No Real Emotion In Them, says Dustin Rhodes of scripted promos

Dustin Rhodes | Dusty Rhodes | WWE | Professional wrestling | Cody Rhodes: Dustin Rhodes has criticised the lack of emotion in written promos used in wrestling and offered suggestions for what to do when given one.

Every week, Dustin would deliver spontaneous promos live on television while he was a wrestler for the WWE during the Attitude Era.

In the mid-1990s, while Dustin was playing Goldust, WWE was looking to go towards more edgy material after losing talent and audiences to WCW.

In 1997, Vince McMahon hired Vince Russo to serve as the head writer, with the responsibility of making the on-screen plots more adult-oriented.

The key aspects of a promo would be overseen by Russo and McMahon, but it was up to the performer to capitalise on audience reaction while performing.

Because many of the performances were amplified representations of the performers' true personalities, Dusty Rhodes, son of WWE Hall of Famer Dusty Rhodes, believes that fans identified with talent.

To promote the A&E biography on his father Dusty Rhodes, Dustin appeared on Sports Guys Talking Wrestling.

The lack of passion shown when performing a scripted advertisement worries Dustin, and he noted that one of the major problems is that the talent is not given advice on how to execute the promo in their own style.

Scripted promotions were the issue since they are scripted.

"They don't have real emotion, and it's not coming from them. It is what was written for you by someone. I didn't realise that when you were given a scripted advertisement, you were never taught that you needed to personalise it.

Consequently, if you have a written promo... In order to bring the emotion and to impact someone who is watching from home, I'm going to [take those words] and make them my own.

The plumber's grandson also expressed his opinions on his brother Cody Rhodes being the main attraction at WrestleMania 39.

Dustin, who currently competes for AEW, has received accolades for encouraging the growth of young performers and believes that the future generation should concentrate on honing their promos to guarantee that audiences are interested in their stories.

Young people entering the industry today must pay close attention to how they move viewers at home who are casually turning in for the first time, rather than just what moves them or what they say.

You need to catch them. When people are watching and saying, "Holy man, that was incredible, I got to watch this next week," you want him to feel it.