demand increases, prices rise, and they may decrease when demand is low. This approach, heavily put to use by vendors like Ticketmaster, has a noteworthy impact on wrestling events. For major events like WrestleMania, it can lead to substantial price hikes, particularly as the show date comes closer. This maximizes revenue for promotions. Reports indicate WrestleMania 41 ticket prices rose quickly within hours of pre-sale, guided by dynamic pricing algorithms. WWE has embraced this strategy, which TKO President Mark Shapiro confirmed at the Morgan Stanley Technology, Media & Telecom Conference in March 2025 when he said, "WWE has just gotten into the business of dynamic pricing and having dynamic pricing tools."

For many promotions focusing on tech integrations, creative and production directions are heavily connected to real-time digital metrics, which are real-time data points that promotions use to instantly measure fan engagement. Immediate online feedback, YouTube video traction, social media impressions & sentiment spikes, and instant online merchandise surges. All of these metrics, along with those of merchandise sales and viewer retention, are used to optimize live event touring schedules- the data helps corporate teams predict regional fan interest and tailor events to specific lucrative markets.

By analyzing vast amounts of data, AI can provide valuable insights into fan preferences, match ratings, and social media engagement. This data-driven approach allows broadcasters to make informed decisions about programming, scheduling, and marketing. Additionally, AI can be used to personalize the viewing experience for each individual fan, recommending content based on their interests and preferences.

Also, promoters utilize the AI of advanced venues (like the Mercedes-Benz Stadium or modern arenas hosting WWE Premium Live Events) to send targeted mobile push notifications to fans' phones for merchandise based on location data or which performer is making their entrance.

Apps, E-commerce & Digital Collectibles

Interactive fan engagement apps have been created, such as WWE SuperCard, WWE 2K, WWE Immortals, and AEW: Rise to the Top. These apps offer a variety of features, from collectible card games to role-playing experiences. Not only do they entertain fans and enhance & evolve fan engagement, but these apps also foster community building, generate revenue, and provide valuable data for marketing and product development.



Promotions have embraced e-commerce to sell merchandise directly to fans (via WWE Shop, Shop AEW, and many more), offering a convenient and global shopping experience. Some of them have experimented with the integration of non-fungible tokens (NFTs) to create unique digital collectibles for fans, creating new revenue streams and revolutionizing fan engagement. They are unique digital assets that represent ownership of a one-of-a-kind digital or physical asset. Since they cannot be replaced, they're valuable as collectibles.

Exposure

An independent wrestling promotion that achieved more success via technology is Yanagase Pro Wrestling in Japan. Due to the COVID-19 pandemic, YPW adapted by holding smaller events and streaming events online via TwitCasting. I could connect them with English markets in and outside of Japan, helping them grow in visibility, show attendance, and streaming consumption. Streamed YPW events not only attracted local Gifu fans, but also wrestling fans from other areas, such as the rest of the Chubu region, and the nearby Kansai region. A perfect example is their anniversary event- with strong and active online and social media promotion, their 2024 anniversary event had an attendance of 300, with many of the fans seeing a live YPW event for the first time (all previous YPW events took place at a 50-seat venue).

Many other promotions besides YPW have used live streaming platforms to stream matches and events, and offer on-demand libraries and exclusive content, expanding their reach to a wider audience and creating a global community of fans. Michinoku Pro joined WRESTLE UNIVERSE in March 2024, and before then, the wrestling company was using general-purpose streaming platform YouTube to stream, "Michinoku Pro Wrestling LIVE". World Woman Pro-Wrestling Diana has its own live streaming service, Diana Live. Meanwhile, the Singapore independent wrestling scene also uses streaming to introduce its top stars. Also, WWE has created "WWE Speed", a program that was streamed exclusively via X.

While most promotions don't have the budget to present the polished production quality of WWE, AEW, and WOW, automated multi-camera switching software, AI-powered audio mastering (which balances crowd noise with loud ring bumps and quiet promos), and automated color grading allow smaller promotions to produce a product of decent production quality, at a fraction of the cost.

WWE Goes Streaming

When WWE announced that Raw would be leaving USA, it was unknown where the program would go, but the most likely decision was that WWE would choose a streaming service, especially considering the fact that the company had already partnered with Abema. In the end, WWE chose Netflix, in order to reach a wider audience and generate new revenue streams. This set a new standard by making streaming the main way for major promotions to broadcast their products, along with creating new and innovative ways to use streaming in the future.

WWE ID

While independent wrestlers are using technology to build their own brands and reach wider audiences, the industry is also being shaped by initiatives like WWE ID, which provides increased exposure, access to resources and training, and a potential WWE contract. This program, which scouts and develops talent from the independent scene, utilizes social media and online platforms to find and showcase its prospects. This highlights the importance of a strong online presence for any wrestler, regardless of whether they have the goal of being signed by a major promotion or being successful on the independent wrestling scene. By becoming proficient in the same tools that WWE uses for scouting, independent wrestlers can increase their visibility and attract attention from various promotions, whether it's WWE or another promotion.

Talent

In the past, wrestlers relied on traditional media and word-of-mouth to build a following, and were limited to interacting with fans at live events. Now, they are educating themselves on tech tools and streaming strategies. Independent wrestlers are building personal brands, connecting directly with fans, and showcasing their skills globally.

Beyond simply broadcasting their matches, independent wrestlers are using social media to foster genuine connections with their fans. They're offering behind-the-scenes glimpses into their training and hosting live Q&A sessions. This level of interaction builds a loyal following and creates a sense of community that surpasses the traditional wrestling experience. And with today's technology, independent wrestlers can even produce their own promotional graphics without having the support and resources of a major company that would handle promoting for them.

In regard to safety, biometric tracking has been heavily used in training facilities, including the WWE Performance Center, over the last decade. Medical and strength staff routinely use wearable biometric tech (like WHOOP straps, GPS vests, and heart rate monitors) to track standard health data. They use this data to monitor cardiovascular fatigue levels, sleep and recovery quality, general workload, and overtraining prevention.

These are just a few examples of how technology has been successfully integrated into professional wrestling. As technology continues to grow, we can expect to see even more exciting, innovative applications in the future that will continue to enhance the wrestling experience for fans around the world, with technology playing an increasingly important role. From virtual reality experiences and social media engagement to interactive fan engagement apps and live streaming, these innovations are transforming the way fans experience and interact with the industry.

And to read about potential future technology trends, as well as learn about how wrestling promotions interact with the worlds of ticket sales, merchandise branding, TV rights, streaming, talent relations, and more, check out my ebook/audiobook, "The Business Side of Wrestling: A Look Behind the Curtain".

The Spectrum of Suffering: A Complete Guide to the Mist in Wrestling

In professional wrestling, few weapons inspire as much intrigue as the mist. It's often a subject of debate regarding whether the story behind it is related to ancient dark arts, demonic corruption, or specialized physiology. No matter the mist's origin, once it's spewed out of the wrestler's mouth into their opponent's face, the complexion of the match changes. But the exact way that it changes depends on the individual color of the mist.

Here is the definitive guide to the mist and its effects.

1. The Green Mist: The Blinding Venom
Effect: Immediate temporary blindness. Upon making contact with the eyes, the victim is instantly robbed of their sight, as they instinctively clutch their face in disorientation, prime for a pinfall. The green mist is the best-known mist, and the one that has been used most often during matches.

2. The Red Mist: The Burning Toxin
Effect: Burning skin pain and systemic trauma. Along with temporarily blinding the victim, the moment the red mist hits their skin, throat, or nasal passages, it triggers a painful burning sensation. Since the red mist is intended to injure instead of only temporarily blind (as the green mist does), it's usually leveraged when the wrestler is starting or engaged in a feud with someone.

3. The Black Mist: Long-Term Impact
Effect: Severe injury, and sometimes a change of psyche. Exposure to the black mist results in an eye injury that could take weeks or longer to heal. Wrestlers who use the black mist usually have dark personas, and it's possible for their victim's persona to become dark as well.

4. The Blue Mist: The Toxic Fusion
Effect: Blindness and neurological overload. Like a combination of the green mist and the red mist, blue mist blinds the victim while over-stimulating their nerves, sending the maximum possible pain signals to their brain all at once.

Notable Users of the Mist

Some of the most notable users of the mist include:

The Great Kabuki

The mist first made its appearance in pro-wrestling in the 1980s via The Great Kabuki while he was a part of the Southern wrestling scene, where he used both the green mist and the red mist as weapons.





The Great Muta

When The Great Muta made his WCW debut in 1989, he was introduced as The Great Kabuki's son, which enabled Muta to seamlessly utilize the green mist as a part of his character. With WCW being the second-biggest company in the industry at a time when wrestling was at a peak of popularity in the United States, Muta became the wrestler who is most associated with the green mist.

The Great Muta also attacked with the red mist later in his career, in NJPW, ROH, and WCW.





Killer Khan

Killer Khan received the most recognition in his career when he began wrestling for WWE in 1987. Although it was for only one year, Killer Khan made a big impression during his time in the company. With the devious Mr. Fuji as his manager, Khan would brutalize his opponents, before finishing them off by spitting the blinding green mist in their eyes and delivering a flying kneedrop.





Poison

From The Toxic Parts Unknown, WOW Superhero Poison was the result of a lab experiment that gave her the ability to spew temporarily blinding venom in the form of a mist.





TAJIRI

TAJIRI introduced ECW and WWE's Attitude & Ruthless Aggression Eras to the green mist. Along with utilizing the green mist and the red mist in WWE, he showed the damaging power of the black mist by spewing it into Nidia's face during a match against her boyfriend, Jamie Noble. As a result of the attack, Nidia was blinded for weeks.

Asuka

A WWE Superstar who was influenced and inspired by The Great Muta, Asuka has attacked with the green mist during her career, as well as with the blue mist.





Malakai Black

The dark and mysterious Malakai Black displayed the full power of the black mist in AEW after spewing it into the left eye of Julia Hart. Wearing an eye patch for months, the usually upbeat Hart gradually became increasingly gloomy as her mind was slowly being corrupted, which culminated in her giving in to the dark side and joining Black's House of Black faction.

Julia Hart

After her full persona change, Julia Hart began using the black mist as a weapon while a member of the House of Black faction. She later transitioned to the Triangle of Madness faction, where she continues to use the mist. In April 2026, Hart spewed it in Persephone's eyes to help fellow Triangle of Madness members Skye Blue & Thekla win a tag team match, injuring Persephone's left eye and putting her out of action until June 2026.


Upon her return, Persephone's eye was still not completely healed.

Shinsuke Nakamura

In late 2023, WWE Superstar Shinsuke Nakamura went from his usual calm, cool, and collected persona to adopting a sinister one, utilizing the red mist in a feud with Cody Rhodes. By late 2024, Nakamura had traveled deeper down an evil path and began using the black mist during a feud with LA Knight.





Naraku

Using his brilliant, Stanford-educated mind, WWE NXT Superstar Shiloh Hill has been researching the nature of the mist- and Naraku has taken offense to Hill attempting to figure out its dark secrets. Naraku has promised to unleash every color of the mist upon Hill if he continues his research- which may include colors we have not yet seen.

THE MIST 😮 pic.twitter.com/reDyMgiN1w

— WWE (@WWE) September 9, 2026

The mist is arguably the ultimate equalizer in professional wrestling. Whether it's blinding green, burning red, mind-altering black, nerve-overstimulating blue, or a color that has yet to be revealed, the mist can be even more effective than a chairshot to the back or going through a table.

Wrestler Spotlight: VertVixen - No More Games

Pro-wrestling is the perfect industry for VertVixen: She loves entertaining people and has always wanted to be an athlete. As a pro-wrestler, she has the opportunity to do both- and while her career was heavily built on a love for gaming, her recent trajectory indicates that she's no longer playing around.

With black belts from the American Taekwondo Association and the National Taekwondo Association, VertVixen had a great foundation for pro-wrestling capability when she trained at America’s Academy of Pro Wrestling in 2019, learning from veterans including Lil Evil (her original trainer), Dustin Rhodes, Jazz, Rodney Mack, and Daga. In addition, VertVixen receives ongoing mentorship from Allison Danger.

Every time VertVixen steps in the ring, she displays a high-speed and precise moveset, whether it's in an independent promotion or on national television for AEW, where she first began appearing in December 2020 and is now seen often, as well as in ROH.

The independent scene continues to be a part of VertVixen's pro-wrestling career as well, which provides a different experience from wrestling on television. While cameras are the main focus at shows that are broadcast on national television, she can connect with the fans in attendance at independent events easily.

VertVixen also has valuable international experience on her resume, which includes tenures in Japan. In 2023 and 2024, VertVixen wrestled in Tokyo Joshi Pro-Wrestling (TJPW). Being brought in and utilized by the promotion was a large stamp of approval on her skills, as it signaled that she is a standout in the American style. Making her debut while the inaugural Women's Champion of the US-based DEFY Wrestling, VertVixen was highly respected and viewed as a powerful and formidable foreign challenger who was a true test.



TJPW's confidence in VertVixen as a talent was evident when the promotion hosted a match where she defended the DEFY Women's Championship against former International Princess Champion Hikari Noa.

VertVixen's TJPW tours have been good opportunities/experiences for her, and like other wrestlers who have had the "Gaijin Dream", it signifies a commitment to her craft.

The original inspiration of VertVixen's character was gaming, which first became a part of her life during her childhood. VertVixen's entrance gear, ring attire, and overall presentation were frequently inspired by video game characters.

However, VertVixen has recently experienced a change of attitude. Deciding that it’s now time to make a bigger impact on the pro-wrestling industry, her mindset is more aggressive than it has ever been before, and she's showing the world that she’s not playing games anymore.

Grateful for all the love and new people here, but I'm no longer playing games.

Say hello to the N̶E̶W̶ VertVixen. pic.twitter.com/DpGJ3518ql

— VertVixen - ヴァート・ビクセン (@VertVixen) August 27, 2026

TikTok's 2026 Changes and Pro-Wrestling’s Digital Strategies

Since 2016, professional wrestling promotions and wrestlers have utilized short-form online video platforms, with TikTok being among the most notable. It has become a platform that is utilized to reach younger audiences. Along with short-form videos, trending sounds, and creative challenges are common. Wrestlers and promotions use TikYok to showcase their personalities, create segments, and promote upcoming events. A ten-second GIF of a high-flying maneuver, a five-second clip of a character taunting, or eleven seconds of a brawl was once enough to be added to users' feeds, creating viral moments and helping with social growth- but in 2026, TikTok's rules have changed.

TikTok's algorithm now prioritizes 60-to-180-second vertical videos. While roughly 70% of viewers must watch almost the entire length of a shorter video for it to achieve maximum algorithmic reach and hit main feeds, the algorithm adjusts its expectations for longer content, rewarding videos based on total cumulative watch time.

As a result, WWE, AEW, and WOW - Women Of Wrestling have adapted their TikTok strategies. Along with continuing to show match highlights and the endings of matches that guarantee immediate loops and high retention, they also publish clips that are longer than 60 seconds. By pairing quick, high-retention videos with long ones, the three companies satisfy both ends of TikTok's 2026 algorithm.

TikTok's changes have influenced how the talent in WWE, AEW, and WOW use the platform well. In addition to showing short clips, they post longer vertical video content, such as promos and segments that further present or develop their character.

On the independent wrestling scene, TikTok's platform changes have created an operational gap. Without the budgets of integrated media companies with major distribution deals, independent promotions are not always able to afford to produce original, TikTok-dedicated content. Meanwhile, TikTok now restricts off-platform promotion, enforces commercial content disclosures, and suppresses unoriginal or unedited clip sharing. Because these changes create obstacles for independent promotions that want to funnel viewers toward ticket sales, merchandise purchases, or external streaming services, many independent promotions are moving on from TikTok-reliant models.

I always advise pro-wrestling promoters to leverage the power of social media, but also caution them that it's rented land and that search authority is permanent real estate. To build a sustainable digital presence, independent promotions and wrestlers must understand the fundamentals of TikTok's changes, and promotions need to use their platform or a platform that ranks higher globally to avoid being added to the list of promotions that are shutting down.

When you only build your audience on social channels, you're building on a foundation you do not control. Their feeds should never be your planned final stop. TikTok should be treated strictly as a tool to draw readers to your own platform or a platform that belongs to someone who is working with you.

To put the longevity of search real estate into perspective: although my platform receives significant engagement via organic social, the majority of my traffic is direct, and my direct, organic search, and AI assistant traffic is growing at a faster rate than my organic social traffic. And blog posts have a longer visible lifespan than social media posts- five of my most viewed blog posts of the past 12 months are The 30 Year History of Michinoku Pro, The History of Wrestling in North Carolina, Remembering the Global Wrestling Federation (GWF), The History of Women's Wrestling in Japan, and Independent Wrestling's Secret Weapon: Tech Tools You Need to Know- all of these posts were published over a year ago. Meanwhile, the visibility lifespan of TikTok videos peaks within days or a few weeks.

My platform generates over 300,000 monthly impressions across the digital ecosystem and reaches an active base of over 200,000 unique monthly readers globally. Leveraging a high search ranking, it acts as a direct search bridge between fans and promotions. I've used my platform to drive measurable brand engagement for properties like WOW - Women Of Wrestling and several promotions in Japan, including Michinoku Pro and World Woman Pro-Wrestling Diana. By working with me for search authority, a wrestling promotion gains access to an established marketing engine that is indexed across all major search engines, AI discovery platforms, and social channels.

As for independent pro-wrestlers- you should educate yourself on tech tools and streaming strategies to build a personal brand, connect directly with fans, and showcase your skills globally, but you should also have your own website for independent bookings. Your website could feature an introduction of yourself and your character, information regarding what promotion(s) you have wrestled in, pictures of yourself, and video(s) of you, which could be shown when you contact a promotion. If you need help finding & reaching out to promotions, or promoting yourself, contact me at info@harold-williams.com