Last time, we covered The Rock’s legal victory in reclaiming his iconic name and WWE’s long-standing practice of owning wrestler identities.
Now, WWE has filed twelve new trademark applications, reinforcing that intellectual property is just as vital to its business model as the action inside the ring.
The latest batch of potential NXT stars features names that sound like they could belong to action movie protagonists, luxury cologne brands, or the cast of a high-budget Netflix drama. Osiris Griffin feels like an ancient warrior—or maybe a sneaker brand. Haze Jameson could be a whiskey label or a rebellious high-flyer. Trill London straddles the line between modern slang and a social media influencer’s alter ego. Harley Riggins sounds like a mechanic who moonlights as a brawler, while Summer Sorrell is practically destined to be a rich-girl villain. And then there’s Jax Presley, a name that somehow combines outlaw energy with rock ‘n’ roll nostalgia.
Masyn Holiday could be the lead in a Hallmark Christmas movie, while Drako Knox is either a cyberpunk assassin or an AI-generated action hero. Tate Wilder is bound to be a rough-and-tumble bruiser whose finisher is called “The Wild Ride.” Braxton Cole has all the makings of a solid mid-carder who can be counted on for a reliable match every week. Chantel Monroe practically writes itself as an elegant yet ruthless character, while Aria Bennett could be either an opera-singing gimmick or a rebranded NXT star trying to find their footing.
For WWE, these filings are about more than just coming up with catchy names—they’re a strategic move to ensure total control over its brand and intellectual property. Unlike in other industries, where individuals might build personal brand equity over time, WWE owns its stars’ names from day one. That way, if a performer makes it big, that success belongs to WWE—not the individual. And if they leave, they can’t take their WWE-created persona with them, often forcing them to rebrand from scratch in other promotions.
This approach isn’t new. Wrestlers like Jon Moxley (formerly Dean Ambrose) and Malakai Black (formerly Aleister Black) had to undergo name changes after leaving WWE, as their former ring names were WWE trademarks. Even finishing moves aren’t always safe—WWE owns the branding of the RKO, Pedigree, and Stone Cold Stunner, ensuring they remain tied to WWE history regardless of where the performers end up. When Diamond Dallas Page sued Jay-Z for using a hand gesture too similar to his “Diamond Cutter” sign, it was just another example of how deeply intellectual property protection runs in the world of professional wrestling.
But WWE’s influence isn’t just confined to the wrestling world—it’s now making its way into U.S. education policy. In an unexpected twist, Linda McMahon—former WWE executive, on-screen personality, briefly a wrestler (because of course), and former Small Business Administrator under Trump—has now been tapped as the next U.S. Secretary of Education. Yes, the same company that once gave us The Katie Vick storyline, a “custody of Dominik” ladder match, and Hornswoggle as Vince McMahon’s illegitimate son is now influencing how America’s schools are run.
If her policies follow WWE’s contract model, will students be required to sign non-compete clauses upon graduation, preventing them from transferring to rival colleges? Scholarship offers could come with exclusivity agreements, and valedictorians might even be assigned trademark-friendly personas—because let’s be honest, “Braxton Cole, Ph.D.” sounds like a name with real marketing potential.
Maybe this is all part of WWE’s long-term career planning. If a wrestler can’t keep their name, their finishing move, or even their entrance music when they leave, at least they have a backup option: politics. If Linda McMahon can go from taking Stone Cold Stunners on live TV to a seat in the Cabinet, who’s to say Osiris Griffin won’t be a future Secretary of Defense or Trill London an Ambassador to the United Nations? At the very least, their campaign rallies would have great pyrotechnics and entrance themes that slap.
WWE’s trademark strategy is nothing new—it has simply become more structured and proactive. Rather than waiting for wrestlers to build a name for themselves elsewhere, WWE ensures that when a new talent emerges, their identity is already secured under WWE ownership. This ensures not just brand consistency, but also protection against competitors trying to profit from WWE-developed personas.
For now, we’ll wait for Osiris Griffin to debut, get repackaged twice, and eventually move on to AEW as “Osiris G.” WWE creative will act surprised when no one recognizes the name change, but at least they’ll still own the original. And in the world of intellectual property, that’s what really matters.
