The first episode of All Elite Wrestling’s flagship program in the new year, airing on January 7, 2026, presented a mixed bag for viewers tuning in after the festive holiday period. Nestled between the energetic New Year’s Bash and the looming spectacle of Maximum Carnage, this particular installment of Dynamite aimed to reignite the AEW universe with fresh storylines and thrilling contests. While the broadcast delivered moments of undeniable brilliance, particularly in its in-ring offerings, it also stumbled in other areas, leaving fans with a sense of both satisfaction and slight disappointment. The show featured a strong contingent of AEW’s top talent, including the hard-hitting presence of Jon Moxley and the dynamic duo of The Young Bucks, all poised to make their mark on the year ahead. However, the evening was not without its blemishes, most notably a main event that struggled to live up to its billing and a peculiar technical issue that cast a literal shadow over a significant portion of the broadcast. The troubled lighting rig during the Willow Nightingale and Mercedes Mone segment was just one instance where the production faced unexpected hurdles. Beyond the immediate results, which have been meticulously documented elsewhere, this analysis delves into the emotional response generated by the show, exploring the highs and lows that resonated with the AEW faithful. Sometimes, even a single segment could divide opinions, as was the case with the conclusion of a match that saw the significant return of Andrade El Idolo. Herein lies an examination of the most memorable and, conversely, the most forgettable aspects of this early 2026 edition of AEW Dynamite.
The return of Matthew and Nicholas Jackson, collectively known as The Young Bucks, to AEW programming on this January 7th broadcast was a significant event, but it was their attire and demeanor that truly harked back to a cherished era of their careers. Eschewing their usual sharp suits and detached swagger, the brothers emerged with a nostalgic flair, complete with flowing tassels and broad, confident smiles. Their appearance alongside "Jungle Boy" Jack Perry signaled a shift, and the ensuing tag team encounter served as a potent reminder of the electrifying performances that first cemented their status as fan favorites. For those who appreciate the high-octane, acrobatic style of wrestling, the contest featuring Perry and the Bucks against Ricochet and the formidable Gates of Agony was a veritable feast. From the opening bell to the final count, the action was consistently engaging and visually stunning. The wrestlers masterfully utilized the ring ropes, executing a dazzling array of innovative maneuvers and breathtaking aerial assaults. The Destroyer, a particularly memorable sequence involving a springboard off the ropes, was a highlight that will undoubtedly be replayed and discussed long after the broadcast concluded. Perry and the Bucks unleashed a relentless offensive on Ricochet, who, to his credit, absorbed a substantial amount of punishment, selling each blow with an impressive believability. Considering Ricochet’s stature as the AEW National Champion, his willingness to endure such a barrage to elevate his opponents spoke volumes about his commitment to storytelling within the match.
Amidst the aerial acrobatics, Toa Liona emerged as an unexpected standout. Previously, Liona had often been perceived as a secondary figure within his alliances, overshadowed by Ricochet and Bishop Kaun. However, his powerful and grounded offense provided a crucial counterpoint to the frenetic pace set by his opponents. Liona’s impact was evident in his devastating Triple Samoan Drop onto Perry and the Bucks, a sequence that, though brief, carried significant weight. The fact that it took multiple Superkicks to finally bring him down was a shrewd booking decision, allowing Liona to maintain his formidable presence while simultaneously solidifying the victory for Perry and the Bucks. Liona proved to be the unsung hero of the match, a steadfast anchor amidst the whirlwind of his partners’ high-flying maneuvers. The decision to reintroduce The Young Bucks as babyfaces proved to be a wise one, and this exceptional match only amplified their appeal. It was a quintessential AEW encounter, characterized by explosive action, crowd-pleasing moments, and a satisfying number of dramatic kick-out sequences. However, as is often the case in AEW, the match concluded with a familiar, albeit predictable, flourish.
The return of Andrade El Idolo to AEW programming on this particular evening, while anticipated, was marred by a sense of anticlimax that felt unfortunate for the talented performer. Andrade’s career trajectory in professional wrestling has been undeniably unique, marking him as the first prominent star to transition from WWE to AEW, back to WWE, and then once again to AEW. This latest homecoming, however, felt somewhat muted, despite what appeared to be no fault of his own. The evening also saw the addition of Jake Doyle, formerly Jake Something from TNA, to the Don Callis Family faction. While the faction’s depth is undeniable, the constant recruitment of new members, particularly heels debuting on AEW programming, is becoming a predictable pattern. It would be refreshing to see a heel develop their own path rather than automatically being absorbed into Callis’s orbit, especially when a returning talent like Andrade was already poised for a significant re-entry. The visual cue of the lights dimming during the post-match altercation involving the Don Callis Family, following The Young Bucks and Jack Perry’s victory over The Demand, strongly suggested Andrade’s impending arrival. This expectation was further fueled by AEW President Tony Khan’s prior hints following Andrade’s successful appearance at Wrestle Kingdom over the weekend. Consequently, his return felt less like a surprising development and more like a preordained conclusion, diminishing the immediate excitement.
Andrade’s appearance felt more like a casual arrival to engage in a beatdown rather than the culmination of a narrative arc. His previous appearance on the October 1st episode of Dynamite, where he attacked Kenny Omega, had established a compelling hook. While Omega was not present on this show, his absence allowed for the potential to save Andrade’s return for a more impactful moment, perhaps coinciding with Omega’s own return next week. The video package that seemingly teased an eventual confrontation between Omega and AEW World Champion MJF suggested a potential future direction, but Andrade’s intervention could have served to further establish his own presence upon his return, even if it meant temporarily pausing Omega’s world title aspirations. Ultimately, while Andrade’s return to AEW was a foregone conclusion, the execution of his debut felt somewhat disjointed, leaving one concerned for how the company plans to build momentum for "El Idolo" following his tumultuous journey.
The segment featuring Willow Nightingale and Mercedes Mone offered a welcome and surprisingly effective change of pace. Given that their ongoing storyline has largely been characterized by tension and animosity, the introduction of a comedic element injected new life into their feud. Every participant in this segment fully committed to the bit, resulting in a fresh and memorable display. Mone’s physical comedy, from her destructive actions at the table to her unfortunate descent into the cake, was hilarious. Nightingale, in turn, showcased her readiness for anything Mone could throw at her, proving to be the more composed and effective competitor in the comedic chaos. The contributions of Kris Statlander, Harley Cameron, and Renee Paquette further enhanced the humor without detracting from the central dynamic between Nightingale and Mone. The segment coalesced into a perfectly executed, campy standout moment on a Dynamite broadcast that, in its latter half, began to feel somewhat drawn out. This playful interlude proved that even amidst intense rivalries, a dose of lightheartedness can significantly benefit a developing narrative.
The match between "Timeless" Toni Storm and Marina Shafir, which had the potential to be a sleeper hit on the January 7th episode of AEW Dynamite, was ultimately let down by its finish. The animosity between these two women, stemming from their encounters during the tournament for the inaugural AEW Women’s World Tag Team Championship, promised an intriguing stylistic clash to kick off the new year. In an era where the AEW women’s division had shown considerable growth in 2025, it seemed unlikely that such a contest would be relegated to the latter half of the show and suffer a disappointing conclusion. Unfortunately, that is precisely what transpired. The build-up to this match, incorporating elements from the "Mixed Nuts Mayhem" bouts involving the Death Riders and The Conglomeration, coupled with the ongoing tension between Storm and Shafir throughout December, made it arguably the most compellingly booked match on the card. Despite this strong foundation, the bout concluded with a disqualification, a finish that served little purpose. It raises questions about AEW’s confidence in Shafir’s ability to carry a significant singles match, especially given that this performance was considered one of her weaker showings. Alternatively, the non-finish may have been intended to set up a future, more significant encounter. However, if that is the case, it would have been more judicious to avoid pitting two women who are not meant to lose against each other at this juncture in their respective storylines. While the involvement of Daniel Garcia and Wheeler Yuta in the post-match proceedings is understandable, providing a definitive outcome to the initial contest would have allowed for a clearer narrative of revenge.
Furthermore, the post-match angle itself proved problematic. While AEW’s desire to capitalize on the viral success of Toni Storm and Orange Cassidy’s Worlds End spots is understandable, using the already weak finish to a women’s match to advance a storyline primarily focused on male competitors felt misguided. The contest, which had been progressing satisfactorily, was abruptly derailed by a conclusion that satisfied no one. The match itself became an immediate afterthought, overshadowed by the ensuing chaos. It remains unclear when or where Storm and Shafir will clash again, but the unsatisfying nature of their most recent encounter does little to ignite anticipation for a rematch.
The opening contest of the January 7th edition of AEW Dynamite, featuring Jon Moxley defending his Continental Championship in an Eliminator match against Shelton Benjamin, was an undeniable success. Following a similarly strong outing against Josh Alexander the previous week, Moxley’s continued commitment to these challenging bouts served to further solidify his reign. The match itself was an excellent way to energize the crowd from the outset. Moxley’s current approach, characterized by his ability to endure and overcome, seems to be a deliberate effort to compensate for submission losses earlier in his career. In this instance, he didn’t necessarily defeat Benjamin through sheer dominance, but rather survived him, a subtle but effective way of elevating Benjamin even in defeat. Benjamin, a world-class performer who has yet to capture a world championship, was allowed to showcase his immense talent, and Moxley’s willingness to let Benjamin shine was a testament to his own understanding of storytelling.
For a significant portion of the bout, Benjamin was the aggressor, dictating the pace and physically dominating Moxley. This is not to suggest that Moxley was a passive participant, but rather that he was clearly outmatched in terms of raw offensive power. Moxley’s strength lay in his resilience and his ability to weather the storm. The argument could be made that his primary focus was not necessarily on securing the victory, but on preventing himself from succumbing to a loss. While this was, of course, a staged contest, the presentation of it as a genuine fight was compelling. The psychology of the match was palpable, with every action carrying weight and purpose. This minimalist approach was perfectly encapsulated in the finish. Benjamin had Moxley trapped in a tight triangle choke, a situation that once again appeared to signal an inevitable submission. However, Moxley managed to maneuver himself into a position where he could secure a pinfall, holding Benjamin’s shoulders to the mat for the three-count.
Benjamin’s defeat came down to a momentary lapse in concentration, a consequence of his aggressive pursuit of victory and the subsequent title opportunity. This outcome mirrored Moxley’s own prediction from a backstage promo on AEW Collision. Benjamin, by all accounts, was the superior competitor in every facet of the match, yet he was unable to secure the win. It is a glaring oversight that Shelton Benjamin has never held a world championship, as he remains one of the most skilled performers in the industry. This match served as both a testament to his abilities and a promise of greater things to come. While the notion of him winning a world title in the immediate future may be unrealistic, there is a clear effort being made to present him as a credible threat. Recognizing this dedication to elevating talent is commendable, and the match’s quality was merely an added bonus.
The main event of the January 7th AEW Dynamite broadcast, an Unsanctioned Lights Out tag team match pitting Hangman Page and Swerve Strickland against Powerhouse Hobbs and Hook, was a profoundly disappointing affair. While the participants were theoretically sound, the execution fell considerably short. Compounding the issues, the broadcast was plagued by a significant technical malfunction. Earlier in the evening, Willow Nightingale’s championship celebration appeared unusually dim, perhaps an experimental lighting choice by Tony Khan. However, it soon became evident that a genuine problem was unfolding in the arena. As the "Lights Out" gimmick for the main event was initiated, the entire lighting rig malfunctioned, engulfing the entrance stage in a cloud of smoke. This meant that the portion of the main event that aired before the program ran over was, in fact, a literal lights-out match, leaving viewers at home struggling to see anything not directly illuminated by a spotlight.
However, the lighting issue was not the sole reason for the match’s inclusion in this critique. The contest itself was a clunky and underwhelming spectacle, raising questions about the viability of the Page and Strickland tag team. Compared to previous "Lights Out" matches, this bout was remarkably tame. While some might argue that its placement on television, as opposed to a pay-per-view, necessitated a toned-down approach, the violent encounters seen in events like Blood & Guts in November demonstrated AEW’s willingness to push boundaries even on broadcast. The inclusion of cinder blocks and a piece of drywall, the latter of which inexplicably ended up in the crowd, felt like a contrived attempt at hardcore action. The visual of the wrestlers struggling with a pallet of cinder blocks and a ring skirt, embodying a distinct lack of impact, perfectly encapsulated the match’s overall ineffectiveness.
The feud between Hobbs, Hook, and the pairing of Page and Strickland has been largely underwhelming. If Samoa Joe and his disciples intended to make a definitive statement against Page and Strickland, their intervention should have occurred at the outset. With no disqualifications and no external interference, the numbers advantage could have been established immediately, placing the babyfaces in significant peril from the very beginning. This approach would have avoided the awkward commentary from Jim Ross, who audibly expressed a desire for the match to conclude. Furthermore, the match’s extended duration was another significant issue, marking a rare instance of an AEW plunder match overstaying its welcome. Much like the inconsistent lighting throughout the latter half of the show, the main event felt somewhat dim and uninspired. While it is highly improbable that this feud has reached its conclusion, the lighting rig’s premature failure seemed to mirror the lack of interest surrounding this particular storyline.
