12 Times AEW Was Better Than Literally EVERYTHING

Is AEW already the best wrestling promotion ever? I mean, I would say so, but I'm just one man. Look

it's far from perfect. Dynamite, even at its seminal peak, is too rushed and formulaic as a

TV show. It's also, and this is deeply unfortunate given the early sports-oriented messaging, a little

bit too silly and trivial. The various crimes, the wacky angles that invariably use pathetic

fake props, the consistent failure of the self-indulgent commentary team to be believably

self-serious, or various emotion-driven angles, AEW does sometimes feel like it isn't proper

if that's the word. AW can also be accused of living down to its reputation as a company that

exists solely to put on the quote-unquote best matches. You'd be a bad-faith operator to accuse

AW of not telling stories, but they're relentless all-star, eight-man tags, overused plunder

collision in general. It's pure critical acclaimed doping at times. Now, you could easily argue that

New Japan Pro Wrestling embarked on a single classic era, the 2011-2019 resurgence and US

expansion that was superior to and has outlasted AEW's entire existence to this point. And that's

without factoring in the promotion's massively popular 90s heyday. If using objective commercial

measurements, obviously WWE is the best literal promotion, ECW was far more creative and

influential, Jim Crockett promotions almost perfected the trifecta of great pro wrestling

matches, angles and promos, and its best stuff was so believable and soulful that it withstands

time's test better than any promotion of yore. If you think about what makes a great promotion

across every category though, well, AEW might still have peaked higher than any other competitor

I'm Scott from WhatCulture.com and these are 12 times AEW was better than literally everything

Number 12, the Kenny Omega vs Hangman Page storyline. Traditional pro wrestling heat barely exists, which is less than ideal. The mainstream US scene

is still modeled to chase an unrecoverable emotion. I mean, when was the last time you

earnestly felt moved by the conduct of a heel without playing along to the admiration of just

the performance. For many, it was 2020-2021. Hangman Page vs Kenny Omega was the storyline

that best captured relatable audience investment in a time defined by social media. The misleading

glamorous lives our peers apparently live make it difficult to feel a true sense of self-worth

Many of us are just anxious that we don't compare. Page never felt elite, and the buy-in was easy

He, in 2019, was a very good worker, and one of the funnier cast members of Being the Elite

but he wasn't Kenny Omega. Hangman never drew money nor worked a truly iconic singles match

Kenny had worked so many of them that it defined his persona. Together they tagged at Kenny's urging, the reason behind which slowly became apparent

Omega was in decline. He knew Paige was his successor deep down and he wanted to use him

Paige scored the falls in their successful tag team title defenses, but Omega still treated Paige like he was doing him a favor

The fans caught on and gravitated towards Paige, who in parallel was putting forward genuinely hilarious character work

At All Out 2020, Omega had the temerity to abandon Paige, even though he'd carried the team

This catalyzed their singles feud and put Page all the way over as a man who was elite

The fans just needed to convince him. MJF vs CM Punk conversely somehow generated the real stuff

MJF was such a manipulative sociopathic POS that it felt like he'd travelled back in time

to a period where we could all just get lost in the fiction. 11. Those Magic Weekend Nights

To reduce it, the core purpose of a pro wrestling promotion is to build towards

and nail the execution of major destination events. If there's a top 10 list of the best pro wrestling pay-per-views ever, it really might be difficult for any other company to get a look in

AEW Revolution 2020 is the model pay-per-view for any promotion of an upward trajectory

Match for match, it has since been improved upon several times, but the vast amount of talent who felt like world beaters on the night was just incredible

Orange Cassidy, Darby Allin, MJF, Jon Moxley, and Hangman Page all looked more than capable of securing AEW's future across the next five years, and they did

All Out 2021 was in fact too good to be true. But if Revolution 20 felt like the night AEW could

become one of the best promotions ever, All Out 2021 was the night it did. Since then

take your pick. The talent roster expanded to an extent that presented several niggling issues on

TV, but on those immortal weekend nights, it was totally worth it. Revolution 2023 boasted the best

Iron Man match and, to that point, the best plunder match in AEW history. An absolutely

exhilarating trios match between The Elite and The House of Black was merely the third best match

on the card. Dynasty 2024 casually presented what many consider to be the best match ever promoted

on US soil. If you troll through AEW's Big Show chronology from 2021 onwards, the absolute worst

you're looking at is a 7 out of 10. The sheer number of bona fide nines, WrestleDream 23, All-In

London 24, Revolution 2025 is outrageous. All-In Texas was a 9.5. For the love of God, the fourth

best match on that show was a worthy entry into the Kenny Omega vs Kazuchika Okada rivalry if we just gonna put it up in lights 10 Every Anarchy in the Arena Match For a long time it felt like pro wrestling had exhausted the possibilities of the gimmick match

Even the last great pre-AEW idea, Money in the Bank, so successful that it spawned its own annual

PLE, one that expanded the Big Four into the Big Five, was a tweak on an existing idea. It was a

ladder match with six wrestlers in it. Every other new idea was a convoluted take on something that

already existed, which was practically the specialty of TNA. There was until the pandemic

forced AW to think creatively, and they did so to an extravagant degree with Stadium Stampede

a retooled version of which Anarchy in the Arena transplanted the deranged action and comedy hybrid

into the wild throws of a bigger, packed building. An outrageously entertaining melting pot of ideas

Anarchy in the Arena is just amazing. Squads of five do battle across the entire arena and the

backstage area. At its mind-blowing best, Anarchy in the Arena is so unhinged and expansive that

the director sometimes struggles to capture the next wild stunt. This is a feature, not a bug

though, that enhances the all-important sense of chaos. For an elaborate match that requires so

much in the way of expert timing, it never really feels like it. You could argue that the match is

formulaic and a bit contrived. Every year a song plays on a loop over the PA before the heels find

a way to cut it and deprive the crowd. Every year, since the Young Bucks have worked it, there's an awesome unexpected explosion spot. Every year a babyface comes back from the dead

and heroically walks down the ring to even the odds. But this is wrestling Christmas. You do

the same things every year precisely because they're so good. Anarchy in the arena is the last

great gimmick match, and very possibly the best. 9. Sting's Retirement Run

The major Puro leagues know their way around an epic, emotionally draining retirement run and

ceremony. WWE did a near-perfect job with Ric Flair back in 2008, even if the man himself removed

all heft and meaning from the occasion by doing four consecutive jobs to Hulk Hogan in Australia

just a year later. Mostly though, the retirement gimmick is just that. It works, it draws, but

nobody takes it too seriously. Sting's retirement run was as incredible as his wonderful AEW chapter

It all worked to a frankly magical extent. AEW Sting was two men at once, the icon rendered

timeless through the painted face and the expert smoke and mirrors party matchmaking

and a visibly old man in his 60s whose unhinged bumps ranged from electrifying to terrifying

He was once a genuine superhero and a man drenched in pathos all at once. This was explored to genius

effect against the Young Bucks at the site of his retirement, Revolution 2024. The Stinger

popped the Greensboro crowd with his superb no-sell fire-up spots, but he also bumped on

glass. This was inspired since his partner Darby Allin had set the tone by taking the

more dangerous version earlier in the match, writing him out of it until the finish. Sting prevailed, finding the wherewithal to avenge the Bucks, who had bloodied his family

soon after his father's passing, the chilling revelation of which on Dynamite might have

informed his best promo ever. Sting Rafter dropped into a deathmatch in what was the

perfect summary of his best WCW and AW output. There's a reason everybody says they want to go

out like Sting. 8. Whenever the stories earn their moments. You watch professional wrestling to feel

bad or scared and then to feel good. The feel-good moments should not be manufactured. It should be

the result of careful, agonizing, well-thought-out storytelling. And for a promotion that some insist

tells no stories, the sheer volume of earned, jubilant feel-good moments is the best proof that

that take is the dumbest one around. Take for example the I Need My Older Brother reunion

between the Rhodes Brothers at the inaugural Double or Nothing. That's set the tone for

AEW's cathartic creative model. Since then, AEW has not created but rather arrived at genuinely

stirring and rewarding conclusions that became moments. The success of Hangman Page's quest to

prove himself elite at Full Gear 2021, Swerve Strickland taking the spot he promised was his

and making Black History at Dynasty 2024, Bryan Danielson finally showing the ambition to win the

big one at Wembley, powered by the love of his daughter stationed at ringside. Sting proving that

he actually was a superhero all along by winning his retirement match at Revolution 24, the acclaimed

winning the tag team titles after they'd fought to become the most overact in the company when

opposed by the most competitive field ever of major star names and genuine living legends. Hangman

Page soaked in tears ready to prize open the briefcase at All In Texas to retrieve his second

world title, quite possibly thinking that his real-life feud with CM Punk meant that AEW might

never have such a moment in AEW possible again. 7. When the Bell Rang

Through sheer longevity alone, New Japan has almost certainly promoted more great matches

than AEW, and indeed every other competitor. Where AEW might win this category though

is range. WWE boasts both. It's a promotion that has dealt in incendiary brawls. Bret

Hart vs. Steve Austin, WrestleMania 13. Modern technical classics like Daniel Bryan vs. AJ

Styles, TLC 2018. And deliriously entertaining BS spectacles, Sami Zayn vs. Johnny Knoxville

WrestleMania 38 The sheer volume of terrible WWE matches though is only matched by the mundane WWE by design doesn want to win awards for best matches often crafting them to be nothing special AEW does There may not be a technical wrestling match anywhere ever

as good as Bryan Danielson vs. Zack Sabre Jr. at WrestleDream 23

Kenny Omega vs. Will Ospreay at Forbidden Door 23 is a candidate for the best modern epic

and features the most well-timed rope break spot ever. Omega only seemed to start moving his feet towards the rope

following the Stormbreaker at 2.9. Whichever tag style you prefer, Lucha, High Flying, Southern, between them, the Lucha

Brothers, Young Bucks and FTR have all delivered classics. MJF vs. Bryan Danielson at Revolution 23 was the most dramatic Iron Man match ever

Eddie Kingston is one of the best brawlers ever and his AEW library is stunning

There have been over 300 episodes of AEW Dynamite. Almost every single edition has presented at least one excellent pro wrestling match

The vast majority have featured at least two. There hasn't been a single episode with all bad matches

And for better or worse, since Collision fundamentally exists to book matches for the sickos, that principle applies twofold

6. When the roster got stacked AEW's roster, at various points and in totality, is the best ever assembled

Kenny Omega, the best big match worker ever, solidified that case in AEW in unforgettable wars against Will Ospreay, Bryan Danielson, and Hangman Page

Bryan Danielson, the best worker ever, enjoyed his best ever run of matches in the promotion

Almost everything he did was genius. His dynamite match against Roosh was one of the most disgusting, frenzied brawls in modern

wrestling history, and it wasn't even his best AEW match involving blood. Hangman Page evolved

into a modern great in AEW, with his unparalleled attention to detail and frightening commitment

Will Ospreay's 2024 was an absurd collection of state-of-the-art dream matches. CM Punk

in contrast, delivered much in the way of elegant, stripped-backed craft. The Young Bucks

kings of pay-per-view, made fans believe the finish wasn't false about a hundred times in

countless matches. MJF reached these stratospheric levels when he wasn't trying to do too much

Swerve Strickland ascended to the tier of best in the world from 2023 onwards. Jon Moxley

when motivated, felt like a real hero and the most imposing big bad, depending on which role

he played. Tony Storm eventually became the most over-wrestler in the company, irrespective of

gender, in early 2025. And the support and cast more closely resembles the best wrestling festival

ever than just a mere roster of talent. The range and quality of talent is just silly. Chris Statlander

FTR, Powerhouse Hobbs, Kyle Fletcher, Darby Allin, Bandido, Kazuchika Okada, Eddie Kingston

Hikaru Shida, Jamie Hayter. He's unfashionable now, but AEW even got the best out of the legendary

Chris Jericho for three mostly glorious years too. 5. Whenever AEW Hit The Music

The stereo output of Mikey Ruckus and licensed themes is a massive AEW selling point. AEW perhaps

hasn't captured the grand majesty of Old Japan's 90s library, nor classic era WWF's ability to

soundtrack the distinct personality of its crazed cast of wrestlers, though Timeless Tony Storms does

come very close. Also, and this is crucial and very annoying, AW does not turn the volume up on TV feed

anywhere near as loud as they should. Still, the themes. Hangman Page boasts no less than two

incredible compositions. One sets the tone of a man who lives to persevere. The other is a menacing

sound of that same man finally succumbing to the dark. FTR's Giorgio Morota soundalike is too brazen

even for Jimmy Hart, but it's still awesome. Eddie Kingston's theme brilliantly distills the

aggression, anguish, and dogged spirit of his persona. Brodie King's own God's Hate Face Melter

is as hard as any wrestling theme ever. There are other, infinitely more significant reasons to

wish Cast and Adam Cole return. His incredible theme remains one of them

AW can't claim credit for many themes, which were ported across from other promotions

but they still play them. This is a promotion blessed with blaring out Katsuyuri Shibata's

theme, The Pixies, and Willow Nightingale's five-star bop on the same night. Tony Khan's

love of the game is so ardent that he'll spend appalling amounts of money to make the moment soar

as highly as it should. The Darby Allin balcony dive to the final countdown, that was just

sensational. 4. Whenever Tony Khan Wasn't a Typical Kani This is a hard sell, given that he's a billionaire who might act with more childish ruthlessness than

his sometimes dopey public persona suggests. Many performers have spoken of Khan's tendency to ghost

the wrestlers on his roster that he has no intention of using. Tony Khan, though, truly wants good

things to happen for his talent, and puts them in positions to achieve it. Even the dud signings

whose runs were unfortunate, enjoyed at least one great night. Keith Lee at All Out 2022

Malakai Black at Revolution 23, Jake Hager during the first stadium stampede. Hell

even Paul White took an awesome bump in the strange yet wonderful Like a Dragon Street fight

Khan fought with Warner to get the Briscoes on television. His tribute to the much-missed Mr

Brodie Lee was the most emotionally stirring and dignified wrestling tribute show ever

and the best wrestling show ever, full stop. On that night, Khan allowed Brody Jr. the stage on occasion to create dream moments for himself

He granted Hangman Page as much time as he needed and wanted to be a father when Page was in the midst of the push of his life Khan at times is too nice Without overpushing them he has refused to give up on wrestlers who stood a very remote chance of getting over

A lot of people love AEW because it's great, and while Khan has made more than one appalling decision

the signing of Ric Flair for example, WINGS! more people love it because by wrestling standards, it's really quite nice

Number 3. When Tony Khan listened. Almost every promoter in the history of the medium has inflicted an unwanted wrestler

upon their audience because the booker happened to like them. Vince McMahon almost specialized in this

Bill Watts operated with galling nepotism when pushing his useless son Eric in 1992

Triple H is also guilty of this. Solo Sokoa, Seth Rollins in the role of a top guy

and the inverse scenario of not pushing wrestlers the fans vocally want to see more of

Bianca Belair has been underutilized since July 2022. Guido is practically defined by his stubbornness during these years of decline

Has Tony Khan ever burdened his audience for such a significant amount of time

Jack Perry's big push in 2024 counts, sure, but we are entering exception to the rural territory

And Perry was written off TV when Khan eventually got it. He didn't dig his heels in

Tony Khan might have repeated the very mistakes he knew all too well not to make as an intelligent superfan

The sub-WWE skits of 2023 were ghastly, but he listens to, respects, and rewards his fanbase

If the fans dislike a certain direction, he will abandon it, even if he's a little slow to implement the change and should be more ahead of things in general

To cite two examples, after a dismal 2023, Khan implemented his own version of the G1 Climax

the round-robin Continental Classic, as a bit of an apologetic gesture. He should have known full

well that the money-in-the-bank cash-in gimmick wasn't what AEW fans wanted for their alternative

company, and so he's dropped it. One thing has also remained consistent, Khan outright refuses

to falsely advertise matches. That's better than deliberately booking a mediocre product in stasis

as Khan knows he's already secured his audience. Number 2. When Dynamite was at its peak

Yes, Dynamite is rushed. Yes, Dynamite too often features matches that are predictable

It's not inaccurate to state that up to 90% of them have a clear favourite, who ends up winning in the end

Yes, match quality is too often emphasised over the emotional investment of who actually wins and loses

Can you even remember the winners of the all-star 8-man tags that are nakedly designed to get a 4.5 star rating

Sure, the commentary is all too trivial. It's not remotely ideal when the booth is missing an ill-tempered post-Prime Jim Ross to ground things

Dynamite remains the best episodic TV wrestling show of all time, though. Peak Mid-South had better angles and gripping show-long storylines

ditto Jerry Jarrett's Memphis TV, but neither had a match as good as Kenny Omega vs. Bryan Danielson

or Will Ospreay vs. Darby Allin. Peak WCW Nitro was incredible, powered by a constant thread of mystery

cool new character archetypes, and bombastic action set pieces, but even then it was bloated and convoluted

A lot of the vaunted cruiserweight action was more refreshing then than great now

WWE Raw has ranged from the best and worst TV wrestling ever, the most wildly uneven show of all time

and it was the latter well over half the time. Hangman Page's epic, super-detailed, emotionally torturous arc played out over Dynamite

MJF's phenomenal plots between 2019 and 2022 paid for genuinely unpredictable and compelling TV

in a much-needed contrast to the endlessly great in-ring fare. The names plucked for the labors of Jericho, the stipulations set out for Cody Rhodes

the seven-star rivalry with CM Punk. All were great actual television. Whatever's good about

wrestling TV, AEW Dynamite at one point or another perfected it. And number one, whenever AEW built a

major match. Truthfully, while AEW has broadcast some of the best promos in wrestling history from

2019 to 2025, Dynamite hasn't featured anywhere near enough. The emphasis on action is AEW's key

selling point, and that is astute given the competition they face. But it's hard to shake

the idea that such a high concentration of matches could mean so much more if AEW just

stuck a microphone in front of some of the best talkers more often. CM Punk is definitely one of

them, and his stuff was sensational. The signature venom was still there, the wisdom of his old man

character at times profound. Jon Moxley knows his way around a graphic threat with a screenwriter's

panache. Hangman Page's rhythm is outstanding, his fiery self-belief works so well since he's

careful to be meek with his opening comments. Eddie Kingston and MJF need to feud at some point

over the next few years because holy hell, together they occupy the perfect face-versus-heel

match graphic. Just imagine what that would look like, or better yet, sound like

What's more irritating about AEW's relative lack of interview segments is that it's a promotion in

which so many people find themselves. Will Ospreay had improved a lot in New Japan, but in AEW

he evolved into a man drenched in offbeat charm and irresistible determination. Tony Storm was a

dork before joining AEW, but now she's one of the funniest wrestlers ever. Ricochet was defined by

how terrible he was on the stick, but he exudes confidence in 2025. AEW might not be the best ever

promotion for interviews, but it's not far off and it could easily become it, rounding out the

entire argument that myself and Michael Sidgwick on the script have just put forward