I try not to comment too much on the state of professional wrestling as I become more involved, but I think the past few weeks (and months) have been interesting and I need to make my opinions known about a few things. These are not just the ramblings of a rabid wrestling fan, but the observations of someone studying the media in college and who wants to see wrestling thrive as a form of entertainment for years to come. I don’t know how much of a structure this article will have, but I’ll try to split it up into sections to avoid confusion. Also, as much as I’d like to delve into WWE I’ll be sticking to TNA because I feel this “new” promotion needs more advice than McMahon’s media giant.

Show Structure
As I watch TNA Impact (and other wrestling programs) I’ve begun to notice a startling pattern. There is a decided lack of wrestling on most wrestling shows. Most two-hour programs will have around 30 minutes of wrestling with the remainder going to backstage and in-ring promos. I think this pattern needs to be reversed.

I’m all for having promos and segments that further feuds, but they can’t overshadow the wrestling. That said, you have to work to your talent’s strengths. If there is someone who has a knack for promos then let them do that, but try to keep backstage segments relatively short. Don’t spend a whole quarter-hour on nothing but promos, you will lose your audience.

The TNA roster has a lot of depth, which works to their advantage. Not every wrestling fan will know Consequences Creed or Amazing Red by name, but if you let the X-Division stars put on one or two 10-minute matches a show you’ll see wrestling fans tuning in more.

And can we make a rule, industry-wide, that shows can no longer start with a ten-minute in-ring promo? I remember watching Raw and Nitro during the wrestling boom and after the opening pyro the bell would ring and we’d go right into the first match. Let’s get back to that.

Camerawork
This year’s Bound for Glory was an example of what separates WWE from TNA. Big spots in several matches were missed during the broadcast. I don’t know if this is the fault of the cameramen or the person on the switcher, but someone needs to be talked to.

Let me use a classic example of what to do for big spots. Since wrestling has planned spots, which are usually the biggest spots of the match, the cameramen should know what’s coming. When The Undertaker threw Mankind off of the cage at King of the Ring 1998 there was a clear hard camera shot and a cameraman right next to the Spanish announce table to catch the action. I know we’re constantly trying to portray wrestling as “real” and that “anything can happen” but when you know for certain something is going to happen your cameramen should be ready and waiting. The audience will suspend their disbelief when they see a perfectly framed shot and lash out when someone is out of position.

Writing
Oh boy, I don’t want to touch this topic with a ten-foot pole. But since it is part of the product I feel it’s necessary. Before I begin, let me just say I’m not one of the “Fire Russo” brigade. Vince Russo has had a lot of success in the business, but at the same time his fair share of failure. I’m able to praise and criticize him when necessary.

That being said, I think Russo works best when he has someone to reign him in. The Russo booking philosophy seems to involve a lot of angles and storylines moving very quickly, with babyface/heel turns, swerves, and stipulations thrown in. When Vince McMahon was the final gatekeeper for Russo’s scripts they were edited and slowed down to let the storylines play themselves out in a patient manner that made sense. More on who can reign him in a little later.

The big issue I have is that TNA really likes gimmick matches such as Monster’s Ball, Full Metal Mayhem, Six Sides of Steel, Reverse Battle Royals, et al. Don’t get me wrong, I love them when executed correctly, but having an excess of gimmick matches only devalues them. Monster’s Ball, for example, had just thumbtacks; then progressed to thumbtacks and glass, then thumbtacks, glass, and barbed wire, then thumbtacks, glass, barbed wire, fire, explosions, tasers, and a woman taking a huge bump. What’s next, a live execution? If Monster’s Ball matches were once-a-year, feud-ending matches instead of monthly occurrences then they wouldn’t have to escalate to such a level. It’ll keep the booking simple and the wrestlers healthy. I hate to see my friends taking thumbtack bumps and kendo stick shots every week.

Furthermore, I think in order to maintain interest in the product you do have to give something away for free on Spike TV. A good idea would be to take the Global (Legends) Title and make it similar to the WCW Television Title. Have the stipulations of the title changed so that the titleholder must defend it once every two weeks. That ensures that at least once a month you will get a title defense on free television. It’s also allows the middle of the roster to continually work with each other in different combinations. By having a ten-minute time limit on the matches you can have the champion retain, but still put the challenger over. This also makes the title seem significant, which should be the most important stipulation for every belt.

Hulk Hogan and Eric Bischoff
These two guys are responsible for a lot of success in wrestling, and I think if utilized correctly can bring notoriety to TNA. The way they shouldn’t go about this is by giving Hogan the TNA Championship. Don’t do it, just don’t. TNA has a tremendous youth movement that needs to be put over as the future of the business.

Hogan is best used as an ambassador and a general manager. Before Foley got involved in actually wrestling he filled this role almost perfectly. If they made Hogan the GM they’d have to make sure he was the only source of power on TV. No executive shareholder, no TNA founder, not even Dixie. Hogan would be in charge and be (naturally) a babyface. By having Hogan stand toe-to-toe with the young heels (Samoa Joe, Desmond Wolfe, etc.) and heralding the babyfaces at the future (AJ Styles, Matt Morgan, etc.) you’re putting over everyone on the roster. Heels get the rub by opposing Hogan and babyfaces get the rub by being seen as Hogan’s golden boy.

Bischoff is another asset that needs to be used to the fullest extent. Bischoff-Hervey Productions has the first right of refusal on all new TNA programming, which is awesome. Their reality shows are instant hits and I can see lifestyle/reality programs with TNA wrestlers taking off. TNA Spin Cycle should be on television, and I’m sure Bischoff already has the wheels turning on new, innovative programming that extends the TNA brand. Speaking of…

Brand Promotion and Expansion
With Hulk Hogan plugging TNA on Larry King, Jimmy Fallon, Howard Stern, and everywhere else this is the perfect opportunity for TNA to expand their reach. Brand identity is very important and making people aware of your brand through advertising is the most effective way of spreading your brand.

TNA should use its resources through Dixie Carter and Panda Energy to severely amp up their advertising campaign. When Hogan actually debuts there should be posters on every subway stop in New York City and a billboard in Times Square. Make it a big deal. On Comcast here in Connecticut WWE runs commercials during TNA Impact, I think TNA should return the favor. Start running ads in major markets during Raw, SmackDown, and ECW. Spike TV is part of the Viacom empire, so attempts should be made to get TNA wrestlers on MTV, VH1, and even Nickelodeon. Imagine AJ Styles and Daniels chilling at MTV Spring Break like the nWo used to do. Make it cool to like wrestling again.

Developing Superstars
Yes, “superstars” is a trademark of WWE but the term should still apply to top wrestlers in TNA. The Rock and Hulk Hogan have two things in common: physique and charisma. They would both dress like champions. They expanded their own personal brands past wrestling and brought more recognition to the industry. If you could get TNA wrestlers on red carpets and interviewed during shows like Access Hollywood and Inside Edition you can get more people interested in TNA.

Sure, I’m spending a lot of time on non-wrestling aspects when I’ve pushed wrestling ability and matches as the number-one concern. But when you’re dealing with the top superstars they should be able to sell tickets with their non-wrestling actions, and keep fans by the talent they display in the ring. Look at Hogan/Andre or any big feud in wrestling history. The two opponents were kept away from each other physically, but still sparred verbally. Ultimately you’d want to see the two fight, and hopefully see the babyface win. And if the babyface didn’t win, he’d instilled you with so much hope that you’d buy the next pay-per-view to see him win.

Move out of Orlando
I know this is an obvious solution with a complex answer, but there is one huge reason I think TNA shouldn’t film so many shows in the Impact Zone: the fans. Most of the Impact Zone fans are there every week and have been for years. They’ve seen it all and have become jaded. TNA as a large, international company should not be kowtowing to four-hundred or so fans to the extent that it alters storylines and ratings.

With TNA expanding its house show schedule it’s time to experiment with bringing the show on the road. The monthly PPVs outside of Florida are a good start, but it’s time for TNA to strive for more. Realistically they’d only have to tape two of the house shows they run every month. Send the camera crew in, each house show creates two episodes of Impact, and you’ve got a show. If the crowd reactions aren’t what you’d like (as they often are in Orlando) then sweeten it in post-production. TNA will be taken more seriously in the marketplace, and in the eyes of fans if they know the show is taped in different venues. I’d imagine more fans would attend so they could watch it live then go home and see themselves on TV at a later date, and even call friends and family to watch the show.

Conclusion
Ultimately the goal of TNA should be to increase their user base to drive revenue through merchandise sales and PPV buys. TNA is a business and should be treated as such. But it’s also a wrestling company, which means it needs to be handled with a certain amount of finesse.

By carefully utilizing big names like Hulk Hogan to attract one subset of fans, pushing younger talent to attract another, and making your talent and brand visible outside of the boundaries of Spike TV you will start to attract more viewers.

If you remember, WCW sucked for a long time. TNA doesn’t suck as bad as early-90s WCW, but it’s in that same state as WCW before the nWo and WWF before DX. They need those one or two young guns to really break out and become larger-than-life. If TNA can make the brand relevant and attractive to multiple demographics (admittedly harder than it sounds) then they’ll be in business for years and may even become the rival to WWE that they aspire to be.

I’m always available to discuss theories in communications, media, and advertising. And I’m sure if pressed for more I can come up with more suggestions for the TNA brass. I really hope that someone from TNA reads this and takes it to heart, as I want to see TNA excel. I’d also like to work for TNA one day. If Dixie Carter is reading this I’ve got my resume at the ready and would love to talk to someone from your company.