An Inside Look at WWE’s Unlikely Business Empire (Report: Shane Tried To Takeover Creative In 2012 )

JerseyBoy23

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This a long ass read but well worth it if you have the time.

Basically talks about the WWE's business model, Vince's creative decisions and the real life feud before Shane and Stephanie.

Here's a few highlights:

Breaking Kayfabe: An Inside Look at WWE’s Unlikely Business Empire | VICE Sports

A few years ago, as Levesque was gearing up to launch NXT, ratings were down and Vince was on edge. The writing room became a battlefield, and even people outside of the company took notice, including Shane McMahon. In March 2012, Vince, according to a source familiar with the exchange, called a surprise meeting at the WWE production office, a separate facility from the main headquarters in Stamford, Connecticut. Shane had returned with a friend: James Frey, the author of the critically acclaimed and, later, highly controversial A Million Little Pieces and by that time the CEO of Full Fathom Five, a content creation company he founded in 2010.

(A spokesperson for WWE originally denied that Shane had approached WWE in any capacity between 2009 and 2016, but later confirmed that this meeting took place when asked about this exchange specifically.)

"When Stephanie found out Shane was going to be there, she went white in the face," the source told me. "And Paul freaked out." Shane had set up the meeting through Kevin Dunn, WWE's executive vice-president of production and Vince's right-hand man for nearly three decades; he is the second-highest-paid employee at the company behind Vince (according to SEC documents, Dunn's 2016 base salary is $909,560). Shane had a simple proposal: that he take over all of creative, including the writer's room, with Frey and his team at Full Fathom Five as consultants.


"Kevin Dunn is very close to Shane," the source said. "And there's tremendous tension between Kevin, and Paul and Stephanie. They feel like the company is theirs, but they don't have power to control Kevin." Presumably, if Dunn could figure out a way to get Shane back in the company in a high-ranking position, he would have even more influence with Vince. And Shane, too, could regain control over at least a portion of his family's legacy. It was a win-win for the pair.

In the end, however, Vince declined his son's offer. It would be four more years before Shane found himself on the inside of the company again. In the meantime, WWE would go through major changes internally as it continued its transformation from a TV-only wrestling outfit to a digital-forward entertainment super-corporation.
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Vince McMahon exerts controls over just about every aspect of WWE. "It is an insular company run by Vince McMahon," a former executive told me. Multiple sources echoed this sentiment, saying that it was common for Vince to change his mind about show scripts and storylines on a dime, and to run the company with an unpredictable iron fist, using fear and intimidation to keep executives in line. "He takes great lip service to wanting new ideas, but he doesn't value or respect outside opinion," the source said. "It's his way or no way. Vince's philosophy, which is hysterical, is 'Every day is your first day on the job.' That's not a philosophy to run a company, but a rationalization for Vince to change his mind whenever he wants."

"You can't commit anything to paper there because with Vince it can change so fast," a former senior-level executive told me. "There's no overriding strategic vision—just put it in there and see what happens. It's frustrating for the writing staff."

A normal week for the writing team at WWE goes like this: The writers, let's say for Monday Night Raw, come up with ideas and lay out the upcoming week's show, which includes 16 segments over three hours. It's pitched to Vince on Thursday or Friday. He gives his feedback, adjustments are made over the weekend (writers are known to stay in the office until at least midnight), and then, during a meeting on Monday, he gives the final sign-off—or changes his mind. "Sometimes a script will change in production meetings the day of the show," said David Kreizman, a former head writer who resigned in 2013 after just four months at WWE. "Vince gets in there and reads the script aloud and sometimes will change his mind in that moment. Big-picture discussions don't really happen."

It's unwise to battle Vince about script changes. "It can get you in trouble if you take a fight to Vince," said Brian Gewirtz. "You need to be careful in how you speak your mind and not to get carried away. He urges people to say their opinions but ultimately he makes the decision."

In many respects, Vince still operates his billion-dollar company as if he were still promoting a regional wrestling circuit, which is certainly uncommon for an organization of WWE's size. "All Vince cares about is that night's show—not 15 weeks later, like how all other television shows work," a former senior-level executive said. "That's why you see astute followers pulling their hair out. There's no guiding principle other than that Vince is a carnival barker—a promoter of a live event product."

Paul Levesque told me that this is just the nature of the business. "The amount of variables that exist in producing live shows are endless and one change can impact the entire show or a story arc," he said. "Storylines change because it is live, 52 weeks a year. Hollywood studios can stop film production if an actor goes down. We adjust storylines as the show must go on."

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Outside of McMahon family members like Stephanie and Paul Levesque, only three high-ranking executives seemed to hold on to their jobs during this tumultuous period: Kevin Dunn, the executive vice-president of television production; Michelle Wilson, WWE's chief revenue officer; and George Barrios, the chief strategy and financial officer. Arguably the toughest of those years was 2014, with Wilson and Barrios, in particular, playing key roles as the company prepared to go live with WWE Network while also negotiating new deals for its prime-time cable programs.

WWE Network had its much-anticipated launch in the United States that February. By the time WrestleMania 30 rolled around in April, however, the company reported that the online network had only 667,287 subscribers—far short of the 1 million executives had said they would need to hit in order to break even monetarily.

"It shocked people—stunned the market," said analyst Chris Harrington. That August, WWE rolled out the network to a laundry list of 160 countries a full four months ahead of schedule. "It was all in English—no translation at all," Harrington said. "There was no country-by-country specialization, and everywhere had the same [market price of $9.99]. That move showed their desperation."

Meanwhile, WWE's domestic television contract with NBCUniversal was up for renewal just a few weeks after WrestleMania. Despite some concerns that a new online streaming network might eat into the company's other revenue streams, Vince had been promising shareholders that a new television-rights deal would at least double the fees commanded by Raw, SmackDown, and the female-wrestler-driven reality show Total Divas ("You can put me in a hammerlock if we don't," he said during one presentation in 2013). WWE compared its viability to that of NASCAR, which had just signed a ten-year, $8.2 billion deal with Fox and NBC.

On May 15, WWE announced that it had reached a new agreement with NBCUniversal: roughly $813 million over four years, with a total escalation of $105 million from 2015 to 2019—starting at $175 million in 2015 and going up from there. While the new deal represented an increase from the $115 million earned by Raw, SmackDown, and Total Divas in 2014, it wasn't the double that Vince had promised.

After the announcement, WWE's stock dropped a whopping 43 percent basically overnight (Vince himself lost a reported $357 million), and the company was forced to lay off seven percent of the workforce to save money. In a conference call, Vince admitted that the launch of WWE Network earlier that year "definitely had a negative impact" on its negotiations with cable networks. "That was part of a lighter number in terms of television rights. That's a fair thing to say."

The stock seemed to stabilize a bit in August of 2014, but has mostly fluctuated since.
 
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Da King

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wwe-story-body-image-1481142612.jpg




:HBGOAT:
 

JerseyBoy23

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Cliff Notes from another forum:

  • Vince can't fix WWE's problems because HE is the biggest problem of all

  • Shane attempted a hostile takeover of creative in 2012 via Kevin Dunn who wants him back to boost his position and influence over Stephanie and Hunter

  • When Stephanie heard Shane was coming in for a meeting she 'turned white' and Hunter 'freaked out'

  • Vince rejected Shane's offer

  • WWE's alarmingly high turnover of senior executives is linked to Vince and his management style. He'll love you one day and then want rid of you the next

  • Working in a creative capacity is stifling because it all comes back to Vince

  • Vince never thinks long term. It's always about that one show at that exact moment

  • NXT is Hunters way of having some autonomy within creative because Vince essentially leaves him to it

  • Brian Gewirtz was quoted as saying he doesn't know if Hunter can create the stars WWE needs because he's an 'old school wrestling guy' and WWE needs characters

  • WWE has put all its eggs in the networks basket

  • Television is still the backbone of everything they do, it feeds all other branches of the business and right now it is suffering big time
 

Buggsy Mogues

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But Levesque's vision of what a performer should be doesn't always correlate with what the corporation needs to keep ratings up and money coming in. "He's an old-school guy—a true wrestler," the same senior-level executive told me. "But look at the ratings. Where are the stars? Smart marks love these characters, but that's not the audience that drives a giant business."

Former head writer Brian Gewirtz echoes this sentiment. "If you don't have a compelling character, it doesn't matter how good the match is athletically," he said. "You'll just have people sitting on their hands, waiting until it's over."


That low key ether from Rock to H, indirectly via Gewirtz
full
 

Jmare007

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Keep your finger off the button, Mr Dunn :ufdup:

Seriously though, that 2012 revelation is huge. Crazy that Shane actually made a wholescale takeover play.

2012 and 2013 were key for the whole change in WWE's mindset regarding main eventers too :ohhh:

ps: Dave knew about the story and never told it before. He just now confirmed it. Breh probably was scared he was gonna lose his last real source or something :dead:
 
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2012 and 2013 were key for the whole change in WWE's mindset regarding main eventers too :ohhh:

ps: Dave knew about the story and never told it before. He just now confirmed it. Breh probably was scared he was gonna lose his last real source or something :dead:
:usure: I wonder what Bruce Prichard says about that :heh:
 
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