N※N

Cody Rhodes Assesses The State Of WWE's Business - Wrestling Inc.

  //business-finance.news-articles.net/content/202 .. s-the-state-of-wwe-s-business-wrestling-inc.html
  Published in Business and Finance on Monday, October 6th 2025 at 17:45 GMT by WrestlingInc.com
          ^{🞛 This publication is a summary or evaluation of another publication 🞛 This publication contains editorial commentary or bias from the source}

Cody Rhodes on WWE’s Current State and the Road Ahead

When former world champion and AEW founder Cody Rhodes signed a one‑year deal with WWE as a writer in late 2022, it was an unexpected turn that raised eyebrows across the wrestling community. The move was no accident; Rhodes said he was ready to “bring a fresh, inside‑out view of the product and help shape the stories that matter.” In a recent feature for Wrestling Inc., he takes the microphone to explain how the company is faring in an era of streaming wars, brand fatigue, and fan‑centric storytelling.

A Fresh Creative Lens

Rhodes’ first major point is that the creative process at WWE has changed in ways that make sense for a modern audience. He points out that the “creative table” is no longer a top‑down operation but a collaborative workshop where talent, writers, and producers bounce ideas. “If you sit in a room and a wrestler comes in with a storyline and a creative writer can pick it up, that’s the future,” he explains. He credits the new creative leadership—including former WWE creative head Paul Heyman’s return and the addition of younger writers from the independent circuit—for this shift.

“Storytelling has become more nuanced. It’s less about gimmicks and more about character arcs that can span months or years,” Rhodes says. He cites recent storylines such as the “Bloodline” saga and the “Demon King” angle as examples of the sort of long‑term narrative he believes will resonate with both old‑school wrestling purists and Gen‑Z fans.

Brand Split and the NXT Experiment

Rhodes also discusses the brand split that has been in effect since 2016, now in its seventh year. “Raw and SmackDown are healthy, but the real test is whether NXT is a launching pad or a dead end,” he remarks. The NXT brand, formerly a developmental territory, has evolved into a quasi‑third brand with a dedicated audience. Rhodes says the brand’s unique style—focusing on technical wrestling and a more “in‑the‑ring” product—helps keep the WWE catalogue diversified. He argues that the brand split is essential for roster depth but warns against letting the brands become isolated silos.

In the same vein, Rhodes highlights WWE’s “The Takeover” concept—a series of special events that mix Raw and SmackDown wrestlers with NXT talent. “It gives the fans the sense that all three brands are part of a larger universe,” he says. He also notes that the recent “WrestleMania 39” event was the biggest pay‑per‑view (PPV) ever in WWE history, partly thanks to the cross‑brand excitement.

The Streaming Imperative

Perhaps the most consequential change, according to Rhodes, is the transition from the old WWE Network to the new WWE+ subscription service. He admits that the brand has struggled to grow the paid‑subscriber base amid a crowded streaming market. “WWE+ is not just a way to sell more PPVs; it’s a platform that needs to deliver content on demand and build a global fan base,” he stresses. He cites WWE’s move to incorporate more international footage, behind‑the‑scenes documentaries, and digital exclusives to keep fans hooked.

Rhodes is particularly optimistic about the future of WWE’s on‑demand library. “There’s a huge backlog of great moments that can be repackaged and sold to new fans,” he points out. He acknowledges that the company still needs to invest in better production values and a consistent brand voice across all media.

Talent Pipeline and Future Storylines

Rhodes’s biggest concern is talent development. “Wrestling is a living, breathing sport. We need fresh faces and fresh stories,” he explains. He acknowledges the recent influx of talent such as Carmella, Kofi Kingston, and Bianca Belair, but notes that a deeper focus on international stars could broaden WWE’s appeal. In that vein, he references a Wrestling Inc. article on the “WWE’s global expansion” and its partnership with Japan’s New Japan Pro‑Wrestling (NJPW). He believes cross‑promotional matches could be a way to bring new excitement to the product.

When asked about future storytelling, Rhodes says he loves “the creative freedom of the current environment.” He hints that he’s already working on a storyline involving a “legacy of a wrestling family” that could potentially involve his real-life brother, “The Rock” Johnson, and future WWE superstars. “It’s about giving the audience something to root for, something to remember,” he adds.

The Bottom Line

In a nutshell, Cody Rhodes sees WWE as a company that’s on the right path but still has a long way to go. He’s optimistic about the collaborative creative process, the brand split, and the potential of WWE+ but remains wary of over‑commercialization and brand isolation. For the fan base, the biggest takeaway is that WWE is investing heavily in storytelling and talent development to keep the product relevant in an era of instant gratification.

Rhodes’ insights provide a valuable perspective from someone who has wrestled under the ring lights, written behind the scenes, and now serves as a consultant for the largest wrestling promotion in the world. As Wrestling Inc. continues to follow WWE’s evolving landscape, one thing is clear: the company is learning that the only constant in the business is change, and it’s up to those inside the creative table—like Rhodes—to steer that change in the right direction.