A casual wrestling fan may not be exposed to much wrestling beyond the world of WWE. But as AEW—All Elite Wrestling—begins to assemble what may be the first legitimate competition for the hyper-corporate sports entertainment entity in decades, new audiences are seeing how wrestling could look through a different lens.
AEW’s TV deal is finally signed and sealed, but tons of questions still linger about the burgeoning brand. With AEW’s first official PPV, Double or Nothing, we now have hints about what the company’s aesthetic could be when the show hits the small screen later this year. How is AEW marketing itself, visually, as different from WWE and what does its new look say about the program itself?
The biggest sticking point of AEW’s presentation remains the diversity of its roster, which was made a prominent feature of the brand from the earliest announcements of its signees. The inclusion of openly LGBTQ talent such as Sonny Kiss and Nyla Rose immediately marked AEW as more progressive than WWE, which has remained cautious about even discussing the queerness of the only gay athlete on its program, Sonya Deville. AEW has continued this by prominently featuring a plethora of body sizes and people from different backgrounds, including bilateral amputee wrestler Dustin Thomas.