The Most Famous Wrestling Moves of All Time – And Why They Actually Matter

Come on, we all know the feeling. You see Stone Cold setting up for the Stunner, or The Rock throwing the People’s Elbow, and something just clicks. These aren’t just moves – they’re the DNA of professional wrestling, passed down and evolved over decades. Some of them changed the business forever. Others just looked cool enough that everyone wanted to steal them.

That’s the thing about finishing moves in wrestling – they tell you everything about the era, the wrestler, and what the audience wanted to see. The Attitude Era gave us the quick, explosive finishers like the Stunner and the RKO because fans wanted instant gratification. The technical wrestling boom brought us submission specialists who could make grown men tap out. And the high-flying revolution? Brother, that changed everything.

Here’s the reality: not all famous moves are created equal. Some became iconic because of the wrestlers who used them. Others were genuinely innovative and influenced an entire generation. And yeah, some just got lucky with timing and booking. I’m not just listing them – I’m telling you why they mattered, who did them best, and which ones are overrated.

Key Takeaways

• Experience the power of wrestling’s most iconic moves like Stone Cold Steve Austin’s Stunner, Shawn Michaels’ Sweet Chin Music, and The Rock’s People’s Elbow!
• Witness impressive theatrics with Bret Hart’s Sharpshooter, Triple H’s Pedigree, and Undertaker’s Tombstone Piledriver & Chokeslam!
• Get ready for an electrifying show from modern finishers such as Seth Rollins’ Curb Stomp, Roman Reigns’ Spear & AJ Styles’ Styles Clash!

Stone Cold Steve Austin’s Stone Cold Stunner

Look, the Stunner wasn’t the most technical move you’ll ever see. It’s a simple three-quarter facelock dropped to a seated position, driving the opponent’s jaw into your shoulder. But what made Austin’s version special was the timing and the psychology behind it. When Austin hit that Stunner, it felt like a middle finger to authority – because that’s exactly what it was.

The move itself originated in Japanese wrestling, but Austin made it his own during the Attitude Era, when rebellion sold tickets. The real genius? Getting guys like The Rock and even WWE owner Vince McMahon to sell it like they’d been shot. That overselling became part of the spectacle.

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What do you expect when you combine a simple move with perfect character work? You get one of the most replicated finishers in wrestling history. Kids were hitting Stunners on each other for years after Austin’s prime. That’s cultural impact.

The Stunner is a highly memorable finishing move in wrestling history.

Shawn Michaels’ Sweet Chin Music

Now this is where showmanship meets precision. The Sweet Chin Music – just a superkick, really – became legendary because of what Michaels did before hitting it. That foot stomp in the corner, tuning up the band, building the anticipation. The move itself is a high-side thrust kick (technically called a Crescent Kick), but Michaels turned it into a piece of theater.

The thing that separates Sweet Chin Music from every other superkick? Placement and timing. When Michaels caught someone mid-air with that kick, the timing had to be perfect. One inch off and it looks terrible. Get it right, and it’s still one of the most beautiful finishers in wrestling.

These days, everyone throws superkicks. The Young Bucks have cheapened it with their “Superkick Party” routine – and yeah, I get it, that’s part of their gimmick. But it’s made the move less special. Michaels used it sparingly, made it count. That’s the difference between a finisher and just another move.

The Rock’s People’s Elbow and Rock Bottom

I’ll be honest – the People’s Elbow is ridiculous. It’s literally just an elbow drop with extra steps. Run the ropes, throw the elbow pad, drop the elbow. Technically, it should be the weakest finisher ever.

But that’s not how wrestling works. The Rock, turned a basic elbow drop into the most electrifying move in sports entertainment through pure charisma and showmanship. Same with the Rock Bottom – it’s a variation of the Uranage slam, nothing groundbreaking. But when The Rock hit it, it felt devastating because of how he sold his own offense.

Here’s what made both moves work: The Rock understood that wrestling is about connection with the audience. The People’s Elbow gave fans time to react, to chant, to be part of the moment. The Rock Bottom was quick and explosive when he needed the pop. He knew which tool to use when. That’s ring psychology at its finest.

Bret Hart’s Sharpshooter

If we’re talking about technically sound submission moves, the Sharpshooter sits at the top. Invented by Japanese legend Riki Choshu, but Bret “The Hitman” Hart made it famous through pure technical excellence. The setup involves stepping over the opponent’s legs, turning them over, and sitting back to apply pressure on the lower back and legs.

What made Hart’s version special was the storytelling. He’d work the legs throughout the match, then lock in the Sharpshooter as the inevitable conclusion. That’s how you build a submission finisher – you tell the audience exactly what’s coming, and when it happens, it feels earned.

The Montreal Screwjob made this move even more famous, which is its own complicated legacy. But purely from a technical standpoint, the Sharpshooter is still taught in wrestling schools worldwide because it’s effective, safe, and looks painful. That’s the gold standard.

Triple H’s Pedigree

The Pedigree is a double underhook facebuster that either looks devastating or downright sloppy, depending on who’s taking it. Triple H hooks both arms behind the opponent’s back and drives them face-first into the mat. When it’s done right – when guys like The Rock or Shawn Michaels took it – it looked career-ending.

That’s the thing about the Pedigree: it requires cooperation from your opponent more than most finishers. The person taking it has to position themselves perfectly, or it looks like garbage. But Triple H built his entire career around this move, using it to win 14 world championships.

The move itself came from the independent scene – guys like Road Warrior Hawk used variations of it in the ’80s. But Triple H made it his signature during the Attitude Era and never looked back. Smart booking and consistent use made it credible, even if it was never the most innovative finisher.

Undertaker’s Tombstone Piledriver and Chokeslam

Here’s where we need to talk about banned moves and legacy protection. The Tombstone Piledriver – where you turn the opponent upside down and drop to your knees, driving their head toward the mat – has been functionally banned in WWE for years. Only The Undertaker and Kane could use it, and now that they’re retired, you barely see it.

Why? Because piledrivers are dangerous. Owen Hart’s botched piledriver nearly killed Stone Cold Steve Austin in 1997. The Tombstone is safer than the traditional piledriver if executed correctly, but WWE doesn’t trust most wrestlers to do it right. So it became Undertaker’s move by default.

The Chokeslam, on the other hand, is still widely used because it’s relatively safe and looks impressive. Undertaker didn’t invent it, but his version – lifting opponents high and slamming them with authority – became the template everyone copied.

Both moves worked for Undertaker because of his character. A supernatural wrestler needed supernatural-looking finishers. The psychology made sense.

Rey Mysterio’s 619

The 619 is one of those moves that shouldn’t work as well as it does. Mysterio delivers a spinning kick through the ropes to an opponent draped over the second rope, then follows up with a springboard move. The setup is contrived, the execution requires perfect positioning, and realistically, opponents should see it coming every time.

But it works because it’s unique, it looks cool, and Mysterio’s athleticism sells it. Named after San Diego’s area code, the 619 became Mysterio’s signature move during his WWE run and helped define the cruiserweight style in American wrestling.

What do you expect from a high-flyer who revolutionized what smaller wrestlers could do in WWE? You get innovation born from necessity. Mysterio couldn’t powerbomb guys, so he created offense around his agility. The 619 is the perfect example of playing to your strengths.

Given its innovation, the 619 is now a cherished move in contemporary pro wrestling.

Goldberg’s Spear and Jackhammer

Goldberg’s entire offense was built around intensity and power, and his two finishers embodied that. The Spear – a running shoulder tackle – and the Jackhammer – a delayed vertical suplex dropped into a slam – were both about overwhelming opponents with raw strength.

The Spear itself isn’t innovative. Edge used it. Roman Reigns uses it. Rhino’s Gore was arguably more impactful. But Goldberg’s Spear in WCW came with an undefeated streak, making it feel unstoppable. Same with the Jackhammer – it’s just a stalling suplex, but when you’re 173-0, every move looks devastating.

That’s the lesson here: booking matters more than the move itself. Goldberg’s finishers worked because WCW protected him. The second his streak ended, the moves lost some of their mystique. It’s all about presentation.

Randy Orton’s RKO

The RKO is a jumping cutter – a three-quarter facelock where Orton jumps and drives the opponent’s face into the mat. It’s not original; Diamond Dallas Page used the Diamond Cutter in WCW, which was essentially the same move. But Orton made it his own through timing and variation.

What makes the RKO special is its versatility. Orton can hit it from anywhere – mid-air off a springboard, as a counter to someone diving at him, out of nowhere during a sequence. That unpredictability is what keeps it over with fans. The “RKO outta nowhere” became a meme for a reason.

I see Orton continuing to use this move for years because it ages well. He doesn’t need to be at peak athleticism to execute it. It’s quick, effective, and the crowd always pops for it. Smart finisher choice for someone thinking about longevity.

Standard RKO: The classic RKO involves Orton grabbing his opponent’s head in a three-quarter facelock and swiftly dropping to the mat, driving the opponent’s face into the canvas. This move can be executed from a standing position or as a counter to an opponent’s maneuver, exemplifying its versatility.

Springboard RKO: Orton intercepts an opponent leaping from the ropes in this variation. A notable instance occurred at WrestleMania 31 when Orton countered Seth Rollins’ Curb Stomp attempt with a mid-air RKO, showcasing his timing and agility.

Elevated RKO: Orton delivers this version from an elevated position, such as the top rope or a ladder. This high-risk maneuver adds significant impact, often leading to dramatic match conclusions.

Running RKO: This variation sees Orton sprinting towards his opponent before executing the RKO, adding momentum and force to the move. It’s particularly effective against opponents charging at him, turning their offence to his advantage.

Pop-Up RKO: Orton lifts his opponent into the air, either from a standing position or by using the opponent’s momentum, and then delivers the RKO as they descend. This version emphasizes Orton’s strength and timing.

These variations demonstrate Orton’s adaptability in the ring, keeping audiences engaged. The RKO can be unleashed from any position, often leading to unexpected and thrilling match outcomes.

For a visual compilation of Randy Orton’s greatest RKOs, you might find this video insightful:

The RKO’s swift execution consistently captivates fans.

John Cena’s Attitude Adjustment

The Attitude Adjustment – formerly called the F-U as a shot at Brock Lesnar’s F-5 – is a fireman’s carry takeover where Cena flips the opponent off his shoulders and slams them to the mat. It’s not technically complex, but it showcases Cena’s strength.

Here’s the reality: Cena used this move to win 16 world championships. That’s the only stat that matters. The move itself is fine – nothing groundbreaking, but reliable and safe. It fits Cena’s character as the never-give-up babyface who overpowers opponents.

The problem? Cena kicked out of so many finishers during his run that his own finisher got devalued by comparison. How many times did guys kick out of the AA? Too many. That’s the danger of 50/50 booking – even your world champion’s finisher starts to feel less special.

Breathtaking topé suicida

This term, often used in Spanish as “suicida,” precedes any maneuver executed from any part of the wrestling ring to its exterior. A prevalent example is the ‘suicide dive’, known in Spanish as “topé suicida,” translating to “suicide headbutt.” Additionally, when a wrestler performs a somersault after springing through the ropes or leaping over the top rope to land back-first on their opponent, this move is known as a ‘suicide senton’ or ‘topé con giro,’ meaning ‘spinning headbutt’ in Spanish. Outside Mexico, this move is sometimes inaccurately referred to as “topé con hilo,” a mistranslation originating in Japan. This misnomer persists even though “hilo” in Spanish means “thread.”

High-Flying Finishers: Evolution and Impact

Now we’re getting into the moves that changed wrestling’s athletic standards. The Swanton Bomb, Shooting Star Press, and Frog Splash all came from different wrestling traditions but converged in American wrestling during the late 90s and early 2000s.

Jeff Hardy’s Swanton Bomb

The Swanton Bomb is a corkscrew senton – Jeff Hardy climbs to the top rope, does a complete backflip rotation, and lands back-first on the opponent. It looks impressive, it’s high-risk, and it perfectly captures Hardy’s daredevil character.

What made Hardy’s version iconic was where he’d hit it from. Normal top rope? Sure. Ladder? Absolutely. Steel cage? Why not. The move scaled with the stipulation, and Hardy’s willingness to hurt himself made it credible.

The downside? It destroyed Hardy’s body. That’s the thing about high-flying offense – it looks great, but the wear and tear is real. Hardy’s had multiple back surgeries, and moves like the Swanton are a big reason why.

Shooting Star Press

The Shooting Star Press – a backflip off the top rope landing on the opponent – was pioneered by Jushin Thunder Liger in Japan back in 1987. It requires incredible athleticism, precision timing, and trust that you won’t land on your opponent’s knees.

Billy Kidman made it famous in WCW, but guys like Ricochet and Evan Bourne brought it to WWE. The problem? It’s risky as hell. Brock Lesnar nearly killed himself attempting one at WrestleMania 19. WWE basically banned it after that unless you could prove you could do it safely and consistently.

That’s the evolution of wrestling right there – moves that were considered cutting-edge in the 90s are now too dangerous for the modern product. Insurance companies and head injury protocols changed what’s acceptable.

Frog Splash

Eddie Guerrero’s Frog Splash became synonymous with his legacy, even though he didn’t invent it. The move involves jumping off the top rope with arms and legs spread wide, then bringing them in to land chest-first on the opponent.

What made Eddie’s version special was the storytelling around it. He’d dedicate it to family members; he’d sometimes hesitate before hitting it, selling exhaustion or emotion. Rob Van Dam used it too – called it the Five-Star Frog Splash – but Eddie made it mean something.

The move is still used today, but it’s lost some impact because everyone does it. That’s the problem with high-flying becoming standard – what was once special becomes just another transition move.

Submission Specialists: Technical Mastery

Submission moves require a different skill set than strikes or slams. You need to tell a story through limb targeting, sell the progression of pain, and make the audience believe someone might actually tap out. Let’s break down the three most famous submission finishers.

Kurt Angle’s Ankle Lock

The Ankle Lock is exactly what it sounds like – grab the opponent’s foot and twist to hyperextend the ankle. Kurt Angle made this move famous during his Olympic wrestling career, and it fit perfectly with his amateur background.

What made Angle’s version devastating was his intensity. He’d grab the ankle and just torque it, sometimes adding a grapevine with his legs for extra pressure. The move could end matches instantly or be worked for several minutes with escape attempts and near-submissions.

Ken Shamrock used a similar move in WWE, but Angle perfected it. The ankle lock is still taught as a fundamental submission hold because it’s believable, relatively safe, and has built-in drama through rope breaks and counters.

Ric Flair’s Figure Four Leglock

The Figure Four Leglock predates Ric Flair – Buddy Rogers used it first, then Japanese legend Riki Choshu popularized it internationally. But “The Nature Boy” made it iconic through decades of consistent use and showmanship.

The move itself involves crossing the opponent’s legs in a figure-four shape and sitting back to apply pressure to the knee and ankle. The psychology is simple: work the leg in all matches, then finish with the Figure Four. Flair did this for 40 years.

Charlotte Flair evolved it with the Figure Eight – she bridges backward to add elevation and increase the pressure. It’s a smart variation that respects her father’s legacy while adding her own twist. That’s how you modernize a classic move.

Chris Benoit’s Crippler Crossface

We need to address this one carefully. The Crippler Crossface – a crossface chickenwing where you trap the opponent’s arm and wrench their neck backward – was one of the most effective submission finishers in WWE history. Chris Benoit used it to win multiple championships.

The move itself is technically sound. Sasha Banks (now Mercedes Moné) adapted it into the Bank Statement. Daniel Bryan used variations. The technique is valid.

But Benoit’s legacy is complicated by his actions in 2007. WWE has essentially erased him from history, so the move’s association with him has largely been forgotten by newer fans. That’s probably for the best.

The Crossface as a move type remains effective – it targets the neck and arm simultaneously, it looks painful, and it has multiple points of pressure. That’s why it survives in different forms across promotions.

Tag Team Finishers: Coordinated Chaos

ag team wrestling requires finishers that showcase teamwork and timing. The best tag finishers look impossible to execute without perfect coordination. Let’s examine three that changed the game.

Dudley Boyz’s 3D (Dudley Death Drop)

The 3D combines a flapjack from Bubba Ray with a cutter from D-Von – one wrestler lifts the opponent while the other catches them mid-air with a jumping cutter. When executed correctly, it looks devastating.

What made the Dudley Boyz’s version special was their consistency. They could hit the 3D on anyone, from cruiserweights to super heavyweights. They’d often put opponents through tables with it, which became their signature in ECW and WWE.

The move requires absolute trust between partners and perfect timing. One second off and it fails completely. That’s why you don’t see it copied as often as other finishers – it’s too dependent on chemistry.

Legion of Doom’s Doomsday Device

The Doomsday Device is old-school power: Animal lifts the opponent onto his shoulders while Hawk jumps off the top rope with a clothesline: simple concept, massive impact.

What do you expect from the Road Warriors? They invented power tag team wrestling. The Doomsday Device was their exclamation point – no fancy setup, no complicated choreography, just raw intimidation.

Modern variations exist, but the original is still the best. The move works because it’s believable – one guy holds, the other strikes from elevation. That’s physics plus wrestling psychology.

3D Variations and Evolution

Various teams have modified the 3D over the years. Some use it as a setup for other moves. Others add tables or other weapons. But the core concept remains: coordinated assault from two wrestlers working in perfect sync.

That’s the beauty of tag team wrestling – finishers can do things singles wrestlers cannot. The downside? When one guy leaves or gets injured, the move dies with the team. That’s why tag team wrestling has struggled to maintain relevance – you need both partners to make the magic work.

Women’s Division: Breaking New Ground

Women’s wrestling finishers have evolved dramatically over the past decade. Early women’s finishers were often just scaled-down versions of men’s moves. Modern women’s wrestlers create finishers that showcase their unique styles and athleticism.

Charlotte Flair’s Figure Eight

Charlotte took her father’s Figure Four Leglock and evolved it by bridging backward, adding elevation and more pressure to the opponent’s legs. The Figure Eight requires core strength and flexibility that most wrestlers don’t have.

What makes this move effective is legacy plus innovation. Charlotte is honoring her father while proving she can do something he couldn’t. That’s how you handle famous wrestling family names – respect the past, build your own future.

I see the Figure Eight remaining Charlotte’s signature for her entire career. It’s unique to her, it tells her family story, and it’s painful enough to be credible. Perfect finisher choice.

Mercedes Moné’s (Sasha Banks) Bank Statement

The Bank Statement is Mercedes’s variation of the Crossface: she traps the opponent’s arms and applies a crossface, adding body scissors for additional pressure. It’s technically sound and visually distinct.

What made this move work in WWE was Mercedes’s willingness to target specific body parts throughout matches. She’d work the back and neck, then lock in the Bank Statement as the logical conclusion. That’s wrestling 101, and she executes it perfectly.

The challenge with submission finishers for smaller wrestlers is credibility – can the audience believe they can make larger opponents tap? Mercedes solved this through consistent execution and smart match psychology.

Becky Lynch’s Dis-arm-her

The Dis-arm-her is a modified armbar where Becky traps the opponent’s arm between her legs and hyperextends the shoulder. It’s a legitimate MMA technique adapted for professional wrestling, which adds credibility.

“The Man” character required a finisher that looked aggressive and painful. The Dis-arm-her delivers both. It also fits Becky’s underdog-turned-conqueror storyline – she had to evolve her moveset to reach the top.

Within three years of making the Dis-arm-her her signature move, Becky became the face of WWE’s women’s division. That’s not a coincidence – your finisher tells the audience who you are as a wrestler.

Modern Era: Innovation Continues

Today’s wrestling finishers balance athleticism, safety, and spectacle. Let’s look at three that define the current generation.

Seth Rollins’ Curb Stomp (now The Stomp)

The Curb Stomp is precisely what it sounds like – Rollins stomps on the back of an opponent’s head while they’re on their hands and knees. It was banned for years due to its violent appearance, then brought back with slight modifications.

This move works because of its simplicity and suddenness. Rollins can hit it out of nowhere, which creates unpredictability. It doesn’t require a complex setup, and it looks devastating without actually being dangerous when executed correctly.

The controversy around the move’s name and appearance actually helped it. WWE tried to rebrand it as “The Stomp” to avoid the street-fighting connotations of “Curb Stomp.” But fans knew what it was. Sometimes the controversy makes the move more over.

Roman Reigns’ Spear

Roman’s Spear is the culmination of decades of wrestlers using the move. He launches himself at opponents like a linebacker, often yelling “AHHH YESSIR” before impact. It’s theatrical, it’s powerful, and it fits his character perfectly.

Goldberg, Edge, Rhino, and countless others have used the Spear. What makes Roman’s version special is the presentation – he sets it up, loads up for it, and makes the audience anticipate it. That’s veteran ring psychology.

Here’s my prediction: Roman will use the Spear for the rest of his career. It’s versatile, it ages well (doesn’t require incredible athleticism), and it’s over with the crowd. When you find a finisher that checks all those boxes, you don’t change it.

AJ Styles’ Styles Clash

The Styles Clash is a unique facebuster where AJ hooks the opponent’s arms behind their back, lifts them up, and falls forward to drive their face and chest into the mat. It looks devastating and requires significant trust from the person taking it.

AJ created this move accidentally while playing on a trampoline with his brother, and it became his signature in TNA, Japan, and eventually WWE. The move has been controversial due to instances where wrestlers didn’t tuck their chins properly and suffered neck injuries.

What makes the Styles Clash work is that it’s uniquely AJ’s. Nobody else uses it effectively. In an era where everyone steals everyone’s moves, having something distinctive matters. That’s branding in wrestling.

The Banned List: Safety Versus Spectacle

Professional wrestling’s relationship with dangerous moves is complicated. Some moves got banned because they were legitimately unsafe. Others got banned because of liability concerns or changing standards.

The Piledriver became functionally banned after Owen Hart’s botched version nearly paralyzed Stone Cold Steve Austin in 1997. Only protected veterans like The Undertaker could use variations. That’s the reality of modern wrestling – one catastrophic injury can end a move forever.

Chair shots to the head disappeared in 2010 when WWE acknowledged concussion research. Unprotected head shots with weapons are now prohibited across major promotions. The science changed, so the business adapted.

The Curb Stomp was temporarily banned due to its violent optics, not because it was dangerous. WWE was concerned about mainstream perception. That tells you everything about modern wrestling – sometimes presentation matters more than actual safety.

Buckle Bombs got restricted after Sting’s career-ending injury in 2015. The move involves throwing opponents back-first into the turnbuckle, and if the positioning is wrong, neck and back injuries can occur.

The WWE heart punch ban isn’t just corporate caution — it’s wrestling evolving past its carnival roots. This finishing move was sold as literally stopping your opponent’s heart, and in an era of shareholder meetings and Mattel sponsorships, that psychology doesn’t fly.

AEW recently banned unprotected head shots, shots to the back of the head, and several high-risk moves. Tony Khan is learning the same lessons WWE learned – wrestler safety affects your ability to tour and maintain insurance.

Here’s the thing: banning moves doesn’t make wrestling less entertaining if you’re creative about it. The best workers adapt. They find new ways to tell stories without relying on dangerous spots. That’s evolution.

What Makes a Move Truly Iconic?

After analyzing 35 of wrestling’s most famous moves, some patterns emerge. The best finishers share these characteristics:

Simplicity – The Stone Cold Stunner, RKO, and Spear are all simple concepts executed with perfect timing. Complexity doesn’t equal effectiveness.

Character Alignment – The Undertaker’s supernatural finishers matched his character. John Cena’s Attitude Adjustment reflected his never-give-up persona. Your finisher should tell your story.

Versatility – Moves that can be hit from multiple positions or in different contexts (like the RKO) stay over longer than one-trick finishers.

Safety – Moves that injure people regularly don’t last. The Piledriver is proof. The best finishers protect both wrestlers while looking devastating.

Booking – Even the best move fails without proper protection. Goldberg’s Spear and Jackhammer worked because he was booked as unbeatable. When the booking changed, the moves meant less.

Innovation – Moves that brought something new to wrestling (like Rey Mysterio’s 619 or AJ’s Styles Clash) have longer legacies than moves that just copy what came before.

The 619, Shooting Star Press, and modern women’s finishers succeeded because they pushed boundaries. The Attitude Adjustment and Spear work because they’re reliable and well-booked. Different paths to the same destination: getting over.

The Future: Where Finishers Are Headed

I see finishers evolving in two directions. One branch goes toward submission-based finishers that mirror MMA credibility. The other goes toward high-flying spectacle that social media loves.

Submission finishers are making a comeback because they tell longer stories and don’t require big bumps. As wrestlers get smarter about protecting their bodies, expect more armbar variations and leglocks. That’s just wrestlers being smart about longevity.

High-flying finishers will continue because they create viral moments. But I predict we’ll see WWE limiting the most dangerous ones while AEW continues to allow riskier moves. That split reflects their different philosophies about wrestling.

Here’s my bold take: Within five years, we’ll see a move that combines elements of MMA submissions with traditional wrestling spectacle become the most-copied finisher in the business. Something that looks legitimate but is safe enough for weekly TV. I don’t know what it is yet, but some wrestler will figure it out.

The other prediction: tag team finishers will make a comeback as WWE and AEW both invest in their tag divisions. We need a new Doomsday Device and 3D equivalents for this generation. The templates exist; someone just needs to execute them with modern athletes.

Why This All Matters

Come on, we’re talking about choreographed moves in predetermined matches. Why does any of this matter?

Because finishers are how wrestling creates its moments, Stone Cold’s Stunner on Vince McMahon represented rebellion against authority. When Daniel Bryan made Batista tap at WrestleMania 30, it represented the underdog finally winning. When Becky Lynch made Charlotte tap with the Dis-arm-her, it signified the women’s revolution.

The moves themselves are just movements. The context, the character, the booking – that’s what makes them iconic. That’s what makes us remember them decades later.

That’s the thing about professional wrestling: it’s simultaneously the most fake and most real performance art in the world. The moves are predetermined, but the emotions they create are genuine. The pain is (usually) minimal, but the stories they tell are powerful.

These 35 moves represent different eras, different styles, and different philosophies of what wrestling should be. They’re time capsules. They’re teaching tools. They’re the building blocks that created this weird, wonderful business we love.

And yeah, I probably got some takes wrong here. Maybe the Curb Stomp isn’t as innovative as I think. Maybe Roman’s Spear isn’t as good as Edge’s was. Maybe I’m underrating how important the People’s Elbow was to The Rock’s success.

But that’s wrestling – we argue about this stuff because we care about it. We debate which finisher is best because these moves became part of our shared language as fans.

So the next time you see someone hit their finisher, remember: you’re watching decades of evolution, multiple wrestling traditions, and someone’s careful character work all compressed into three seconds. That’s pretty cool when you think about it.

The Bottom Line:

Finishers matter because wrestling matters. They’re the exclamation point on stories we’ve invested in. Some are innovative, some are derivative, and some just got lucky with great workers executing them.

The best ones align with character, can be executed hundreds of times safely, and create moments fans remember. The worst ones are complicated, injury-prone, or don’t fit the wrestler using them.

We’ll keep seeing finishers evolve. New moves will become famous. Old ones will be forgotten or banned. That’s the nature of professional wrestling – constant evolution while honoring tradition.

And honestly? That’s what makes this business special. We can have this conversation about choreographed moves and feel genuine passion about it. We can debate whether the Stunner is better than the RKO, whether modern finishers are better than classic ones, and whether submissions are more credible than strikes.

That’s wrestling. That’s why we love it.

Now, if you’ll excuse me, I need to watch some old Bret Hart matches and appreciate technical wrestling while I still can.

Frequently Asked Questions

Check out our article on The Most Popular Submissions in MMA. You can also check out some finishers that you may have forgotten.