Wrestling with no audience becomes eerier (and more palatable) with the Twin Peaks score beneath it

Screenshot: WWE; Twin Peaks

After the WWE was compelled to movie its content material in an empty studio because of the coronavirus, many in contrast the awkward, melodramatic promos and near-silent matches—each of which resonate in another way with out the hum of a crowd buoying them—to “avant-garde theater.” After all, anyone who really watches wrestling is aware of the shape has been and can at all times be considered one of our purest types of trendy theater, a weird mix of melodrama, ballet, and gymnastics able to reaching indelible heights (and traumatizing lows). By eradicating the roaring viewers, the supply of a lot of the “sporting” facet we affiliate with the shape, its debt to its creative influences is simply made that a lot clearer. That, nevertheless, doesn’t make it any much less awkward.

What makes the dearth of an viewers so placing is that the performers merely aren’t used to it. Their cadences, their pauses, their transfer units—they’re all designed to play to a budget seats, so to see it unfold in tinny silence evokes the sorts of offbeat, uncanny beats one finds in oddball artwork. Like, say, the work of David Lynch.

Sensing this themselves, Twitter’s @SIDEEYEmusic took footage of John Cena and “The Fiend” Bray Wyatt’s latest Smackdown spat and underscored it with Angelo Badalamenti’s eerily romantic Twin Peaks score, which helps summon that sequence’ operatic themes and stylized performances to make an audience-less WWE a bit extra palatable.

After all, this isn’t the primary time a thread has been strung between Lynch and wrestling. Final 12 months, somebody layered within the rating beneath considered one of Vince McMahon’s most deranged performances.

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Granted, McMahon’s lunacy is pitched extra in the direction of Dennis Hopper’s Blue Velvet character than the behaviors of the homicidal BOB, however it’s nonetheless a rattling positive mashup.

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