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Saturday, January 2, 2100

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 WOW - 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:



Friday, October 30, 2026

Samples of My Work

Strategic communications consultant in the sports, entertainment, technology, and advertising industries.


For inquiries, email info@harold-williams.com | Project rates typically start at $500 depending on scope and turnaround

I am open to new writing opportunities:

- Articles
- Promotional writing
- Press releases
- Technology writing
- News
- Creative writing
- Website content

I offer:
- Sponsored content & event coverage
- Social media promotion
- International audience




ARTICLES

Exclusive Q&A with WOW group The Enlightened founder Samantha Smart (shared by Samantha Smart)
https://www.harold-williams.com/2026/05/exclusive-q-inside-mind-of-iq-superior.html

Article about the history of Michinoku Pro Wrestling endorsed by Michinoku Pro Wrestling founder The Great Sasuke)
https://www.harold-williams.com/2023/08/the-30-year-history-of-michinoku-pro.html



PRESS RELEASES

Press release (written as a ghostwriter) for youth sports platform True Lacrosse / True Sports, and approved by its Private Equity partner, TZP Group
https://www.tzpgroup.com/images/news/pdf/TZP%20-%20True%20Lacrosse%20-%20Press%20Release%20(10.07.2025).pdf

Press release for Middle Kingdom Wrestling
https://www.harold-williams.com/2023/02/middle-kingdom-wrestling-and-hong-kong.html



TECHNOLOGY WRITING

Blog post about how modern wrestling has evolved into a global digital phenomenon
https://www.harold-williams.com/2026/02/the-digital-ring-recreating-wrestling.html

Global wrestling streaming guide for TV, desktop, and mobile
https://www.harold-williams.com/2025/11/the-ultimate-global-wrestling-streaming.html



EVENT PREVIEWS

English blog post for Michinoku Pro Wrestling (event preview)
https://www.harold-williams.com/2024/03/michinoku-propreview-31724-musashi.html

English blog post for World Woman Pro-Wrestling Diana (event preview)
https://www.harold-williams.com/2026/07/diana-live-world-woman-pro-wrestling.html



RESULTS REPORTS

English blog post for Michinoku Pro Wrestling (event results)
https://www.harold-williams.com/2022/12/michinoku-pro-results-2022-tokyo.html

English blog post for Michinoku Pro Wrestling (event results)
https://www.harold-williams.com/2019/12/michinoku-proresults-tokyo-conference.html



NEWS ARTICLES

News article about WWE's SmackDown going to USA, Raw and NXT leaving USA (2023)
https://www.harold-williams.com/2023/10/smackdown-to-usa-raw-and-nxt-to-leave.html

News artcle about WWE's historic return to Japan (2024)
https://www.harold-williams.com/2024/05/wwes-historic-return-to-japan-this-july.html



REVIEWS

Review of games section of MortgageCalculator.com
https://www.harold-williams.com/2023/02/animation-based-games.html

Review of online games website Solitaire.org
https://www.harold-williams.com/2023/01/more-online-games-for-studying-english.html



COLUMNS

Big Japan Pro-Wrestling English website column
https://web.archive.org/web/20191201061554/http://bjw-usa-news.blog.players.tv/category/725806-1.html

1PW column 2005 sample
https://web.archive.org/web/20050725073420/http://www.1p-w.com/inside.html



CREATIVE WRITING

Blog post featuring my idea for a contemporary take on the York Foundation
https://www.harold-williams.com/2025/03/the-voice-of-order-leading-algorithm.html



SOCIAL MEDIA

Social media for World Woman Pro-Wrestling Diana
https://x.com/HWilliams13/status/2073610343914357131

Social media for World Woman Pro-Wrestling Diana
https://x.com/HWilliams13/status/2073391471768601014

Get an audio summary of my skills and experience below:



For inquiries, email info@harold-williams.com | Project rates typically start at $500 depending on scope and turnaround

How Joshi & Regional Japanese Independent Pro-Wrestling Promotions Build Direct Loyalty

In American professional wrestling, success is traditionally measured through things such as television ratings, venue attendance, and rights fees- which is why American wrestling promoters misunderstand the Japanese TV model.

Meanwhile in Japan, joshi and regional independent pro-wrestling promotions (like World Woman Pro-Wrestling Diana and Michinoku Pro) have perfected an alternative economic model, where the focus is on things such as fan interaction and engagement, dedicated wrestling platforms, and connecting with communities. For American promotions that don't have major national cable deals like AEW's agreement with Warner Bros. Discovery networks, or multi-platform domination like WWE, these Japanese promotions prove sustainable brand equity can be built without them.

Merchandise Sales

The revenue model for Japanese promotions is optimized around live events, where merchandise tables are utilized as meet-and-greet areas. For joshi and regional independent pro-wrestling promotions, merchandise sales are not only extra money, but they are also the primary, immediate revenue stream that makes an event more profitable. For the wrestlers themselves, a part of their pay involves their ability to sell inventory at the merchandise table. For independent wrestlers, merchandise sales are the most immediate form of revenue, functioning as a kind of face-to-face selling performance bonus that instantly validates their connection with the audience. The charm, efficiency, and strategic planning applied to the merchandise table as the wrestler meets fans and sells inventory translates into additional income for talent. There is an emphasis on programs, calendars, photobooks, and post-match photograph opportunities. Not only are these merchandise experiences financially beneficial for the promotion and the wrestlers, but it also allows the fan to look at their favorite pro-wrestler in person and interact with them eye to eye- that is a fan who will be one of the first to buy a ticket to the next event.

Dedicated Wrestling Platforms & Low-Cost Live Infrastructure

In America, television deals have become continuously more lucrative for major promotions, providing significant revenue. Contracts with television networks and cable television channels provide guaranteed, multi-million-dollar annual recurring revenue; therefore, the promotions invest heavily in custom SVOD apps and/or expensive broadcast production. As I noted in my recent blog post about how Japanese wrestling promotions operate differently from American promotions, Japanese promotions use streaming and digital pay-per-views as a way to monetize their live events directly, and many of them leverage flexible, low-overhead digital streaming tools.

Diana's own live streaming service, Diana Live, uses standard video players, and the promotion keeps its technology costs very low and efficiency high by sharing its streaming system with another company, rather than building an expensive custom website from scratch. As a result, fans are able to watch live broadcasts of events featuring a mix of legends and new-generation talent from Japan, while Diana monetizes and avoids costly tech-development bills and satellite/distribution costs.



Fan Clubs

A fundamental pillar of stability for Japanese promotions is the fan club system. Rather than only relying on unpredictable month-to-month ticket sales, fan clubs can create repeat attendees to live events. And the recurring revenue from fan club memberships provides promotions with a financial safety net, offsetting venue rental costs and talent guarantees before ticket gates even open.

Diana operates a supporter fan club called Dear's. Members of the club receive exclusive perks, including early entry privileges for home matches and ticket discounts.

Michinoku Pro has the Tamakome Club, a fan club for MIRAI, a former Wonder Of Stardom Champion and the sole female wrestler on the Michinoku Pro roster. The top tier fan club memberships plan includes posts, group chats, match broadcasts, a streaming archive, and more.



Sponsorships and Connecting With Communities

Businesses, restaurants, and city partners frequently sponsor individual matches, venue banners, or wrestler gear in exchange for direct access to the promotion's dedicated fanbase. For example, a regional business might present the winner(s) of the main event of a Diana show with a customized victory prize banner. When a promotion highlights businesses and restaurants through in-ring prize presentations and banners, it proves to its audience that the promotion is supported by the community. This increases the fans' respect for the promotion, and the promotion securing victory prizes and having corporate backing elevates the promotion's image and brand recognition, which signals to the fanbase that the promotion is worth the fans' continued passion and financial investment.



Diana promotes business partnership programs with overseas organizations with the aim of establishing a women's professional wrestling culture, primarily in the Asian region, and developing wrestlers and expanding the fan base. It includes fostering and developing a women's professional wrestling culture rooted in local communities and expanding the fan community through joint events and opportunities for fans to interact with wrestlers.

Under the leadership of Jinsei Shinzaki and The Great Sasuke, Michinoku Pro is a community-based promotion, staying true to its mission of bringing pro-wrestling to founder Sasuke's hometown of Iwate. The company primarily has events in the Tōhoku region, and many of the shows feature matches that are not seen anywhere else in the country, including Tohoku Junior Heavyweight Championship (the top championship in the company) matches. The loyal Japanese wrestling fanbase has a deep connection to its homegrown promotions and traditions.



In the Japanese pro-wrestling industry, television is used to drive ticket sales instead of as a primary revenue source, the shows existing to present fast-paced, exciting, and unpredictable in-ring action that compels fans to buy tickets to a show. By leveraging a mix of merchandise sales, dedicated wrestling platforms at low cost, fan clubs, and connection with the community, promotions can build a profitable, self-sustaining system.

Tuesday, October 27, 2026

Building a FAST-First Ecosystem for Pro-Wrestling & MMA



For decades, the biggest hurdle for pro-wrestling and MMA promotions in the U.S. has been the high cost of broadcast television clearance. Syndication via broadcast TV is very accessible because it can be picked up on local broadcast channels in high definition for free using an HD OTA (over-the-air) antenna and doesn't need an internet connection or a smart device, but buying airtime severely limits a brand's growth when a promoter doesn't know how to work with the situation, and a promoter accepting a fringe-time TV deal in order for their promotion to be seen nationally might not result in being placed in a time slot that the promoter prefers.

FAST (free ad-supported streaming television) is providing a strong alternative. These live TV streaming services including The Roku Channel, Tubi, Pluto TV, and Samsung TV Plus are delivered over the internet via PC, connected TV (CTV) apps, or smart TV interfaces, entirely free- users do not have to pay a subscription fee, sign a contract, or need a login; the service is funded by advertisements (similar to broadcast TV). A FAST channel can expand brand visibility globally without expensive satellite transponder or traditional distribution fees. And rather than compete with a variety of genres on an SVOD dashboard, a wrestling or MMA show on a FAST channel benefits from being discovered by channel surfers browsing combat sports-related grids. FAST is available 24/7, which means both new and archive content can generate ad earnings even while the promoter is asleep. Although the immediate earnings generated from traditional TV carriage deal ad breaks are typically much higher, consumption habits are changing. Streaming is becoming increasingly dominant, with the number of video streamer users worldwide expected to increase to 4.6 billion by 2027.

Launching a standalone linear FAST channel directly on large platforms requires massive scale, high-volume fresh programming, and direct ad-server linking, which means that it's very difficult for most pro-wrestling and MMA promotions to accomplish this unless they are a major organization. Instead, they usually build their FAST footprint by partnering with established combat sports and general sports platforms -such as DAZN Combat, Fubo Sports Network, Swerve Combat, or Fight Network- to gain distribution, with their product being placed directly in front of channel surfers who are looking for these genres of content.

Rather than managing 24/7 broadcast infrastructure, the promotion licenses weekly shows, episode blocks, or event archives to a combat sports or general sports platforms already cleared on major FAST platforms. They handle the technical side, while the promoter's job is to give the platform a high-value product. I recommend that archive content be used to create themed compilations, so that fans can easily watch specific athletes, matches/fights, and feuds.

While going the broadcast TV route requires having to decide between barter vs. time-buy, the FAST model relies entirely on a zero upfront, advertising-revenue split (there may also be guaranteed rights fees involved, but this is rare). Typically, a platform provides the streaming service and app hosting, retains roughly 40% to 50% of the commercial ad inventory to monetize its hosting tech, and gives the promotion the remaining 50% to 60% of the ad slots to sell directly or fill via automated programmatic ads (it's like Wall Street trading, but for commercials). The channel makes money when the content draws eyes, so the longer viewers are glued to the screen during the promotion's scheduled blocks, the higher the bid that the algorithm can command. Although it's not mandatory to secure sponsorships if the advertising-revenue split from the FAST platform covers the promotion's overhead, it would guarantee steady profitability and offset potential low ad payout rates.

FAST can lead to live event attendance growth. A channel surfer could discover the brand on a FAST grid, and the action of the shows would compel them to buy tickets to an event. The shows would basically be a commercial for upcoming live events, which can create a high level of repeat attendees.

Building a FAST-first ecosystem allows wrestling & MMA promotions to operate like media companies. By partnering with combat sports or general sports platforms, promoters can both gain both global visibility and sustainable, passive revenue. There are at least 15 to 20 distribution platforms of this type that are actively acquiring, licensing, or hosting content, and if you are a promoter looking for a distribution home or a content aggregator wanting combat sports content, let's talk. Contact me at info@harold-williams.com to start the conversation.

Monday, October 26, 2026

Barter vs. Time-Buy: The Choice for Wrestling Promotions

If a professional wrestling promotion decides to go for syndication via traditional TV, they will face two financial options: barter and time-buy. They must evaluate television as a marketing investment, and understanding the math behind both models -and how to monetize them- is the key to turning broadcast reach into live event gate attendance and long-term brand equity.

The Barter Model

Instead of paying the promoter for the right to air the program, a local network affiliate, multicast network, or an independent television station gives the promoter 6 to 7 minutes of advertising time. While the station sells 6 to 7 minutes of advertising time to local market businesses, the promotion monetizes its advertising time by securing national sponsors (direct-to-consumer brands or products available nationwide). The promotion can also use that time to advertise upcoming events, merchandise, archives on a direct-to-consumer sports streaming platform, etc.

[Case Study] NWA POWERRR on COMET



An example pro-wrestling promotion for this model is the NWA and its weekly program, POWERRR. While continuing to show that territories still matter today, the NWA has expanded its footprint via COMET, a national multicast network owned and operated by Sinclair Broadcast Group. COMET uses the syndicated over-the-air (OTA) model to reach approximately 82% of U.S. television households on local broadcast channels (it can be picked up in high definition for free using an HD OTA antenna). Sinclair utilizes a barter arrangement with the NWA to fill a one-hour Saturday afternoon slot with established content so that they can attract a large audience (NWA POWERRR attracts a viewership of 275,000) and sell its national ad inventory to major advertisers at high rates.

The transaction between the NWA and COMET is that commercial advertising time within the broadcast hour is split between them. Sinclair utilizes its portion of the advertising inventory to run standard brand commercials and product-sales ads, generating immediate revenue for the network. Sinclair gives the NWA 6 to 7 minutes of commercial time per episode of NWA POWERRR, which it uses to secure direct-to-consumer sponsorships, such as CashNetUSA.



In addition, the NWA utilizes its airtime as a marketing vehicle to drive television viewers toward live event gate attendance by advertising upcoming events. Thanks to their barter agreement with COMET, the NWA is able to eliminate monthly overhead risk ($0 in direct airtime fees) and protect its cash flow while simultaneously expanding its brand visibility nationwide.

The Time-Buy (Paid Programming) Model

In a time-buy arrangement, a promotion purchases a specific block of airtime directly from the broadcaster. The promotion accepts 100% of the production and airtime costs (e.g., $500 to $2,000 per month depending on market size and time slot), and gets about 85% commercial advertising inventory within that hour (roughly 10 to 12 minutes) to sell to local sponsors. To offset what they are going to spend in order to get a guaranteed time slot and the exposure that comes with it, the promoter should look into getting sponsorships, so that the brand can continue to grow. The primary benefit is a guaranteed time slot that the promoter gets to choose- time-buy slots most commonly are late night and early morning. If they are having difficulty getting sponsorships, they should use their advertising inventory to advertise upcoming events, merchandise, archives on a direct-to-consumer sports streaming platform, etc., so that the monthly airtime bill doesn't become a drain on their operating budget.

No matter which option a pro-wrestling promotion chooses, it can be further capitalized on. If a promoter prefers a barter arrangement, in addition to having a traditional broadcast television deal, they could also join a FAST (free ad-supported streaming television) platform. These live TV streaming services are delivered over the internet via PC, connected TV (CTV) apps, or smart TV interfaces, entirely free- users do not have to pay a subscription fee, sign a contract, or need a login; the service is funded by advertisements (similar to broadcast TV). A FAST channel can expand brand visibility globally without expensive satellite transponder or traditional distribution fees. And rather than compete with a variety of genres on an SVOD dashboard, a wrestling show on a FAST channel benefits from being discovered by channel surfers browsing combat sports-related grids. FAST is available 24/7, which means both new and archive content can generate ad earnings even while the promoter is asleep. Although the immediate earnings generated from traditional TV carriage deal ad breaks are typically much higher, consumption habits are changing. Streaming is becoming increasingly dominant, with the number of video streamer users worldwide expected to increase to 4.6 billion by 2027.

As for the time-buy model, if a promotion buys a single weekend morning or late-night time slot on one or two strong independent stations in the area where they host events, it would help increase attendance and the promotion's chances of being able to get local sponsorships.

Television is a structured marketing engine, and whether a promoter chooses the cash-preservation of a barter or the guaranteed visibility of a time-buy, the ultimate goal remains the same: convert viewer attention into dollars. If you are a promoter who is trying to decide between barter and time-buy or doesn't know where to go from there, you can reach out to discuss your specific needs via info@harold-williams.com

Saturday, October 24, 2026

How Syndication Works for Wrestling Promotions

When professional wrestling promoters analyze distribution, the discussion often gravitates toward major national cable deals like AEW's agreement with Warner Bros. Discovery networks, or WWE's multi-platform domination. And being on a Subscription Video on Demand (SVOD) channel is definitely a game changer. However, for smaller promotions looking to build sustainable brand equity and drive localized ticket sales, syndication remains one of the most effective -and routinely misunderstood- distribution strategies in pro-wrestling.

As I recently broke down why American wrestling promoters misunderstand the Japanese TV model, the Japanese wrestling industry uses television to drive ticket sales instead of as a primary revenue source. Understanding how TV syndication functions -from barter agreements and time-buys to free ad-supported streaming television (FAST) distribution- is essential for any promoter seeking to turn reach into net profitability.



Barter vs. Time-Buys vs. Revenue-Share Models
While WWE and AEW are paid guaranteed rights fees for their programs, the primary hurdle for most other promotions entering TV is navigating the financial structure of agreements. Wrestling syndication generally operates under three commercial models:

- Barter: Instead of paying the promoter for the right to air the program, a local network affiliate (e.g., CBS, The CW), multicast network (e.g., COMET), or an independent television station gives the promoter a chunk of advertising time. While the station sells the rest of the advertising time to local market businesses, the promotion monetizes its advertising time by securing national sponsors (direct-to-consumer brands or products available nationwide). The promotion can also use that time to advertise upcoming events, merchandise, archives on a direct-to-consumer sports streaming platform, etc.; Note that a promoter accepting a fringe-time TV deal in order for their promotion to be seen nationally might not result in being placed in a time slot that the promoter prefers, although if I were running a promotion, I would rather it be seen nationally via a fringe-time carriage deal than it not be seen nationally at all. Plus, if your promotion reaches the majority of US markets, your viewership might be high enough to make up for that time slot. And no matter how many markets you reach, being on TV will increase your chances of being able to get sponsorships.

- Time-Buys (Paid Programming): The promotion purchases a specific block of airtime directly from the broadcaster. The promotion accepts 100% of the production and airtime costs (typically structured as a flat monthly rate for a fixed weekly time slot) and gets about 85% commercial advertising inventory within that hour to sell to local sponsors. To offset what they are going to spend in order to get a guaranteed time slot and the exposure that comes with it, the promoter should look into getting sponsorships, so that the brand can continue to grow.

- Revenue-Share Models (Splits): The FAST model relies entirely on a zero upfront, advertising-revenue split (there may also be guaranteed rights fees involved, but this is rare). Typically, a platform like The Roku Channel, Tubi, or Pluto TV provides the streaming service and app hosting, retains roughly 40% to 50% of the commercial ad inventory to monetize its hosting tech, and gives the promotion the remaining 50% to 60% of the ad slots to sell directly or fill via automated programmatic ads (it's like Wall Street trading, but for commercials). The channel makes money when the content draws eyes, so the promoter's job is to give the platform a high-value product that keeps viewers glued to the screen during the promotion's scheduled blocks so that the algorithm can command the highest possible bid.

The Different Types of Free, Linear Television

By offering free (no cable subscription needed) pro-wrestling entertainment, a promotion can build easy, direct access for people. And there are two ways to do this.

OTA (Over-The-Air): This is the local broadcast channels model. These channels can be picked up in high definition for free using an HD OTA antenna. In my recent analysis of the digital strategy of WOW - Women Of Wrestling, I looked at how they prioritize the human element. Beginning in 2022, WOW maximized accessibility by reaching US markets through syndication on local networks. Similarly, the NWA expanded its broadcast reach by bringing NWA POWERRR to COMET, a national multicast network that uses the over-the-air model. In addition, free over-the-air television syndication captures massive reach in urban markets and diverse communities where the cumulative cost of streaming platforms can become too expensive to afford.

FAST: This live TV streaming service is delivered over the internet via PC, connected TV (CTV) apps, or smart TV interfaces, entirely free- users do not have to pay a subscription fee, sign a contract, or need a login; the service is funded by advertisements (similar to broadcast TV). A FAST channel can expand brand visibility globally without expensive satellite transponder or traditional distribution fees. And rather than compete with a variety of genres on an SVOD dashboard, a wrestling show on a FAST channel benefits from being discovered by channel surfers browsing combat sports-related grids. FAST is available 24/7, which means both new and archive content can generate ad earnings even while the promoter is asleep. Although the immediate earning generated from traditional TV carriage deal ad breaks is typically much higher, consumption habits are changing. Streaming is becoming increasingly dominant, with the number of video streamer users worldwide expected to increase to 4.6 billion by 2027. Promotions currently using FAST (via Tubi) include the NWA ("POWERRR") and MLW ("Fusion").

Production Standards & Content Clearance
To qualify for syndication or getting on a digital platform, promotions must adhere to technical and operational specifications:

- Closed Captioning & Federal Compliance: Ensuring all masters meet FCC closed-captioning standards and audio loudness regulations (CALM Act compliance).

- Music & Video Clearances: Ensuring all entrance themes, background music, and on-screen graphics are 100% legally cleared for video distribution to avoid copyright strikes and prevent syndication delivery blocks.

- Time-Formatting: Editing episodes to a precise format sheet (e.g., precisely 44:00 of content split across standard 6-segment commercial structures for a 60-minute TV slot).

Syndication Myths

I have worked with many promoters over the years who expressed interest in getting TV for their promotion, and I have heard a number of myths regarding syndication:

- "You need to have production quality like WWE, AEW, or WOW to get syndication.": As long as the promotion's shows are not in a dimly lit venue with bad audio, dirty guardrails, and a creaky ring, its production value is enough. Whether a promotion aims for TV syndication or global streaming monetization, partners 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 or streaming platform.

- "We need to wait for our fan base to increase before getting TV.": For established promotions, it's often the opposite, with TV being the spark that accelerates fan base growth, followed by consistent, detailed content- articles, blog posts, and effective social media management that turns viewers into loyal fans and creates buzz the platform loves.

- "Ad Revenue is dead.": Regional brands, local automotive groups, and personal injury attorneys still heavily value sports entertainment programming to capture specific geographic demographics.

- "If I can't sign a deal with a major syndication group, it would be a waste of time.": There is power in micro-syndication- securing a single weekend morning or late-night time slot on one or two strong independent stations in the area where they host events, to increase attendance.

A promotion that treats television as a structured marketing engine masters syndication. By balancing production overhead against sponsorships and live gate revenue, promoters can grow a self-sustaining distribution footprint in linear television. If you are a promoter with a vision for syndication who needs help making it a reality, you can reach out to discuss your specific needs via info@harold-williams.com

Thursday, October 22, 2026

Why American Wrestling Promoters Misunderstand the Japanese TV Model



When American pro-wrestling executives evaluate international expansion or examine global broadcast strategies, they routinely view Japanese professional wrestling through an American lens. The Japanese wrestling media ecosystem has low rights fees, relies heavily on live event gates, and often has broadcast slots on pro-wrestling channels- this leads many American promoters to falsely assume that Japanese promotions lack in broadcast monetization.

In reality, Japanese wrestling promotions operate differently from American promotions, and the Japanese wrestling industry hasn't adopted the American television model because the fundamental purpose of television in the industry culture was designed around an entirely different monetization strategy. Understanding this distinction is essential for any promoter or investor looking to navigate Japan's pro-wrestling distribution.

Using Television to Drive Ticket Sales Instead of as a Primary Revenue Source

In America, television deals have become continuously more lucrative for major promotions, providing significant revenue. Contracts with television networks and cable television channels provide guaranteed, multi-million-dollar annual recurring revenue- for example, AEW's agreement with Warner Bros. Discovery networks is valued at approximately $185 million annually, which is roughly 239% more than what AEW makes from ticket sales and merchandise combined. Meanwhile, in Japan, television historically has been utilized to funnel viewers toward ticket sales, which is the same model that the American professional wrestling industry had before the mid-1980s. While NJPW's direct-to-consumer streaming service, NJPW World, generates an impressive $8 million to $10 million annually, live event gate receipts generate more than double that figure- making up roughly half of the company's overall revenue.

In Japan, television networks hold major stakes in the promotions or produce the broadcasts themselves. The television show exists to present fast-paced, exciting, and unpredictable in-ring action that compels fans to buy tickets to a show. American promoters expect Japanese promotions to prioritize television rights negotiations over gate revenue, not realizing where the real profit margin exists in the Japanese business model.

Venue Economics & Merchandise Sales

The revenue model for Japanese promotions is optimized around live events:

- Event Promoting: The broadcast is basically a commercial for upcoming live events, which can create a high level of repeat attendees.

- Venue Priority: Pro-wrestlers like to be able to connect with fans and perform in front of a full house, and it creates an electric, energetic atmosphere.

- Merchandise Sales: Merchandise tables are utilized as meet-and-greet areas by notable promotions. The charm, efficiency, and strategic planning applied to the merchandise table as the wrestler meets fans and sells inventory translates into additional income for talent.

The Digital Transition: Digital Distribution Platforms vs. Traditional Cable

From the outside of Japanese broadcast distribution, it's often overlooked how fluidly Japanese promotions adapted to digital video channels:

- Dedicated Wrestling Platforms: As I noted in my recent blog post about how Japanese wrestling promotions operate differently from American promotions, Japanese promotions use streaming and digital pay-per-views as a way to monetize their live events directly, and as streaming becomes increasingly dominant, with the number of video streamer users worldwide expected to increase to 4.6 billion by 2027, these Japanese promotions are bypassing traditional broadcast barriers entirely (like the cost of producing broadcast-ready television content for example) while still having direct accessibility that gives them an opportunity to continuously grow a global fanbase. Services such as NJPW World, Stardom World, WRESTLE UNIVERSE, and Diana Live convert worldwide fandom into monthly recurring subscription revenue while receiving wide-reaching, advertiser-supported streaming exposure, without needing network middlemen or having to worry about possible corporate gatekeeping (the network locking down talent or controlling content/archiving). It's also worth noting that when a program is broadcast on a Japanese network, its viewership is limited to the domestic audience, because of regional licensing laws and geo-blocking.

- Pay-Per-View & General-Purpose Streaming Platforms: Japanese Independent wrestling promotions frequently utilize pay-per-view live streams on general-purpose streaming platforms (like Twitcast) for events. This allows the promotions to generate immediate net profit on shows without paying expensive satellite transponder fees or network time-buys.

- Pro-Wrestling Channels: Pro-wrestling channels like Fighting TV Samurai/Samurai TV (owned by SKY PerfecTV!) target pro-wrestling enthusiasts. A promotion on this type of channel doesn't have to try to appeal to an audience that includes casual wrestling fans in an attempt to get prime-time network ratings- anyone who is watching is a die-hard wrestling fan. Plus, even if a general interest network holds major stakes in a promotion or produces their broadcasts themselves, the promotion would still potentially be put in a graveyard time slot or experience their broadcasts eventually being abandoned by the network.

Localization

Misunderstanding the Japanese television model often results in wrong international expansion strategies. American executives routinely assume that acquiring Japanese top talent automatically translates to capturing the Japanese market. And considering the fact that talent such as AEW star Kazuchika Okada and WWE Superstars Shinsuke Nakamura and IYO SKY are amongst the biggest Japanese names in the industry, it would seem that this is the case. However, the truth is complex:

- Viewing Habits: In Japan, Kazuchika Okada and Shinsuke Nakamura were top names in NJPW, and IYO SKY was the ace of STARDOM. However, when they transitioned to organizations based in America, many fans in Japan didn't continue to follow their careers on a regular basis. One reason is logistics- when WWE and AEW programs are on weeknights in America, it's a weekday morning in Japan, when the average person is starting their workday. The other reason is that the loyal Japanese wrestling fanbase has a deep connection to its homegrown promotions and traditions. And when comparing Japanese and American wrestling, you can see that while both styles have matches that focus on technical skill and athleticism, Japanese wrestling often emphasizes physicality and competitiveness- many fans in Japan prefer to focus on this style of promotion.

- Cross-Promotion as a Solution: A way to capture the Japanese market when booking talent from Japan is to utilize cross-promotion; this is a strategy that is used by AEW (with NJPW). Japanese wrestlers could appear on the American promotion's shows, with the American promotion being associated with a Japanese promotion. This type of working relationship usually stirs curiosity in Japanese wrestling fans, and in business, curiosity leads to opportunity.

Choosing Talent

Japan is a territory that represents an untapped source for American independent wrestling promotions, which can satisfy a 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. Two things must be kept in mind:

- Cost: Many American promoters automatically assume that while the wrestlers in Japan would elevate the in-ring product of their promotion, 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.

- Quality: Just like in America, in Japan, not all pro-wrestlers are equal. Because styles range from the intense strong style to the aggressive King's Road style to the MMA-influenced style of STARDOM to the hardcore style to the lucha Libre-influenced puroresu style to the comedy style, a US promoter cannot simply book any available Japanese wrestler and expect them to fit their promotion. Having someone with knowledge of Japan's pro-wrestling scene and who understands its nuances is essential to scout talent that matches the specific style of the American promotion.

The Japanese television model was built for a different goal than America's. While the American pro-wrestling model prioritizes large-scale media rights distribution, the Japanese model remains one of the most resilient, fan-direct monetization models of the professional sports business.

Promoters who recognize this distinction can build more effective international partnerships, structure smarter digital distribution deals, and avoid costly cultural and operational misunderstandings.