"Most people who watch wrestling on television never would think of buying a PPV, going to the arena, or spending much of any time thinking about pro wrestling except during the hour or two of escapist entertainment they spend watching it each week." - Dave Meltzer, in a mid-1996 Wrestling Observer Newsletter
So the number WWE released today for their WWE Network subscribers was lower than even the most optimistic projection, a total of 731,000.
While their international launch into 170 new countries (UK not included) pulled in 286,000 new subscribers, they lost a total of 255,000 subscribers at the same time, leaving their efforts over the last three months at an improvement of 31,000.
The breakdown is listed at 703,000 subscribers in the US, and 28,000 internationally, which tells me that, as expected, most of the people who wanted it in those foreign countries just signed up to the Network before under a US address before it was "technically" available to them.
The six month commitment idea has been totally scrapped, and apparently they are giving away a free month in November. Rumours that Vince McMahon re-hired Jim Ross then fired him to make himself feel better are unconfirmed.
To spell things out clearly, WWE needed to be at 1.1 million subscribers to even get to the point they were at before the launch of the Network by doing regular, tried and tested Pay-Per-View, and that was only after massive budget cuts, as the original break even number was 1.5 million.
Look, I'm not predicting eternal doom for this thing, over time it may be worth it if the slow trickle of newcomers elevates the number. And hey, the UK is the segment of the world most willing to spend big money on WWE, so when we get the Network things should pick up a little. But the point I made in my column three months ago on this subject has now been validated. On a worldwide basis, there are no floods of people dying to spend money on WWE, and there haven't been for a very long time.
The quote at the start of this piece isn't some hidden gem of wrestling knowledge, that's an accurate analysis of the wrestling business since the beginning of television. The bullshit statistics they were looking at in the beginning to gauge whether or not this pig would fly have no bearing on reality. They inflated the number of television viewers they had with their usual McMathemathics, Voodoo, and just plain making it up. It's one thing to spin doctor figures to project success to the outside world, who will take something at face value and never really ask questions. It's another to base the company's future on them.
I'll say what I said in August one more time. The WWE has never convinced more than 1.25 million people worldwide to spend money on a wrestling television product, and that's a one off, special event with a unique attraction, and it's happened less than a handful of times in history.
The WWE Network has absolutely zero appeal to casual fans. None. Casual fans, as Meltzer said, are there to watch a couple of hours of escapist entertainment, and see what's happening on the wrestling show. That's it. The goal is always to hook as many of those casual viewers into buyers as possible, and make them drop some cash on an event you've made them want to see. Those casuals don't give a fuck about having more wrestling than they could possibly watch at the push of a button.
The lower price was supposed to turn some fringe PPV buyers into regulars, and the total number isn't horrible when you look at WWE PPV numbers in recent years. But they've been completely ignorant to reality, so here it is.
Casual fans, the ones who make the difference and create those record setting numbers, don't want archives, don't want the history of wrestling at a finger tip. They want a hot product that makes them say "you know what...I know I was going to earmark that money for Jack Daniels, but Goddamn I'd love to see what happens in that match". You do that with a great television show. You write TV to create something they want to see, and charge them for it. The only way to pull in casuals to buy the network, and get the numbers up to the level they want and need, is to get them to buy the once a month "special events", or Pay-Per-Views as we know them.
And therein lies the stupidity. If that's what makes big money, and it is, then why the hell didn't they stick to PPV where, if they could convince more people to buy, they'd make far more money than they will with this system?
Right now they probably need 2-3 million subscribers to make this a project that elevates company finances enough to justify the change. Worth the risk, because the difference would be significant. But they're not close, and honest analysis would told them they weren't going to be. Once the UK is added and WrestleMania has come and gone, their level of real growth is finished. That alone is not going to get them to 2 million.
What's the answer? Through all the corporate rhetoric, stockholder-pleasing ga-ga and delusions of real world grandeur, it's the same thing it's been for over a hundred years. Produce a TV show that makes stars and sells big matches. The problem begins and ends with Raw. Fix that, and you have a prayer.
Thursday, 30 October 2014
Wednesday, 29 October 2014
Wrestling Television - Answering the Cry For Help
It's been a while since I've revisited this page, mostly because the world of wrestling has become a largely uninteresting place of late, and with Squared Circle Gazette Radio picking up, history has become far more fun to evaluate than trying to feign excitement about the most missable stretch of WWE TV in quite some time.
Which gets me thinking about TV. One of the great things about wrestling history is that there have been so many different ways of producing television that at any given time, you can watch an old show and get wrapped up in the angles and feuds, at times overlooking some of the negatives because the positives get you so excited.
Raw and Nitro set a trend in hot wrestling television between 1996 and 2000 that is, sadly, likely to be unequaled ever again. But there are a couple of other shows I want to focus on today for different reasons.
ECW Hardcore TV 1995-1996
I was a wrestling fan during this period of time, but like most others, was unable to see their revolutionary style of television during this heyday. I did catch some in 1997, and to be quite honest, after reading for years in magazines and seeing in pictures these incredibly wild events, and hearing about what an excellent show it was, I was disappointed.
But going back and watching the two years before I was joined in watching, when ECW was truly on fire, this show was magic.
A lot has been said about Joey Styles - some found him annoying, but in the role of the smart-ass narrator and empassioned voice of the company, Styles was perfect in conveying a brilliant range of excitement, interest, credibility, knowledge and gravity to a company that could very easily could be a mess without it.
The wrestling ranged from state-of-the-art to old-school heat and drama, and from good to bad. Certainly from this perspective it wasn't like things were perfect, but the context given on the show meant more than the quality of the matches in a lot of cases anyway.
95-96 ECW, from a character development and promo perspective, was one of the most diverse and captivating periods of TV I've ever seen. Perhaps the best work of Mick Foley's career with the Anti-Hardcore promos. Steve Austin becoming a main event personality before your eyes. Raven comes into his own with one of the best contemporary characters of the era. Brian Pillman creating a legendary mystique as the Loose Cannon. Taz making a splash, transforming himself into a serious badass and creating tremendous anticipation for a match with Sabu. Public Enemy, Stevie Richards and the Blue Meanie providing fantastic comic relief.
The style of the show is quick without being rushed, focused on making you attend live shows and purchase videos without being overbearing, and is over the top and in your face without making you want to turn the channel.
Nothing is perfect, and there are some flaws to pick. The over-reliance on acts I never personally liked such as the Pit Bulls and the Dudley Boys (pre-Bubba/D-Von tag team) does feel like filler. But the unique ways the show has of making you want to watch the next episode, or just want more ECW, is the real charm. The Pulp Fiction montages, the music videos, ending the show out of nowhere with a hot angle going down in the arena with the rabid fans going ballistic, it hooks you like few shows I've ever seen.
You never knew what you were getting with an ECW TV show. Not to say there wasn't a formula or repetition, because there is to some degree, but the show could open with Raven in the dead of night cutting a promo in a park, Joey Styles in the ring introducing a promo, or a video recap of a prior angle just as easily as the show opening video itself. There were some outstanding matches, red-hot angles, and captivating promos. ECW Hardcore TV in 95-96 is what you love about wrestling.
Mid-South Wrestling 1984
Based out of the Shreveport Boys Club, 1984 Mid-South is among my favourite eras of wrestling television. The whole show is ran out of the venue, with no studio throws, just the ring surrounded by enthusiastic fans, and the commentary booth.
The feel of this show works so well, the ambience reeking of territorial wrestling, with the kind of superficial imperfections (terrible graphics/shitty venue) that would likely turn a casual fan of today off in second. But it doesn't matter, to me it works for it. In this little world, everything that takes place is of the utmost importance, and carries the gravity we are told it does.
Jim Ross is finding himself as an announcer during this time and is already great, and Bill Watts on commentary is often tremendous in his own right. They have the inate, rare ability to convey any emotion needed, explain everything to leave no unanswered questions, and tell you straight up why the angles you are seeing are important. The entire vibe of this company is keeping the foundation true to the fundamental elements of why wrestling works, but mixing in enough angles, twists and turns in an episodic fashion to feel like it's far more than "back to basics"
.
From Magnum TA getting tarred and feathered and the fantastic week by week implosion of the Magnum/Wrestling II team, to the Russians cutting Ricky Morton's hair, the emergence of Terry Taylor, and the rise of Jim Cornette and the Midnight Express, this year has so much to love. The wrestling isn't always the best - there are plenty of Masao Ito matches to fast forward if you wish, but regardless, the TV is so easy to absorb.
You're never overly spoiled by being given the whole ball of wax for free on TV, but you never feel short-changed by spending time watching it. You're never confused with an angle or a direction, a credit considering that a lot of very key moments in the story of Mid-South (such as Mr. Wrestling II beating JYD for the title) are relayed to fans in the form of video clips from live events and aren't played out live.
There are some fantastic outdated music videos to enjoy (Magnum TA video to "Sweet Dreams" by Eurythmics, anyone?), but despite the handicap of watching these so long after they were intended to be seen, you can easily enjoy them for what their intention was.
Cornette really steals the show this year with the Watts angle and feuds with Magnum/II and the Rock and Rolls, and is just at his absolute best as a guy that really doesn't belong in this neck of the woods, rolling in and pissing on your heroes with a smile on his face.
--
It is easy to feel like nothing that happens on Raw these days matters, because the truth is it doesn't. There are fewer over guys on the roster than ever thanks to holding patterns, resistence to going all the way with new stars when they had the chance, and a tendency to rinse and repeat wins, losses and midcard titles amongst the same core unit. The reason I cite these two television shows is because they never feel like that. These shows make you care. It's hard not too. Like starting a Breaking Bad, True Detective or Mad Men, once you have the ability to sit through these periods as a series, you'll find it hard to stop. And that's why I love them. They bring out passion in wrestling fans, both in very unique ways.
Want a pick me up? Don't go to YouTube, find enough of these full shows to remind you why wrestling is great.
Which gets me thinking about TV. One of the great things about wrestling history is that there have been so many different ways of producing television that at any given time, you can watch an old show and get wrapped up in the angles and feuds, at times overlooking some of the negatives because the positives get you so excited.
Raw and Nitro set a trend in hot wrestling television between 1996 and 2000 that is, sadly, likely to be unequaled ever again. But there are a couple of other shows I want to focus on today for different reasons.
ECW Hardcore TV 1995-1996
I was a wrestling fan during this period of time, but like most others, was unable to see their revolutionary style of television during this heyday. I did catch some in 1997, and to be quite honest, after reading for years in magazines and seeing in pictures these incredibly wild events, and hearing about what an excellent show it was, I was disappointed.
But going back and watching the two years before I was joined in watching, when ECW was truly on fire, this show was magic.
A lot has been said about Joey Styles - some found him annoying, but in the role of the smart-ass narrator and empassioned voice of the company, Styles was perfect in conveying a brilliant range of excitement, interest, credibility, knowledge and gravity to a company that could very easily could be a mess without it.
The wrestling ranged from state-of-the-art to old-school heat and drama, and from good to bad. Certainly from this perspective it wasn't like things were perfect, but the context given on the show meant more than the quality of the matches in a lot of cases anyway.
95-96 ECW, from a character development and promo perspective, was one of the most diverse and captivating periods of TV I've ever seen. Perhaps the best work of Mick Foley's career with the Anti-Hardcore promos. Steve Austin becoming a main event personality before your eyes. Raven comes into his own with one of the best contemporary characters of the era. Brian Pillman creating a legendary mystique as the Loose Cannon. Taz making a splash, transforming himself into a serious badass and creating tremendous anticipation for a match with Sabu. Public Enemy, Stevie Richards and the Blue Meanie providing fantastic comic relief.
The style of the show is quick without being rushed, focused on making you attend live shows and purchase videos without being overbearing, and is over the top and in your face without making you want to turn the channel.
Nothing is perfect, and there are some flaws to pick. The over-reliance on acts I never personally liked such as the Pit Bulls and the Dudley Boys (pre-Bubba/D-Von tag team) does feel like filler. But the unique ways the show has of making you want to watch the next episode, or just want more ECW, is the real charm. The Pulp Fiction montages, the music videos, ending the show out of nowhere with a hot angle going down in the arena with the rabid fans going ballistic, it hooks you like few shows I've ever seen.
You never knew what you were getting with an ECW TV show. Not to say there wasn't a formula or repetition, because there is to some degree, but the show could open with Raven in the dead of night cutting a promo in a park, Joey Styles in the ring introducing a promo, or a video recap of a prior angle just as easily as the show opening video itself. There were some outstanding matches, red-hot angles, and captivating promos. ECW Hardcore TV in 95-96 is what you love about wrestling.
Mid-South Wrestling 1984
Based out of the Shreveport Boys Club, 1984 Mid-South is among my favourite eras of wrestling television. The whole show is ran out of the venue, with no studio throws, just the ring surrounded by enthusiastic fans, and the commentary booth.
The feel of this show works so well, the ambience reeking of territorial wrestling, with the kind of superficial imperfections (terrible graphics/shitty venue) that would likely turn a casual fan of today off in second. But it doesn't matter, to me it works for it. In this little world, everything that takes place is of the utmost importance, and carries the gravity we are told it does.
Jim Ross is finding himself as an announcer during this time and is already great, and Bill Watts on commentary is often tremendous in his own right. They have the inate, rare ability to convey any emotion needed, explain everything to leave no unanswered questions, and tell you straight up why the angles you are seeing are important. The entire vibe of this company is keeping the foundation true to the fundamental elements of why wrestling works, but mixing in enough angles, twists and turns in an episodic fashion to feel like it's far more than "back to basics"
.
From Magnum TA getting tarred and feathered and the fantastic week by week implosion of the Magnum/Wrestling II team, to the Russians cutting Ricky Morton's hair, the emergence of Terry Taylor, and the rise of Jim Cornette and the Midnight Express, this year has so much to love. The wrestling isn't always the best - there are plenty of Masao Ito matches to fast forward if you wish, but regardless, the TV is so easy to absorb.
You're never overly spoiled by being given the whole ball of wax for free on TV, but you never feel short-changed by spending time watching it. You're never confused with an angle or a direction, a credit considering that a lot of very key moments in the story of Mid-South (such as Mr. Wrestling II beating JYD for the title) are relayed to fans in the form of video clips from live events and aren't played out live.
There are some fantastic outdated music videos to enjoy (Magnum TA video to "Sweet Dreams" by Eurythmics, anyone?), but despite the handicap of watching these so long after they were intended to be seen, you can easily enjoy them for what their intention was.
Cornette really steals the show this year with the Watts angle and feuds with Magnum/II and the Rock and Rolls, and is just at his absolute best as a guy that really doesn't belong in this neck of the woods, rolling in and pissing on your heroes with a smile on his face.
--
It is easy to feel like nothing that happens on Raw these days matters, because the truth is it doesn't. There are fewer over guys on the roster than ever thanks to holding patterns, resistence to going all the way with new stars when they had the chance, and a tendency to rinse and repeat wins, losses and midcard titles amongst the same core unit. The reason I cite these two television shows is because they never feel like that. These shows make you care. It's hard not too. Like starting a Breaking Bad, True Detective or Mad Men, once you have the ability to sit through these periods as a series, you'll find it hard to stop. And that's why I love them. They bring out passion in wrestling fans, both in very unique ways.
Want a pick me up? Don't go to YouTube, find enough of these full shows to remind you why wrestling is great.
Subscribe to:
Posts (Atom)