WWE Lockdown: The Decline of the Free Agency Frenzy

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The following represents the perspective of the author, not the website.

There will never come a moment in my existence when wrestlers transferring to another organization won’t be both captivating and worthy of news. Even the most dedicated fan (or critic) of a promotion has to appreciate the prospects of recognizable faces in different settings. It’s enjoyable, and wrestling requires more enjoyment, particularly at the elite levels.

While transitions were truly chaotic during the Monday Night War period, things slowed down somewhat after the “war” concluded and WWE became the prime destination. Sure, there were instances such as when NJPW Four, consisting of AJ Styles, Shinsuke Nakamura, and the Good Brothers all joined WWE, along with a few other instances involving TNA athletes, but it was nothing compared to the late 90s.

Then, AEW emerged, making things captivating once more.

A legitimate well-compensated alternative to WWE with an authentic television agreement surfaced, and WWE talent, either exhausted from the Vince McMahon era or simply desiring a new beginning, found a fresh outlet with skilled wrestlers, large audiences, and excitement. Over time, even AEW’s existence was sufficient for some established talents on both sides to receive salary increases. Talent prospered significantly, and circumstances improve when everyone is earning more for undertaking such substantial risks each night. (Cue a “Justified this is awesome chant” tweet for wrestlers’ financial benefits, amirite?)

And then, 2024 occurred.

Among the many observations I made while conducting my elaborate year-in-review podcast series was that an increasing number of WWE wrestlers were not inclined to test the waters of free agency or even approach the shore. Instead, they seemed quite content committing to new multi-year agreements — even in a year where AEW was progressing toward a lucrative increase in their television deal and could have made things financially intriguing.

Just take a look at the top tier of the WWE hierarchy that renewed contracts last year alone: Cody Rhodes, Gunther, Finn Balor, Randy Orton, Drew McIntyre (depicted above), Liv Morgan, Rhea Ripley, Seth Rollins, Kevin Owens, Damian Priest, and Asuka. CM Punk also reportedly renegotiated his contract in late 2023, although I suspect AEW won’t be on his radar again.

However, it was also the middle tier of WWE who wanted to remain, like Chad Gable, LA Knight, Angel Garza, Natalya, Sheamus, Nikki Cross, Cedric Alexander, Sheamus, and Shayna Baszler. A few of these athletes would have been revered as celebrities had they entered the market, but Mount Olympus wasn’t on their navigation.

Equipped with enough capital and forthcoming commitments to sustain small nations, WWE evidently made it a priority to resign their talents, increase their salaries, and remind the wrestling world who the 800-pound gorilla is and will forever remain. While some negotiations appeared to take longer (such as McIntyre and Knight’s), all were completed.

So what truly altered?

WWE is stronger than ever, the financial situation is superior, and those who re-signed seemingly did not view AEW as an option they were eager to investigate or even entertain a bidding war. Perhaps there was some behind-the-scenes persuasion, but aside from Ricochet, Bobby Lashley, and MVP, everyone chose to stay. There weren’t even that many releases either.

Loyalty and opportunity are undoubtedly factors. Many of the aforementioned individuals grew up within WWE, so departure might feel like abandoning their family, particularly if they are generally content. In contrast, Swerve Strickland would have certainly received an offer from WWE to return but opted to re-sign with AEW this summer following a fruitful reign as AEW World Champion. They gave him an opportunity, and he wished to reciprocate while being compensated generously.

I’m certain there’s some reluctance amongst incumbents to venture into free agency due to fears of appearing treacherous and facing consequences (i.e., vanishing from television for extended periods) as a result. We’re talking about human beings, and change is difficult irrespective of the industry.

Moreover, there’s a remark by Voices of Wrestling columnist Jesse Collings that was articulated exceptionally well in a column last year: “WWE fans are experiencing far more enjoyment with their wrestling than non-WWE fans appear to be with theirs.” I believe that feeling is resonating with those involved in WWE.

Stadiums are filled, fans are actively engaged with what they witness, the Netflix era has commenced, and beyond the Vince McMahon controversy, what challenges has WWE/TKO truly encountered in the past year? Why leave a favorable situation for the unknown, even if it could entail more money and improved prospects? No one desires to exit a fantastic party prematurely, even if there’s complimentary beverages at another one nearby.

Altering the AEW narrative

Even with a new television agreement that ensures them three years of substantial revenue and a robust five-year background, there is always a negative impression surrounding AEW’s present and future for those who browse online. Nothing is as great as it used to be, their viewership is declining, attendance is low, the owner is deemed overly focused on money, yadda, yadda, yadda.

As in all things, the truth lies somewhere in the middle, but AEW, particularly their athletes, also haven’t effectively addressed that negative perception. However, when they do attempt to do so openly, it typically backfires. Is the narrative co-workers share about AEW behind closed doors a favorable one in discussions with a prospective free agent, and would it even matter if it was?

There have undoubtedly been some self-inflicted public relations injuries for Tony Khan. The response/silence following the 2022 “Brawl Out” incident remains perplexing, with the absence of conflict resolution beforehand being even more pronounced. Communication appears to still be an issue with certain individuals who aren’t aware of what’s happening and express that candidly in interviews, whether on or off the record.

Of course, we cannot overlook the dissatisfactions.

One of the more bewildering debates last year was the double standard fans expressed regarding a wrestling organization’s obligations when a wrestler wishes to depart. We should all agree that regardless of who signs the paycheck, no one ought to be compelled to stay in a position they do not wish to occupy. Bryan Danielson highlighted years ago that if an individual can be cut and put on hold for 90 days, why shouldn’t wrestlers also be allowed to give a 90-day notice?

This discussion primarily focused on Rey Fenix, who managed his anticipated exit from AEW about as poorly as one could imagine without directly mentioning WWE on national television. Then there’s Miro, who desires his release and last participated in an AEW event over a year ago against someone who is now in WWE (Andrade). There’s Ricky Starks, who has been sidelined for ten months, Malakai Black who has consistently appeared as if he’s one foot out the door, and likely others who are deliberately remaining silent or are uncertain about their status.

Delaying the conclusions of any agreements in the manner observed will render those forthcoming signings (and the inevitable exit podcast discussion) appear more significant, which, in turn, amplifies the issues at hand.

What’s next?

This all indicates that from an external viewpoint, it seems intricate to be an AEW performer at a specific level, and if you are attempting to both lure potential free agents during this era and retain your existing roster, that’s the least favorable position to occupy. Had this been 2021, Giulia, Stephanie Vaquer, and the Motor City Machine Guns would have seemed like guaranteed AEW acquisitions. By 2024, the stability and allure of WWE proved too appealing to overlook.

If AEW aims to reposition themselves as a viable option worthy of serious consideration, they can achieve this, but they must embrace the discomfort stemming from previous errors while also innovating for what today’s contemporary star wrestler desires (or has yet to fully realize they desire).

A flourishing wrestling scene thrives when wrestlers enjoy greater financial rewards enabling them to live fulfilling lives and maximize their career potential, irrespective of their employment. No matter where they are employed, let’s aspire for a 2025 where more talent dares to investigate what could be instead of what is, and that the organizations they represent are secure enough to encourage them to do so without fear of penalties.

Josh Nason has been a contributing editor to this platform since 2012.