Professional wrestling throws

Professional wrestling throws are offensive maneuvers in the scripted combat sport of professional wrestling, where one performer lifts an opponent off the ground and forcefully hurls or slams them onto the mat to simulate a high-impact attack.^[1] These techniques emphasize athleticism and spectacle, often choreographed to appear perilous while prioritizing performer safety through cooperative execution.^[2] In professional wrestling, throws serve multiple purposes beyond physicality, including advancing match narratives, highlighting character strengths, and engaging audiences with dramatic flair. Common variations include the body slam, in which the attacker hoists the opponent overhead before dropping them horizontally onto their back or chest, a foundational move popularized in iconic challenges like Yokozuna's 1993 Bodyslam Challenge.^[3] Another staple is the suplex, executed by securing a front facelock or waistlock and bridging backward to arch the opponent over the head and drive them into the canvas, with subtypes like the German suplex adding rotational force for added intensity. These moves, integral to match flow, often transition into pins, submissions, or follow-up strikes, contributing to the theatrical essence of the industry. Throws have evolved since professional wrestling's carnival roots in the early 20th century, incorporating influences from amateur grappling and martial arts to create visually stunning sequences. Modern iterations, seen in promotions like WWE, blend power displays—such as Brock Lesnar's signature "Suplex City" barrage—with high-flying adaptations for diverse performer builds.^[4] Safety protocols, including padded rings and rehearsed impacts, ensure longevity in a physically demanding field, though risks like neck strains remain inherent.^[2]

Arm Throws

Armbreaker

The armbreaker is a submission-oriented throw in professional wrestling that targets the opponent's elbow joint through hyperextension, often transitioning from a standing position to the mat for impact. In basic execution, the wrestler secures the opponent's arm in a hammerlock by grabbing the wrist and twisting it behind the back, then drops to one knee or the mat while pulling downward, slamming the opponent's elbow against the wrestler's knee or shoulder to force hyperextension. This maneuver draws from catch wrestling traditions, emphasizing joint manipulation to simulate damage without actual breaks in scripted matches. Variations enhance the move's versatility and spectacle. Historically, the armbreaker reflects influences from catch wrestling, a legitimate grappling style that shaped early professional wrestling through emphasis on painful joint locks. Wrestlers like Lou Thesz, a six-time NWA World Heavyweight Champion trained in submission techniques under catch wrestling pioneer George Tragos, frequently employed similar arm manipulations to control opponents and advance positional dominance. Thesz's style, honed over four decades in the ring, popularized such holds for their realism and effectiveness in wearing down adversaries.^[5] Safety is paramount in executing the armbreaker, as improper technique can lead to real elbow hyperextension, tendonitis, or dislocation due to the joint's vulnerability during twists and impacts. Modern performers emphasize controlled drops, communication with opponents, and strength training for joint stability to minimize risks, often using the move as a setup from an arm drag for fluid chaining without excessive force.^[6]

Arm drag

The arm drag is a basic takedown throw in professional wrestling that leverages the opponent's arm to disrupt their balance and flip them onto the mat. To execute it, the wrestler begins in a collar-and-elbow lockup with the opponent, then uses one arm to hook the opponent's elbow while stepping to the side; the opponent twists and sits to their hip as the wrestler pulls sharply and sits down to guide them over and onto their back.^[7] This technique emphasizes timing and momentum, allowing the attacker to transition quickly to ground control or follow-up strikes.^[8] Several variations of the arm drag enhance its versatility for different situations. The Japanese arm drag, a common variant in professional wrestling, involves the attacker hooking their inner elbow under the opponent's armpit from the same side, jerking backward to propel the opponent into a front bump while the attacker takes a controlled back bump; this creates added torque through a step-behind pivot and is frequently seen in matches drawing from Japanese professional wrestling influences.^[9] The over-the-shoulder arm drag modifies the basic form by having the wrestler grab the opponent's arm, turn away to face the opposite direction, and pull them directly over the shoulder for a higher trajectory flip. The tilt-a-whirl arm drag adds rotation by spinning the opponent mid-air in front of the attacker's body before completing the arm drag takedown, often used by high-flying wrestlers like Sin Cara in WWE matches.^[10] Similarly, the wheelbarrow arm drag starts from a wheelbarrow hold where the attacker grabs the opponent's legs from behind; the defender then counters by flipping over the shoulder, forcing a release and mat fall, as demonstrated by Evan Bourne against Drew McIntyre.^[11] As a foundational technique, the arm drag is commonly taught to beginners in professional wrestling training to develop balance disruption and transitional skills, appearing in curricula alongside moves like the single-leg takedown.^[12] Technical wrestlers such as Bryan Danielson frequently incorporate it into their arsenal for its precision and setup potential, executing it with a distinctive snap to chain into submissions or strikes in WWE and AEW bouts.^[13]

Arm wringer

The arm wringer, also known as a spinning wristlock, is a basic controlling hold in professional wrestling that targets the opponent's arm to apply torque and induce pain for compliance or transition purposes. To execute it, the wrestler grabs the opponent's wrist with both hands, twists the arm upward and outward over the opponent's head to spin them around and face away, then pulls the arm downward and behind the opponent's back while stepping in to apply leverage against the shoulder joint. This motion creates rotational stress on the elbow and shoulder without requiring a full takedown, allowing the attacker to maintain dominance in a standing position.^[14] Unlike impact-oriented throws, the arm wringer prioritizes sustained pressure for pain compliance, making it ideal as a transitional move into pins, stomps, or follow-up strikes such as an Irish whip or grounded submission. Technical wrestlers often chain it into sequences where the twisted arm sets up a quick reversal or additional joint manipulation, emphasizing control over spectacle. For instance, after securing the hold, the attacker may yank the arm sharply to force the opponent off-balance before stomping the exposed shoulder or transitioning to a pin attempt.^[15] The technique traces its roots to early 20th-century carnival wrestling, where simple joint locks like wrist twists were used by performers to subdue marks in exhibition matches without ending bouts prematurely. It gained prominence through catch-as-catch-can pioneers such as George Hackenschmidt, who detailed arm lock parries and applications in his 1909 instructional work, highlighting their role in Greco-Roman and professional styles for controlling larger opponents.^[16] Variations include the standard standing arm wringer, performed upright to maintain mobility, and the grounded version, where the attacker drops to a knee or forces the opponent down to increase torque on the shoulder while transitioning to a hammerlock position. In both, the focus is on gradual torque application to avoid overextension, with the grounded form often used to wear down the opponent over time.^[17] Safety in executing the arm wringer relies on limiting rotation to prevent full shoulder dislocation or ligament tears, a risk mitigated by communicating with training partners and using controlled speed. Recent orthopedic guidelines for wrestling emphasize pre-match warm-ups targeting rotator cuff muscles and post-hold releases to reduce strain, drawing from studies showing up to 58% injury reduction in injury prevention programs through proper technique adherence.^[6][18]

Drop Throws

Atomic drop

The atomic drop is a professional wrestling throw that delivers a jolting impact to the opponent's lower spine and tailbone, often used to stun and disorient the recipient for follow-up maneuvers. In its basic execution, the wrestler positions themselves behind the opponent, ducks under one arm to lift them by the waist or hips, runs forward a short distance, and drops the opponent tailbone-first onto the extended knee, creating a sharp percussive strike to the coccyx area.^[19][20] A common variation is the inverted atomic drop, where the opponent faces away from the wrestler; the attacker lifts them similarly but drops the groin region onto the knee, heightening vulnerability in the lower abdomen while still targeting the tailbone indirectly for added pain and imbalance.^[19][21] Another variation, the sitout full nelson atomic drop, integrates a full nelson lock to control the opponent's arms behind their head before lifting and dropping them tailbone-first onto the knee while the attacker sits out, positioning the fallen opponent for a potential pin attempt.^[22] The move's impact primarily targets the coccyx, delivering a spinal jolt that can cause temporary paralysis-like stunning, sharp pain radiating up the back, and difficulty standing immediately, making it effective for disrupting momentum in matches.^[23][24] It is frequently employed in tag team scenarios, such as isolating an opponent outside the ring or setting up hot tags by leaving the victim staggered and vulnerable to interference.^[19] Originating as a classic technique in the 1950s during the National Wrestling Alliance (NWA) era, the atomic drop was popularized by wrestlers like Lou Thesz, who introduced it around 1953 as a foundational impact throw in territorial promotions.^[25] Despite its staple status through the 1980s with performers like Hulk Hogan and Roddy Piper, for larger opponents, wrestlers sometimes opt for the back body drop as a safer alternative to avoid excessive strain on the knee during the lift.^[19]

Back body drop

The back body drop is a fundamental throw in professional wrestling, executed when the performer crouches or bends forward to evade a charging opponent, secures a grip around the opponent's waist or hooks a leg, rises explosively, and arches backward to propel the opponent overhead, resulting in a flip onto their back. This maneuver relies on the performer's leverage and momentum transfer from the opponent's charge to achieve the elevation and rotation.^[26][13] A notable variation is the mountain bomb, a high-elevation rendition that maximizes the arc for visual impact, frequently performed from the ring apron to heighten drama; it was innovated by Japanese wrestler Hiroyoshi Tenzan as a single-arm adaptation emphasizing shoulder torque.^[27] The back body drop is commonly set up via an Irish whip, where the performer sends the opponent into the ropes for a rebound, then times a duck under an incoming attack to counter with the lift, demanding precise synchronization and robust core strength to maintain balance during the arch and flip.^[28][29] Historically, the back body drop has been a signature of power-based performers, including Andre the Giant, who employed it effectively in multi-opponent matches during the 1970s to showcase his immense strength against groups of challengers. Recent biomechanical analyses highlight its demands on spinal alignment, noting that improper execution can exacerbate low back strain from repetitive flexion, though targeted cervical strengthening reduces overall neck injury risk in such throws.^[30][31][32] To mitigate risks, performers emphasize padded ring surfaces for landings, which absorb impact and help prevent neck hyperextension or strain during the overhead flip.^[33][34]

Electric chair drop

The electric chair drop is a professional wrestling throw executed by positioning the opponent on the wrestler's shoulders in a seated electric chair hold, with the opponent's legs draped over the performer's chest and arms secured behind the neck for balance, before dropping backward to drive the opponent's head and neck into the mat.^[35] This maneuver typically follows an initial lift, such as from a waistlock or collar-and-elbow tie-up, and primarily targets the head and neck area to disorient the opponent for subsequent attacks.^[36] A common variation is the flapjack, where the wrestler drops forward rather than backward, resulting in the opponent landing face-first on the mat for added impact to the facial and upper body regions.^[37] The move demands significant upper body strength to maintain balance during the lift and controlled descent, placing strain on the performer's shoulders, back, and core to support the opponent's weight without losing stability.^[38] The electric chair drop gained prominence in the mid-1980s as part of American wrestling repertoires, notably as a staple technique used by performers like "Ravishing" Rick Rude in matches during his WCW and WWF runs.^[39] While well-documented in U.S. promotions, its adoption in international styles, such as those in NJPW, remains less comprehensively covered in mainstream Western accounts compared to WWE-centric narratives.^[40]

Guillotine drop

The guillotine drop is a dynamic aerial throw in professional wrestling, executed by positioning the opponent across the top rope with their head hanging off the ring apron, often secured via a front facelock for control, before the wrestler leaps from a raised platform—such as the top turnbuckle—to drive their leg downward onto the opponent's exposed forehead, jaw, or upper chest using the momentum generated by the legs and body weight. This leg-based technique emphasizes vertical drop force to propel the opponent off the ropes and onto the floor or mat below, creating a dramatic visual of vulnerability and high stakes. The impact primarily targets the head and neck region, delivering a forceful blow that can simulate severe trauma, though it carries significant real-world risks including concussions from the concentrated pressure on the skull.^[41] A common variation involves rope assistance, where the wrestler first bounces off the adjacent ropes to build additional height and speed before ascending and executing the leg drop, enhancing the move's velocity and spectacle for larger crowds. This setup allows for creative storytelling in matches, often used as a signature or finisher in fast-paced bouts. Execution requires precise timing in the leap to maximize drop velocity, ensuring the leg connects squarely while minimizing self-injury from awkward landings; improper synchronization can reduce effectiveness or lead to botched spots.^[42] Historically, the guillotine drop gained prominence in the 1990s through the cruiserweight style in promotions like WCW, where high-flyers incorporated it for its acrobatic flair and crowd-popping potential, with Psicosis notably popularizing the move as part of his arsenal during iconic matches against rivals like Rey Mysterio Jr.^[41][43]

Slam Throws

Chokeslam

The chokeslam is a powerful slam throw in professional wrestling, executed when the performer rears back the opponent by gripping their throat or upper chest with one hand, lifts them vertically overhead using leg drive and core strength, and then forcefully drops them back-first onto the mat.^[44] This vertical elevation distinguishes it from horizontal slams like the powerslam, emphasizing raw power over momentum. The move's simplicity allows it to be performed by larger wrestlers, making it a staple for portraying dominance in matches.^[45] The chokeslam originated in the early 1990s when promoter Paul Heyman innovated the move specifically for the wrestler 911 (Alfred Poling) in Extreme Championship Wrestling (ECW).^[46] It gained widespread popularity in the 1990s through WWE, becoming a signature technique for The Undertaker, whose use of it from 1991 onward reinforced his undead, commanding gimmick by visually asserting control over opponents of any size.^[44] Psychologically, the chokeslam instills fear and conveys overwhelming superiority, as the throat grip simulates life-threatening vulnerability while the lift highlights the performer's physical prowess, often leading crowds to anticipate a decisive near-fall.^[45] Variations of the chokeslam include elevated versions from the turnbuckle or ring apron to increase impact height and drama, as seen in The Undertaker's high-flying adaptations during WrestleMania spectacles, or styles incorporating an initial palm strike to the throat for added aggression, popularized by wrestlers like Kane.^[47] In modern WWE storylines, such as the 2024 Bloodline narrative, the move has been adapted to underscore familial power dynamics, with The Undertaker employing it against The Rock at WrestleMania XL to assert authority.^[48] For safety, wrestlers position the gripping hand across the opponent's collarbone or upper pectoral rather than directly on the trachea, minimizing risk of airway compression while maintaining the illusion of a choke; this technique, combined with the receiver tucking their chin and arching their back on impact, prevents serious injury despite the move's visceral appearance.^[45]

Cobra Clutch slam

The Cobra Clutch slam is a powerful rear-control throw in professional wrestling, blending the immobilizing Cobra Clutch submission hold with a high-impact slam to transition from potential submission to decisive offense. The move begins with the wrestler positioning behind the opponent and locking in the Cobra Clutch, a hold where one arm encircles the opponent's neck from the side, trapping their near arm in a half-nelson across their own face while the bicep compresses the chin to restrict blood flow via the carotid arteries and apply torque to the shoulder joint. With control established, the wrestler bends their knees for leverage, lifts the opponent vertically by pulling upward on the trapped arm and neck—often using the opponent's momentum against them—before driving them downward onto the mat, typically landing on the back, shoulders, or upper torso for maximum force distribution. This technique exploits the opponent's weight distribution for the lift, making it a favored option for power-based performers seeking to dominate larger foes through combined choking pressure and gravitational impact.^[49] A notable variation, the Cobra Clutch driver, modifies the descent by rotating the opponent during the lift to drop them face-first into a kneeling or prone position on the mat, emphasizing cranial and facial impact over back trauma while maintaining the hold's compressive threat. Wrestlers have employed the Cobra Clutch slam as a signature finisher to heighten drama, capitalizing on the hold's submission potential to wear down resistance before the slam seals the pin; René Duprée frequently used it in WWE to conclude matches, transitioning seamlessly from restraint to knockout power. In modern usage, Jinder Mahal adapted it as the Khallas, applying it to defeat high-profile opponents like Sami Zayn on SmackDown in 2017 by lifting and slamming after weakening via the clutch. Similarly, NXT competitor No Way Jose integrated it into his repertoire, delivering the move to finish enhancement talent such as Jonathan Ortagun in 2016 matches, underscoring its role in building momentum for undercard stars. The underlying Cobra Clutch has influenced hybrid applications in mixed martial arts, where grapplers adapt it as a ground-based choke for legitimate finishes, enhancing its credibility as a crossover technique beyond scripted bouts.^{[50][51][52][53]} Compared to the full nelson slam, which secures both arms for broader rear encasement, the Cobra Clutch slam relies on unilateral control for quicker setup and added choking peril. Despite its effectiveness, the move poses inherent risks, including neck strain from the hold's vascular compression and potential for concussive brain trauma or spinal compression upon impact, as highlighted in lawsuits by former performers attributing long-term injuries to repeated exposure to such slams. Proper execution mitigates these dangers by prioritizing controlled lifts and padded landings, but improper application can exacerbate vulnerability to the opponent's dead weight during descent.^[54]

Full nelson slam

The full nelson slam is a body slam throw in professional wrestling executed from behind the opponent, beginning with the application of a full nelson hold in which the wrestler passes both arms under the opponent's arms and locks their hands together behind the opponent's neck, arching the back to apply pressure while immobilizing the upper body.^[55] Once secured, the wrestler lifts the opponent off the mat by bridging or driving upward with the legs, then falls backward to slam the opponent onto their upper back and shoulders, often transitioning into a pin attempt due to the control it maintains.^[55] This move emphasizes power and technical precision, distinguishing it from open-waist lifts like the powerslam by first neutralizing the opponent's arms to prevent counterattacks.^[56] An inverted variation of the full nelson slam drops the opponent face-first onto the mat instead of backward, achieved by maintaining the arm lock while falling forward to drive the head and chest downward, increasing risk to the opponent's face and neck.^[57] The half nelson adaptation simplifies the setup by using only one arm under the opponent's arm and locking behind the head or neck, allowing for easier application against larger opponents or in faster sequences, though it offers less overall immobilization than the full version.^[58] This single-arm version is particularly favored by technical grapplers for its versatility in chaining into strikes or submissions, as the freed arm enables additional strikes during the lift.^[58] The full nelson hold underlying the slam originates from early amateur wrestling practices, where it served as a pinning and control technique dating back to at least the 19th century, though its exact etymology remains unclear beyond traditional grappling roots.^[55] In professional wrestling, the slam form gained prominence through performers like Randy Orton, who used it as a finisher during his developmental days in Ohio Valley Wrestling around the early 2000s.^[59] Recent revivals, particularly in women's divisions, include its adoption by powerhouses such as Rhea Ripley, who delivered a full nelson slam to defeat Miranda Salinas in the 2017 Mae Young Classic, and Savannah Evans, who prominently featured it in Impact Wrestling matches from 2023 onward to showcase strength against agile foes.^[60][61] These uses highlight its role in modern storytelling, contrasting with the under-chin claw of the cobra clutch slam by prioritizing overhead arm entrapment for superior upper-body dominance.^[55] Alternatively, the full nelson can bridge into a suplex for added elevation without the slam impact.

Powerslam

A powerslam is a professional wrestling throw characterized by a forward-driving motion that lifts the opponent and flattens them back-first onto the mat, emphasizing explosive power and momentum over vertical height. The basic execution begins with the wrestler scooping their arms under the opponent's armpits from a standing or clinched position, securing a firm grip around the torso. Using a powerful hip thrust to generate lift, the performer elevates the opponent to shoulder height before falling forward, driving the opponent's upper back and shoulders into the canvas with the wrestler's full body weight following through for impact. This technique relies on the wrestler's core strength and timing to create a snapping rotation, making it distinct from charging counters like the spinebuster.^[62] Variations of the powerslam adapt the entry and orientation to suit different setups and add flair. The front powerslam, often called a scoop powerslam, follows the standard scoop lift and forward fall, commonly used by larger performers to showcase dominance. Side powerslams involve rotating the opponent sideways during the lift for a lateral impact, while reverse powerslams flip the orientation to target the opponent's lower back more directly. A notable fireman's carry sitout variation starts with the wrestler hoisting the opponent across their shoulders in a fireman's carry position, then spinning or flipping them mid-air for added rotation before sitting out to slam them down, enhancing the visual drama and force. These types prioritize momentum, with the hip thrust providing the key explosive lift in all forms.^[56][63] Iconic users of the powerslam have elevated it as a signature or finishing move, particularly among powerhouses. Randy Orton executes a quick-pivot version with exceptional speed and snap, forcing rapid rotation before impact, making it a staple in his arsenal. The British Bulldog popularized the running powerslam, charging forward to scoop and slam opponents with thunderous authority during his 1990s WWE run. More recently, Braun Strowman has made the running powerslam a devastating finisher, leveraging his size for bone-rattling executions that highlight the move's potential as a match-ender for big men. Mark Henry also adapted it as the "World's Strongest Slam," a variation underscoring raw strength.^[56][62][63]

Scoop slam

The scoop slam is a fundamental full-body lift throw in professional wrestling, characterized by the performer securing an underhook on both of the opponent's arms before scooping under their torso or legs to hoist them overhead and drop them back-first onto the mat.^[64] This move emphasizes control through the underhook grip, distinguishing it from other slams by its straightforward lifting motion without additional rotation or drive.^[26] Often used synonymously with the basic "body slam," the scoop slam traces its roots to the territorial era of American professional wrestling in the 1950s and 1960s, where it served as an essential building block for matches in regional promotions.^[26] By the 1980s, it had become a ubiquitous chain wrestling move, frequently setting up high-impact spots or signature sequences for performers across promotions. Wrestlers like Hulk Hogan popularized its dramatic execution, most notably slamming the 520-pound Andre the Giant during their main event at WrestleMania III in 1987, a moment that drew over 93,000 fans and symbolized the move's crowd-pleasing potential.^[65][26] In execution, the wrestler faces the opponent and applies underhooks by threading their arms inside the opponent's arms from the outside, then slides one hand between the opponent's legs or under their hips for the scoop.^[64] Lifting occurs through explosive leg drive, with the performer balancing on their toes to maximize elevation and maintain balance, particularly when adapting to size disparities—larger wrestlers rely on raw power, while smaller ones leverage momentum and opponent cooperation to complete the lift.^[26] The drop is vertical and controlled, landing the opponent supine to minimize risk. As of 2025, the technique remains a core element in major promotions like WWE and AEW, with performers such as Randy Orton incorporating fluid variations for transitional offense.^[66] For safety, the receiving wrestler tucks their chin to the chest and positions arms alongside the body to protect the neck and spine upon impact, ensuring the move's low injury rate when performed on a padded ring surface.^[67] This contrasts with overhead alternatives like the back body drop, which shifts more emphasis to the opponent's lower body momentum.

Spinebuster

The spinebuster is a dynamic counter-throw in professional wrestling, typically executed when an opponent charges or rebounds off the ropes toward the defender. The performer ducks under the incoming attack, secures their arms around the opponent's waist from behind or the side, lifts slightly if needed, and falls backward while maintaining the grip, driving the opponent's back and spine directly into the mat with forceful impact. This motion utilizes the opponent's momentum against them, resulting in a horizontal slam that emphasizes spinal compression rather than an overhead lift, distinguishing it from moves like the back body drop.^[2] A notable variation is the elevated spinebuster, where the performer climbs to the top rope or apron before leaping onto the opponent below, grabbing the waist mid-air and executing the fall to amplify the downward force and heighten the visual and physical impact. This version increases the risk due to the added elevation but is used sparingly for dramatic effect in high-stakes matches. The move's biomechanics involve axial loading on the spine, compressing the vertebrae and potentially straining intervertebral discs or surrounding musculature; in collegiate wrestling, spine injuries occur at a rate of 0.71 per 1,000 athlete-exposures from 2009–2019, with cervical regions most affected by brachial plexus injuries and other spine issues leading to time loss in over 20% of cases exceeding 21 days.^[68] The spinebuster gained prominence as a signature maneuver through Arn Anderson, a veteran of WCW and WWF who refined it into a devastating finisher during the 1980s and 1990s. Anderson's execution often involved snatching a rebounding opponent by the waist, incorporating a quick spin for disorientation before the slam, which he delivered with precision to maximize the opponent's vulnerability. In tag team contexts, the spinebuster frequently serves as a pivotal hot tag spot, where the fresh partner enters illegally or via tag to counter a charging heel, rallying the crowd and shifting match momentum, as seen in various WWE tag bouts where it transitions into multi-man sequences. Unlike the powerslam, which initiates from a standing lift without relying on incoming momentum, the spinebuster thrives on defensive timing.^[2][69]

Carry Throws

Biel throw

The Biel throw is an explosive arm-powered carry maneuver in professional wrestling, emphasizing the performer's upper-body strength by lifting the opponent overhead before driving them down to the mat with forceful momentum.^[70] To execute the basic form, the wrestler positions themselves to the side of the opponent, secures a grip on one arm and the near-side leg, then uses an explosive hip snap to hoist the opponent vertically overhead before releasing them forward to land on their back, often flipping in mid-air for added impact.^[70] Named after pioneering wrestler Fred Beell, who popularized the technique in the early 1900s as a demonstration of raw power, the Biel throw highlights overhead lifting similar to a weightlifting press, showcasing the executor's ability to control and propel a larger opponent.^[71] The move's overhead emphasis requires significant shoulder and core stability, making it a staple for larger performers to convey dominance, though it carries high risk of shoulder strain due to the awkward lifting angle and dynamic release.^[70] Variations include the single-arm Biel, where only one arm is gripped for the lift to allow quicker execution, and the double-arm version, which secures both arms for greater control but increases strain on the executor's shoulders.^[72] In modern professional wrestling, powerhouses like Braun Strowman frequently employ the Biel throw to hurl opponents across the ring, underscoring its evolution as a high-impact spot in mainstream promotions while indie scenes continue to adapt it with creative setups, though detailed evolutions remain underexplored in documented sources.^[73] The technique relies on a sharp hip snap for lift-off, generating the rotational force needed to propel the opponent without relying on full-body spins.

Fireman's carry throws

Fireman's carry throws constitute a category of professional wrestling maneuvers characterized by the initial lift of the opponent onto the wrestler's shoulders in a horizontal position, known as the fireman's carry, from which various drops, slams, or spins are executed to emphasize the performer's strength and control. This setup begins with the wrestler securing the opponent's near leg with one arm while trapping their far arm, then ducking under to hoist them across the shoulders, facing away from the performer. The technique traces its origins to strongman exhibitions in the late 19th and early 20th centuries, where carrying opponents demonstrated raw power, and evolved in professional wrestling during the 1930s and 1940s as a foundational power move.^[56] By the mid-20th century, wrestlers like Peter Maivia popularized its integration into matches, adapting it for dramatic impacts that highlight athleticism over pure amateur grappling.^[56] The foundational fireman's carry drop, often termed the fireman's carry slam, Olympic slam, or Samoan drop in its variants, involves elevating the opponent and then releasing them to land back-first onto the mat, compressing the spine upon impact. This direct slam serves as both a standalone throw and a setup for further offense, commonly employed by powerhouses to transition into pins or submissions. For instance, wrestlers like Kofi Kingston and Bronson Reed have utilized it to counter aerial attempts or wear down larger foes, delivering a resounding thud that sells the force without excessive risk.^[74][75] A disorienting variation, the airplane spin, entails multiple full-body rotations of the opponent while balanced across the shoulders, aiming to induce vertigo before culminating in a drop to the mat. Executed by gripping the opponent's legs and torso securely, the spin mimics an airplane propeller, often lasting 5 to 10 revolutions to maximize the dizzying effect on both performer and audience. This move gained prominence in the 1950s and 1960s, with Antonino Rocca employing it to build crowd heat through its visual spectacle and the performer's balance.^[76] The Death Valley driver elevates the maneuver's danger by transitioning from the fireman's carry into a forward flip, driving the opponent's head and upper body face-first into the canvas for a high-velocity spike. Innovated in Japanese women's wrestling by Etsuko Mita in the early 1990s, it was brought to American audiences by Louie Spicolli in Extreme Championship Wrestling (ECW) during the mid-1990s, earning it finisher status through his performances.^[77] Modern practitioners like Meiko Satomura in WWE execute it with precision, flipping the opponent overhead before tucking and slamming to protect the head while amplifying the impact sound.^[78] An inverted variation, where the opponent faces upward during the flip, intensifies the head-down trajectory, famously dubbed the Burning Hammer by Kenta Kobashi for its piledriver-like risk, though rarely used due to safety concerns. The side Death Valley driver adds a lateral twist, positioning the opponent sideways across the shoulders before the flip, allowing for angled impacts that target the neck or shoulder.^[79] The flapjack provides a forward-projecting alternative, propelling the opponent from the fireman's carry position to land stomach- or face-first, often across the top rope for a "hotshot" effect that snaps the body on the cables. To increase elevation, performers can incorporate a pop-up release, launching the opponent higher for a more dramatic arc. This throw, rooted in tag team sequences, was refined by Eddie Gilbert in the 1980s and adapted by The Undertaker for rope-assisted variations that enhance mid-match drama.^[44]

Giant swing

The giant swing is a rotational carry throw in professional wrestling, executed from a grounded position to demonstrate the performer's strength and endurance by spinning the opponent multiple times before release.^[80] To perform the basic execution, the wrestler positions themselves seated behind a supine opponent, securing the opponent's legs in a scissors hold with their own legs while clasping the opponent's ankles or thighs under their arms for leverage. The wrestler then uses powerful leg thrusts to rotate their body and the opponent in multiple 360-degree revolutions, often exceeding ten full spins, building momentum through core and lower-body drive.^[81][82] Release variations typically involve abruptly halting the rotation to drop the opponent flat onto the mat for impact or transitioning directly into a pin attempt, emphasizing the move's disorienting effect on the opponent. This technique showcases the executor's cardiovascular endurance and grip strength, as maintaining control during extended rotations requires sustained effort without losing hold.^[80] Historically associated with early professional wrestling as a signature maneuver known as the "Death Swing," it was popularized by Hungarian wrestler Sandor Szabo starting in the 1930s, who used it as a finisher in matches across North America. In modern usage, it became a hallmark of Claudio Castagnoli (known as Cesaro in WWE and Claudio Castagnoli in AEW), who elevated its visibility through record-setting performances, such as a 100-rotation swing in 2009.^[81][83][80] The physical toll of the giant swing primarily affects the knees due to the repetitive rotational torque and explosive leg extensions, which can exacerbate ligament strain or patellar issues common in wrestling, while the grip demands prolonged isometric contraction of the forearms and hands to secure the opponent. Information on specialized rehab techniques for giant swing-related injuries remains incomplete as of post-2023 studies, with general wrestling recovery focusing on strengthening protocols for lower extremities and grip without move-specific protocols documented.^[84][85] A standing variant, the airplane spin, differs by initiating from an upright fireman's carry position rather than grounded.^[86]

Gorilla press

The gorilla press is a professional wrestling throw that emphasizes the performer's upper body strength, involving the lifter securing the opponent in a standing position, typically by grabbing them around the midsection or thighs, and hoisting them overhead with both arms fully extended in a manner resembling a military press lift from weightlifting.^[87] Once elevated, the opponent is held briefly to showcase the hold before being released to the mat. This move requires exceptional raw power, particularly in the shoulders and core, making it a staple for larger wrestlers aiming to demonstrate dominance and athleticism in the ring.^[56] Variations of the gorilla press include the straightforward gorilla press drop, where the opponent is simply released to fall vertically onto their back from the overhead position, maximizing impact through height and momentum without additional toss.^[87] In contrast, the gorilla press slam involves actively throwing the opponent forward or to the side onto the mat, adding distance and flair to the finish for greater crowd engagement. A notable gutbuster variation sees the performer drop the elevated opponent stomach-first onto their raised knee, targeting the midsection for a high-impact abdominal strike, as executed by wrestlers like Claudio Castagnoli in All Elite Wrestling matches.^[88] The move originated in the 1970s as a signature power technique popularized by wrestler Gorilla Monsoon, whose imposing 6-foot-5, 350-pound frame allowed him to routinely lift and display opponents overhead like barbells during his villainous runs in the World Wide Wrestling Federation.^[56] Monsoon's use of it helped establish the gorilla press as a hallmark of showmanship in an era focused on larger-than-life strongmen. By the late 1990s and into the 2000s, it gained further prominence through female performers, with Chyna becoming the first woman in WWE to execute it regularly, breaking gender barriers by pressing male competitors overhead.^[87] In the 2020s, adaptations continue in women's divisions, exemplified by Bianca Belair's frequent gorilla press slams in WWE, highlighting evolving athletic capabilities and inclusivity in the move's application.^[89]

Pumphandle

The pumphandle is a throw in professional wrestling that involves a single-arm grip to control and lift the opponent for a slam. To execute the basic pumphandle, the wrestler positions themselves behind the opponent, bending them forward at the waist. The opponent's near arm is then twisted behind their back and hooked between their legs like a handle, while the far arm is secured across the opponent's chest or waist for additional leverage. The wrestler drives their hips forward to lift the opponent off the ground, using the gripped arm as a fulcrum to rotate the body 90 degrees before slamming them down to the mat.^[79] This technique emphasizes arm control to restrict the opponent's balance and escape, making it effective for showcasing power against larger foes. Wrestlers like Test popularized the pumphandle in WWE during the late 1990s and early 2000s, often using it as a signature move to highlight their strength in matches.^[79] Beth Phoenix incorporated a variation into her arsenal, adapting the grip for her powerhouse style to transition into facebusters or slams during women's division bouts.^[79] The pumphandle drop, also known as a tilt slam, concludes with the wrestler dropping the opponent face-down onto the mat after the lift, maximizing impact on the chest and abdomen. In contrast, the pumphandle fallaway slam sees the wrestler arch backward during the release, tossing the opponent overhead in a fallaway motion for a dramatic throw across the ring. The sitout pumphandle slam adds a seated finish, where the wrestler drops to a sitting position upon impact, driving the opponent's back or head into the canvas with added torque from the descent.^[90] Overall, the pumphandle leverages the twisted arm as a mechanical fulcrum to generate lift and rotation, distributing force through the opponent's shoulder and torso for both control and damaging effect, though detailed biomechanical analyses remain limited in wrestling literature.^[91] It can be set up briefly from an arm wringer to enhance the twist.^[79]

Driver Throws

Brainbuster

The brainbuster is a high-impact throw in professional wrestling where the performer applies a front facelock to the opponent, lifts them vertically overhead in an inverted suplex position with the opponent's head pointing downward, and then drops straight down to drive the opponent's head into the mat.^[92] This execution emphasizes a vertical lift similar to a suplex setup but culminates in a direct, unprotected impact to the skull rather than a roll or bridge.^[93] A common setup for the brainbuster involves an Irish whip, where the opponent is sent into the ropes and rebounds toward the performer, who catches them mid-stride to transition seamlessly into the facelock and lift.^[94] Due to its targeting of the head and potential for severe neck or cranial injury, the brainbuster carries significant risk and has been banned in certain promotions, including WWE, until modifications allowed its return in 2024; by 2025, updated safety protocols in major leagues mandate enhanced training and mat padding to mitigate concussion risks during such moves.^[95][96] The move originated in Japanese puroresu, where it was prominently used and popularized by Antonio Inoki as one of his signature techniques in the 1970s, influencing its adoption across strong-style wrestling.^[92] Inoki's version, often executed from a front neck chancery grip, emphasized explosive power and was taught to subsequent generations in New Japan Pro-Wrestling.^[97] Variations of the brainbuster include the kneeling drop, where the performer drops to one knee upon impact for added control and reduced height, and the standing drop, which maintains full vertical elevation for maximum force.^[93] These adaptations differ from piledriver variations by prioritizing suplex-height descent over a knee-bend pile.^[98]

Bulldog

The bulldog is a professional wrestling throw classified as a headlock-driven face slam, where the performer positions themselves behind the opponent, secures a rear headlock, leaps forward, and drives the opponent's face into the mat upon landing, typically in a kneeling or sitting position. This execution emphasizes momentum from the leap to maximize impact on the opponent's head and neck while protecting both performers through controlled contact. The move serves as both a transitional technique and a finisher due to its deceptive simplicity and versatility in setups.^[99][100] The name "bulldog" derives from the rodeo discipline known as bulldogging or steer wrestling, in which a rider dismounts a horse to grab a steer's horns, twist its neck, and force it to the ground—a technique that parallels the wrestling maneuver's grabbing and driving action. In professional wrestling, the bulldog emerged as a staple in the 1980s British catch-as-catch-can style, where it was employed for its quick execution and crowd-pleasing athleticism, gaining widespread North American exposure through the tag team The British Bulldogs, featuring Davey Boy Smith. Smith, billed as The British Bulldog, adapted a running variant—irishing the opponent into the ropes before rebounding to apply the headlock and drop—as a signature move during his WWE tenure in the late 1980s and 1990s, enhancing its popularity as a high-impact spot. Modern iterations, such as custom NXT versions like Bo Dallas's "Bo-Dog," incorporate springboard elements for added flair, though detailed historical records on these evolutions remain sparse.^{[101][102][103]} Several variations modify the standard rear headlock setup or drop mechanics to suit different pacing or storytelling needs. The diving bulldog involves the performer ascending to an elevated surface like the top rope or turnbuckle, then leaping to apply the headlock mid-air and execute the face slam upon descent, amplifying risk and visual drama. A one-handed bulldog, popularized by performers like Sting and John Cena, sees the wrestler irish whip the opponent into the ropes, catch their return with a single-arm headlock, and drop to one knee for the impact, reducing the need for full encirclement to allow for faster transitions. The spinning bulldog adds rotational torque by twisting the body during the leap, increasing disorientation for the opponent before the mat contact. The fireman's carry bulldog transitions from a fireman's carry position—where the opponent is hoisted across the shoulders—into the headlock drop, often used by power-based wrestlers to showcase strength before the slam. Arm lock enhancements appear in the full nelson bulldog, where both of the opponent's arms are trapped behind their back alongside the headlock for added control, or the half nelson variant, which secures only one arm to limit escape while maintaining the rear grip. The cobra clutch bulldog replaces the standard headlock with a cobra clutch—a standing rear chinlock with one arm under the chin and the other over the shoulder—for a submission-hybrid feel before the forward leap and drive. Inverted and reverse iterations alter the opponent's orientation: the inverted bulldog positions the target face-up with the headlock applied awkwardly from the side or rear, dropping them head-first while exposing the upper body; the reverse bulldog, meanwhile, has the performer facing forward, hooking the head from behind and falling backward into the slam to target the face differently. Specialized drops include the knee drop bulldog, where the performer places a knee at the base of the opponent's neck before dropping to force the head down, or the leg drop bulldog, combining a jumping leg drop across the head with the driving motion for compounded force. Springboard and wheelbarrow variants leverage environmental or positional leverage—the springboard uses the ropes for a propelled leap into the headlock, while the wheelbarrow begins with a wheelbarrow hold (legs hooked over the opponent's hips) before transitioning to the rear headlock drop—adding unpredictability to matches.^{[104][105][106]}

DDT

The DDT is an iconic professional wrestling throw classified as a front facelock snap driver that targets the opponent's head. To execute the basic version, the wrestler applies a front facelock to position the opponent's head between their arm and torso, often hooking the opponent's near arm or leg for control, before twisting their body and falling backward to drive the opponent's face and head directly into the mat.^[107] This motion creates a sudden, vertical impact simulating a severe jolt to the skull, emphasizing the move's deceptive simplicity and high visual drama in matches.^[108] Several variations of the DDT enhance its versatility while maintaining the core front facelock drop. The inverted DDT involves flipping the opponent upside down into the facelock before the backward fall, increasing the rotational force on the neck and head.^[107] The tornado DDT adds a spinning element, where the wrestler leaps and rotates mid-air to build momentum prior to the drop, often used for aerial flair.^[109] Elevated versions, such as the top-rope DDT, are performed from the turnbuckle or apron, amplifying the height and perceived danger of the head-first impact.^[110] While some advanced setups, like the hurricanrana driver, overlap by transitioning from a flipping leg maneuver into the DDT position, the standard form remains a grounded, quick snap without such flips. The move is frequently chained from an Irish whip, where the rebounding opponent is caught mid-stride in the facelock for a seamless counter.^[111] Popularized by Jake "The Snake" Roberts in the 1980s, the DDT originated accidentally during a match when Roberts, holding an opponent in a headlock, slipped and fell backward, inadvertently spiking the head—a moment he refined into his signature finisher.^[112] Roberts' deliberate pacing and psychological buildup elevated the DDT from a transitional spot to a match-ending weapon, revolutionizing how wrestlers used snap throws as psychological closers in storytelling.^[108] The move's impact mimics a concussion through the controlled head trauma, contributing to broader concerns over neurological risks in wrestling, though performers tuck their chins to minimize real injury. In contrast to leg-based takedowns like the headscissors, the DDT relies on upper-body leverage for its targeted head drive. As of 2024, while permitted in professional contexts with safety protocols, the DDT and similar head-drop maneuvers are restricted or banned in many youth and amateur wrestling programs under rules prohibiting intentional spikes to protect developing athletes from potential brain injuries.

Driver

In professional wrestling, a driver throw involves elevating the opponent into a vertical or near-vertical position before forcefully driving them downward onto the mat, often emphasizing the wrestler's power through the lift while targeting the head, neck, or upper body for maximum impact. The execution typically begins with the wrestler securing a hold on the opponent—such as around the waist, arms, or legs—hoisting them overhead or across the body, and then dropping to a seated, kneeling, or standing position to complete the drive. This distinguishes drivers from other throws by their focus on height and momentum in the descent, showcasing athleticism and dominance.^[113] One variation is the abdominal stretch driver, where the wrestler applies an abdominal stretch hold—twisting the opponent's arm and leg while compressing the torso—before lifting and driving them down, adding torque to the impact for increased strain on the midsection. This move has been used as a signature by wrestlers like Priscilla Kelly in Major League Wrestling, highlighting its utility in transitioning from submission to slam.^[114] The Black Fire driver, also known as a muscle buster transitioned into a Michinoku Driver II, sees the wrestler lift the opponent onto their shoulders in a fireman's carry, spin them, and drive down while maintaining a double underhook grip for a head-first landing. Rey Fénix popularized this high-risk variant in promotions like All Elite Wrestling, where its rotational element amplifies the visual drama and potential for injury.^[115] Similarly, the Cobra Clutch driver incorporates a rear chinlock with one arm hooked under the opponent's chin and the other securing the waist, allowing the wrestler to lift and drop the opponent backward or forward onto their head or upper back. Alex Zayne employs a pumphandle variation of this hold in Ring of Honor, combining the choke with a horizontal lift for a smothering effect during the drive.^[116] The electric chair driver positions the opponent seated on the wrestler's shoulders facing away, akin to an electric chair carry, before the wrestler falls backward or forward to drive the opponent's head or body into the canvas. This move, used by performers like Big Damo in various independent circuits, relies on balance and timing to execute safely while delivering a jarring vertical drop.^[117] A prominent example is the fisherman driver, executed by hooking one or both of the opponent's legs in a fisherman suplex setup, clutching the wrist or arm, and lifting before driving down head-first. Gran Metalik has featured the fireman's carry version as a signature in WWE, where the leg hook prevents countering and enhances the exposure of the opponent's upper body during impact.^[118] The wrist-clutch fisherman driver variant adds an arm control element, as seen in Jun Akiyama's application in Japanese promotions, tightening the grip for added leverage.^[119] Though not a direct head snap, some drivers like the powerbomb variant target the body more broadly for thematic contrast.^[90] Other arm and position-based variations include the half nelson driver, where a half nelson hold—locking one arm behind the opponent's head—is used to lift and drive, often from a pumphandle position for rotation. Wrestlers like MJF in All Elite Wrestling utilize the pumphandle half nelson driver to emphasize technical precision and power.^[120] The Samoan driver adapts a fireman's carry with a leg hook across the opponent's body, driving them down while the wrestler falls to a seated position, as employed by Ash by Elegance in Total Nonstop Action Wrestling.^[121] Meanwhile, the wheelbarrow driver starts with the opponent in a wheelbarrow hold—grabbing the legs from behind and lifting—before sitting out to drive the head or shoulders into the mat, a maneuver highlighted in Adam Page's "Deadeye" in All Elite Wrestling.^[122] The Michinoku Driver II, a kneeling or sitout double underhook driver, involves facing the opponent, securing underhooks, lifting them vertically, and dropping to the knees or sitting out for a head-down impact, characteristic of Japanese strong style. Innovated by The Great Sasuke and named after the Michinoku Pro Wrestling promotion rather than Taka Michinoku, this move gained prominence through Sasuke's performances in the 1990s and was later adapted by wrestlers like Taka himself.^[123] The Michinoku Driver II-B variation adds a slight twist or elevated scoop for increased height, maintaining the sitout finish but with enhanced flair in modern usage.^[124] Driver throws evolved from foundational piledriver techniques in the mid-20th century, with global variants emerging particularly in Japanese and Mexican wrestling circuits during the 1980s and 1990s, though documentation remains incomplete on early international adaptations outside North America. These developments prioritized diverse holds over the standard knee-drop, allowing for creative expressions of strength across promotions.^[123]

Piledriver

The piledriver is a high-impact professional wrestling driver move in which the wrestler applies an inverted facelock to the opponent, lifts them vertically upside down with their head positioned between the executor's legs, bends at the knees to lower into a seated position, and drives the opponent's head into the mat.^[125] This execution emphasizes control over the opponent's body to minimize risk, with the receiver tucking their chin to land on the upper back and shoulders rather than the crown of the head.^[126] Unlike non-inverted alternatives such as the brainbuster, the piledriver inverts the opponent fully for a vertical drop.^[127] The move originated in the 1930s, credited to Wild Bill Longson, a three-time NWA World Heavyweight Champion who popularized it as a finishing maneuver during his career spanning the 1930s to 1950s.^[125] It became a signature of numerous champions, including Jerry Lawler, who used it extensively in the 1970s and 1980s as his primary finisher, and Harley Race, a multiple-time NWA titleholder who incorporated it into his hard-hitting style.^[128] Bret Hart also adopted a variation during his 1990s WWE tenure, enhancing its status as a high-stakes move associated with technical mastery and dominance.^[128] Common variations include the spike piledriver, a sharp, vertical drop from a standing position to increase impact velocity; the tombstone piledriver, an inverted kneeling version where the executor drops to one knee while holding the opponent's legs for a controlled reversal; and the package piledriver, which wraps one of the opponent's legs under the executor's arm for added leverage and restriction.^[127] These can be set up from elevated positions, such as the ring apron for an outside-the-ring spike to heighten drama and risk, or the turnbuckle where the opponent is perched before being inverted and driven down.^[126] Due to its potential for severe neck compression injuries, WWE banned the piledriver in 2000 following incidents like Owen Hart's botched execution on Stone Cold Steve Austin, which required neck surgery, prioritizing wrestler safety over its visual appeal.^[129] The ban remains in effect for most performers, though exceptions have been granted sparingly; it continues to be used in other promotions like AEW without restriction.^[130] Safety protocols have evolved with thicker mat padding, typically 1 to 1.5 inches thick in professional rings with enhanced foam materials to absorb impact, alongside training emphases on proper tucking techniques to mitigate risks of paralysis or chronic issues like those linked to repeated head trauma in wrestling. By 2025, ongoing discussions in wrestling health reports highlight the move's contribution to cumulative trauma, underscoring innovations in ring construction for better neuroprotection, such as sensor-integrated smart mats in training facilities to monitor impact forces.^[131]

Powerbomb

The powerbomb is a professional wrestling throw executed as a seated power lift, where the performer raises the opponent to a position on their shoulders before slamming them down back-first onto the mat. This move emphasizes the performer's strength and is commonly used to demonstrate dominance in matches. It originated from early wrestling techniques, with one account tracing its development to a botched spot by technician Lou Thesz in the mid-20th century, evolving into a staple of power-based offense.^[132] In its basic execution, the performer begins by positioning the opponent in a standing headscissors, bending them forward with their head between the legs. The performer then wraps their arms around the opponent's waist, lifts them upward so their legs straddle or rest on the shoulders, and squats deeply to generate upward momentum. Finally, the performer falls backward or to a seated position, driving the opponent's back into the mat with controlled force to minimize injury while maximizing visual impact.^[132][2] The technique requires significant core and leg strength, and performers often arch their back during the lift to increase the height and perceived power of the slam.^[133] Variations of the powerbomb enhance its versatility and dramatic effect. The sitout powerbomb, a common form, sees the performer drop directly to a seated position upon release, adding a sudden jolt to the impact. In the double underhook powerbomb, the performer secures both of the opponent's arms by hooking under their armpits before lifting and slamming, which restricts the receiver's ability to counter. Another setup involves transitioning from an electric chair position, where the opponent is initially balanced across the shoulders facing away, before being flipped forward into the bomb. High-angle versions lift the opponent even higher—often fully extended from the shoulders—for heightened theatricality, though this increases the demand on the performer's balance and power.^{[132][2][132]} The powerbomb serves as a signature move for powerhouses like Vader, who popularized it in the 1990s as a devastating finisher to highlight his immense strength against larger opponents. It is particularly effective in showcasing physical prowess but requires adaptations across weight classes; smaller performers may rely on speed and leverage for the lift, while heavier classes emphasize raw power, though mismatches can limit clean execution. Among potential risks, the powerbomb poses a threat of lower back compression to the receiver from the axial loading upon impact, potentially exacerbating spinal stress if not landed properly.^[132][134] Some setups briefly reference the gorilla press as an overhead lift transition to amplify the move's elevation.^[44]

Breaker Throws

Backbreaker

A backbreaker is a type of professional wrestling throw designed to target the opponent's mid-back by bending or impacting it against the wrestler's knee or shoulder, hyperextending the lumbar spine to simulate pain and weaken the core. In its basic execution, the wrestler lifts the opponent horizontally—often from a front facelock or waistlock position—drapes them across the extended knee or shoulder, and drops downward to drive the back into the point of contact, emphasizing controlled impact to the midsection rather than the full spine.^[135] This maneuver has been a staple since the 1940s, evolving from early catch-as-catch-can styles into a versatile offensive tool for setting up submissions or strikes.^[136] The over-the-knee backbreaker variation typically begins with the wrestler in a seated or kneeling position, raising one knee while positioning the opponent face-up across it, then applying pressure by pulling the head and legs to bend the torso backward in a seated arch.^[137] This allows for prolonged application as a submission hold or transition, focusing on isolating the lower back muscles without requiring significant lifting strength from the attacker.^[79] The Argentine backbreaker, a prominent submission-oriented variation, involves the wrestler hoisting the opponent onto their shoulders in an inverted fireman's carry, securing the head with one arm and the legs or torso with the other, then pulling backward to arch the spine over the shoulders, often incorporating repeated bounces for added torque and visual drama.^[136] Originating in Argentina and popularized in the United States during the 1940s and 1950s by Antonino Rocca—an acrobatic wrestler known for his athleticism—this move, sometimes called the torture rack, became iconic for its display of strength and endurance, later adapted by performers like Lex Luger as the Human Torture Rack.^[136] Backbreakers primarily target the mid-back to disrupt balance and breathing, making them effective for controlling larger opponents or transitioning to ground-based attacks, as seen in the arsenals of technicians like Bret Hart, who used a standard knee-lift version to wear down foes.^[137] Ric Flair frequently employed backbreakers in his matches during the 1970s and 1980s to target the torso before applying his signature figure-four leglock, enhancing his heel persona through methodical back weakening. In terms of safety, backbreakers are executed to avoid excessive arching of the full spine, distributing force primarily to the muscular mid-back and minimizing risk to the neck or lower vertebrae when performers tuck and roll upon impact.^[135] This contrasts with abdominal compression moves like the gutbuster, which focus on internal pressure rather than external extension.^[79]

Facebreaker

A facebreaker is a professional wrestling throw in which the performer drives the opponent's face into their raised knee or elbow, typically by grabbing the opponent by the head or hair and pulling them forward into the impact. This move emphasizes a sudden, forceful collision to the facial area, often setting up further offense or serving as a signature maneuver in brawling sequences. Wrestlers such as Triple H have incorporated the facebreaker knee smash into their arsenal as a reliable counter or transition technique, highlighting its utility in controlling the pace of a match.^[138][139] In the basic execution, the performer positions themselves facing the opponent, lifts one knee upward, and simultaneously pulls the opponent downward by the head to smash their face against the knee, targeting the jaw or nose for maximum visual drama. A double knee variation, popularized by Chris Jericho as the Codebreaker, involves the performer leaping toward the opponent while hooking both arms around the head or neck, then driving both knees simultaneously into the face upon landing; this adds height and momentum, though it places significant stress on the performer's knees against the mat.^[106][140] The fireman's carry facebreaker begins with the performer hoisting the opponent across their shoulders in a fireman's carry position before dropping to one knee, slamming the opponent's face directly into the extended knee for a more powerful, elevated impact. Single knee and knee smash variants follow similar mechanics but use one knee exclusively, often from a standing or running approach, as seen in Nia Jax's running facebreaker, which she adopted as a signature move emphasizing her powerhouse style. An inverted stomp facebreaker modifies the approach by applying a wrist lock, placing the foot against the opponent's face, and falling backward to drive the face into the knee or mat, though it borders on a takedown hybrid.^[141][106] These throws primarily target the jaw or nose, potentially leading to bloody spots that enhance storytelling through visible injury sell, though performers mitigate real harm via controlled contact and protective gear. Originating from foundational brawling techniques in early professional wrestling, facebreakers remain staples in modern promotions.^[106]

Gutbuster

A gutbuster is a professional wrestling throw designed to compress the opponent's abdomen by dropping them stomach-first onto the attacking wrestler's knee or shoulder, often resulting in the expulsion of air from the lungs and simulating intense midsection pain. In its basic execution, the wrestler positions the opponent in a bent-over stance, lifts them by the waist or under the arms, and drives their midsection downward onto the extended knee while dropping to one knee for leverage. This technique emphasizes control and timing to maximize the impact on the solar plexus or stomach area, making it effective for weakening the opponent's breathing and core stability during a match. Wrestlers like Dolph Ziggler have utilized elevated versions from the top rope to amplify the force.^[70][142] Common variants expand the move's versatility and visual appeal. The fireman's carry gutbuster begins with the attacker hoisting the opponent across their shoulders in a fireman's carry position, then falling to the knees to slam the abdomen against the thigh or knee, adding a carrying element that builds suspense before the drop. The elevated or gutbuster drop variant involves lifting the opponent higher—often from a scoop or waist lock—and releasing them from an increased height onto the knee, heightening the risk and impact for dramatic effect. The gorilla press gutbuster showcases raw power, as the wrestler presses the opponent overhead with both arms extended before transitioning into a drop onto the knee, a variation employed by strength-focused performers like Cesaro to highlight athletic prowess.^[143][144] The rib breaker serves as a side-oriented adaptation of the gutbuster, where the wrestler reaches between the opponent's legs with one arm and around the back with the other to scoop them up, then falls backward to drive the opponent's side or ribs into the knee upon impact. This focuses pressure on the intercostal muscles rather than the direct front abdomen, potentially targeting rib vulnerabilities for follow-up holds. Professional wrestler Jerry Lynn notably incorporated gutbusters into his arsenal to exploit midsection weaknesses, using the compression to force wind expulsion and disrupt opponents' breathing in high-stakes bouts. Proper execution relies on precise timing—the attacker must align the drop so the opponent's body weight fully compresses against the knee at the moment of landing, avoiding slippage that could reduce effectiveness or risk injury. Unlike the backbreaker, which arches the spine as a counterpart, the gutbuster prioritizes frontal abdominal trauma.^{[70][145][146]}

Jawbreaker

A jawbreaker is a type of throw in professional wrestling where the performer grips the opponent's head and pulls it sharply downward to impact the jaw against the wrestler's shoulder or knee, often stunning the recipient momentarily. This move emphasizes a quick snap to the jaw area, distinguishing it from broader facial impacts by targeting the lower mandible for disorientation.^[147] In its basic execution, the wrestler stands facing the opponent, secures a hold on the head—often with one arm around the neck or in a loose facelock—and thrusts their shoulder upward while dropping the opponent's chin onto it, creating a jarring collision. The shoulder jawbreaker variation focuses on direct shoulder contact, where the performer positions their shoulder directly under the jaw before falling backward or to the side to amplify the force, sometimes described as an inverted setup for added leverage.^[147] The sitout jawbreaker modifies this by incorporating a seated drop: after gripping the head, the wrestler falls to a sitting position, driving the opponent's jaw onto the shoulder with greater downward momentum for a more dramatic effect. A prominent variation is the Stunner, popularized by "Stone Cold" Steve Austin, which begins with a boot kick to the midsection to double over the opponent, followed by a three-quarter facelock and sitout drop to snap the jaw against the shoulder. Credited to Michael Hayes and debuted by Austin in 1996, the Stunner became iconic during the late 1990s Attitude Era for its rapid execution and crowd-popping impact, often transitioning directly into a pin.^[147][148] These throws primarily daze the jaw and upper neck, creating a brief window for follow-up maneuvers like pins or submissions, though they are not typically high-risk slams. The jawbreaker's history traces back to at least the 1970s in American territorial wrestling, with "Bullet" Bob Armstrong employing his signature Georgia Jawbreaker—a shoulder-based variant—in Southeastern promotions during that era, contributing to its early popularity as a reliable stunner.^[149]

Neckbreaker

A neckbreaker is a professional wrestling throw that delivers a twisting or dropping impact specifically to the opponent's cervical spine, distinguishing it from backbreakers that target the thoracic or lumbar regions.^[150] In basic execution, the wrestler applies a headlock or arm drag to control the opponent, then falls backward or sideways while maintaining the grip, forcing the opponent's neck to snap across the wrestler's shoulder or knee in a controlled rotational drop.^[151] This motion isolates the neck for a side-to-side twist, unlike the forward snap of a DDT.^[152] Variations of the neckbreaker include the cutter, a spinning swinging neckbreaker where the wrestler leaps forward with a three-quarter facelock and drives the opponent's head downward in a twisting cutter motion.^[153] Swinging and inverted neckbreakers involve additional rotation: in the swinging version, the wrestler spins the opponent mid-air before dropping them neck-first onto the mat or knee; the inverted form uses a reverse facelock from behind, bending the opponent backward and slamming their neck in a rotational drop.^[150] The primary effect of a neckbreaker is to simulate whiplash, jarring the cervical vertebrae and soft tissues to stun or disorient the opponent while emphasizing vulnerability in the neck area.^[154] However, it carries a high injury risk, as improper execution can cause severe cervical strain, spinal damage, or paralysis, as seen in cases of life-altering injuries from routine neck-targeting moves in wrestling.^[154][32] A prominent signature use is Randy Orton's RKO, a jumping cutter variation of the neckbreaker introduced in 2003, where Orton suddenly leaps from a three-quarter facelock to drive the opponent's face and neck into the mat with explosive force, often catching foes mid-move for dramatic impact.^[153][152] To ensure safety, performers emphasize controlled speed and precise landing to minimize real trauma to the neck, relying on athletic training to distribute force away from vital areas.^[155]

Shoulderbreaker

The shoulderbreaker is a backbreaker variant in professional wrestling that targets the opponent's shoulder joint through a lift-and-drop maneuver, simulating damage such as dislocation or strain to the deltoid muscle and surrounding ligaments.^[156] In its basic execution, the wrestler positions the opponent facing away, drapes one of the opponent's arms over their own shoulder for leverage, lifts the opponent vertically by gripping their waist or thigh, and drops them shoulder-first across the extended knee or directly onto the mat, jarring the upper arm joint upon impact.^[156] This technique isolates the shoulder by compressing it against the knee's bony prominence, emphasizing torque on the glenohumeral joint rather than the full back, and is often performed from a standing or running start to increase momentum.^[156] An inverted variation heightens the pressure by twisting the opponent's arm behind their back before the lift, positioning the shoulder in a vulnerable hyperextended state during the drop, which amplifies the illusion of rotator cuff strain without fully detailing internal mechanics.^[157] Wrestlers like Scott Norton incorporated this as part of a gutwrench rack transition, dropping the opponent into the inverted position for added drama.^[157] Papa Shango (Charles Wright) popularized the inverted shoulderbreaker in the early 1990s WWF, using it as a signature to emphasize voodoo-themed menace.^[158] The move is frequently combined with a follow-up elbow drop, where the wrestler transitions immediately after the drop by mounting the opponent and driving an elbow into the targeted shoulder to prolong the submission or pain narrative.^[159] This sequence builds on the initial impact, simulating compounded joint trauma. Early in his career as Rocky Maivia, Dwayne "The Rock" Johnson employed the shoulderbreaker as a finisher before evolving to more iconic moves, highlighting its role in power-based offenses.^[160] Bob Roop made it his trademark finishing hold in the 1970s and 1980s, often in territories like Mid-South Wrestling, where it drew crowds by convincingly selling shoulder vulnerability.^[161] In application, the shoulderbreaker serves to weaken the opponent's arm for subsequent holds, mimicking a hyperextension that limits defensive capabilities without specifying rotator cuff intricacies, as the focus remains on visible joint stress.^[156] Risks include potential real joint damage, such as clavicle fractures or ligament tears, particularly if executed with excessive force or poor landing, leading to historical concerns in territories where it was nearly banned after reported injuries.^[156] Unlike the armbreaker, which extends the elbow specifically, the shoulderbreaker broadly impacts the entire shoulder assembly, distinguishing it in throw classifications.^[156]

Shin breaker

The shin breaker is a breaker throw in professional wrestling that targets the lower leg to hyperextend the knee joint or impact the shin, often leading to ligament strain in the knee area. This move is typically executed by positioning to the side and slightly behind the opponent, securing the near leg, lifting it upward, and dropping the opponent's shin forcefully onto the wrestler's raised knee or directly onto the mat surface.) A variation involves applying the technique to both legs simultaneously, known as the double shin breaker, which amplifies the pressure on the opponent's lower limbs for greater damage. Common setups include countering an incoming kick by catching the leg mid-strike and transitioning directly into the drop, allowing the attacker to maintain momentum and control. The move's effects focus on weakening the knee through hyperextension and impact, straining ligaments such as the ACL or MCL while setting up follow-up submissions like the figure-four leglock, as frequently demonstrated by wrestlers like Ric Flair in matches against opponents including Sting and Randy Savage.^[162][163] Originating from catch wrestling traditions in the 19th century, the shin breaker evolved as part of leg lock and joint manipulation techniques borrowed into professional wrestling, emphasizing targeted damage over high-impact slams. Karl Gotch, a key figure in bridging catch wrestling to modern pro styles through his training in Japan, incorporated similar leg-breaking maneuvers into strong-style wrestling, influencing their adoption in promotions like New Japan Pro-Wrestling.^{[70][164][165]} For safety, performers often wear padded knee guards to mitigate joint stress during execution and reception, reducing the risk of actual injury while preserving the move's dramatic effect. This contrasts briefly with lower-impact leg control methods like trips and sweeps, which prioritize takedowns over direct joint hyperextension.

Grapple and Takedown Throws

Headlock takedown

The headlock takedown is a foundational control throw in professional wrestling, executed by applying a side headlock to encircle the opponent's head and one arm under the attacker's armpit, followed by using body weight and leverage to trip the opponent's leg or pull them downward to the mat while maintaining the hold for ground control.^[70] This low-impact maneuver emphasizes technique over explosive power, distinguishing it from lifts like the suplex, and contrasts with the headscissors takedown, which relies on the legs for encirclement rather than the arms.^[70] A notable variation, the headlock driver, intensifies the move by transitioning the side headlock into a forward fall that drives the opponent's face into the mat, often trapping one of their arms by hooking it over the attacker's knee before leaning in to execute the slam.^[166] From the grounded position after a standard headlock takedown, wrestlers frequently transition to pins, such as the crucifix by extending the opponent's legs while securing their arms, or to mounted strikes like punches and elbows to maintain dominance.^[167] In training contexts, the headlock takedown serves as a core element of chain wrestling, where sequences of holds and counters build match flow, with its popularity traced to the influence of Ed "Strangler" Lewis, who dominated over 6,000 matches using the headlock as a signature control tool and trained future stars in its application.^[168] A common release variation involves whipping the opponent backward into a snapmare for momentum reversal.^[70]

Headscissors takedown

The headscissors takedown is a grappling maneuver in professional wrestling where the attacker uses their legs to encircle the opponent's head or neck in a scissor-like grip, applying pressure to unbalance and flip them to the mat. This throw relies on lower body leverage rather than upper body strength, making it a staple for smaller, agile wrestlers against larger foes. Known as tijeras (scissors) in lucha libre, it emphasizes quick transitions and rotational force to execute the takedown safely and effectively.^[169] In its basic form, the wrestler approaches the standing opponent, leaps to wrap their thighs around the head in a crossing scissor hold, squeezes to control posture, and rolls backward or sideways to drag the opponent over and onto their back. The motion combines momentum from the jump with the scissor's compressive force to invert the opponent's position, often landing them supine for follow-up strikes. This execution demands precise timing to avoid direct impact on the neck, with the attacker tucking their own head during the roll.^[70] Variations enhance the move's acrobatic flair and adaptability. The handstand variation involves the attacker performing a brief handstand while maintaining the scissor grip, using arm strength and core rotation to flip the opponent in a more dynamic arc, often seen in high-flying sequences. The tilt-a-whirl headscissors adds a spinning rotation, where the attacker wraps the legs during a whirlwind pivot on the opponent's arm or shoulder, whipping them down with centrifugal force for added disorientation.^[170] The hurricanrana represents a forward-rolling evolution of the headscissors takedown, where the wrestler leaps to scissor the head, rolls forward over the opponent's upper body, and uses the momentum to flip them backward onto the mat, often transitioning into a pinning cradle. Sub-variations include the Frankensteiner, executed from the opponent's shoulders in a superfly leap for a seated or standing flip; the hurricanrana driver, which drives the opponent headfirst into a slam after the roll; and rope-aided versions like the springboard hurricanrana, where the attacker bounces off the ropes for elevated launch and impact. These adaptations highlight the move's versatility in aerial and chain wrestling.^[171][172] Originating in Mexican lucha libre during the mid-20th century, the headscissors takedown draws from the style's emphasis on fluid, leg-based submissions and throws, with early pioneers like Black Guzmán developing multiple iterations in the 1940s and 1950s. The hurricanrana specifically was innovated by luchador Huracán Ramírez in the 1950s as a pinning variant of the rana hold, gaining global popularity through its adoption in American promotions. Wrestler Rey Mysterio elevated it to signature status in the late 1990s and 2000s, incorporating it into his high-flying arsenal during WCW and WWE runs, often combining it with arm drags for seamless sequences.^[173] Safety is paramount due to the neck's vulnerability in head-targeted throws; performers must ensure the opponent tucks their chin to the chest and distributes weight across the shoulders during the flip to prevent hyperextension or compression injuries. Training emphasizes controlled pressure in the scissor grip to avoid vascular restriction, and modern protocols in promotions like WWE include medical spotters for high-impact variations.^[174]

Hip toss

The hip toss is a classic over-the-hip throw in professional wrestling that disrupts the opponent's balance by leveraging the wrestler's hip as a fulcrum to flip them to the mat. It originates from judo techniques like ō-gōshi, adapted for no-gi grappling in wrestling contexts.^[175][176] Basic execution involves the wrestler standing side-by-side with the opponent, both facing the same direction. The wrestler grips the opponent's near arm at the elbow or wrist, pulls it across their body to off-balance them forward, positions their hip against the opponent's midsection or hip, and then rotates while thrusting the hip upward to flip the opponent over and onto their back. This motion uses the opponent's momentum and the wrestler's core rotation for power, landing them supine on the mat.^[177][175] A belly-to-belly variation employs a mutual grip, with both wrestlers facing each other and securing underhooks around the opponent's arms or torso. The executing wrestler steps in to align hips, lifts by squeezing the arms and arching the back, then pivots to throw the opponent over the hip in a forward arc, often transitioning into a suplex-like slam for added impact.^[178] The move typically sets up from a collar-and-elbow tie-up, where the wrestler circles to gain inside control of the opponent's arm, feints pressure on the collar to draw their weight forward, and transitions into the arm pull for the hip placement.^[179] As a fundamental technique, the hip toss is taught in basic professional wrestling and catch-as-catch-can training programs to build foundational throwing mechanics and body positioning. Catch wrestling pioneer Karl Gotch emphasized such hip-based throws in his rigorous regimens for wrestlers, integrating them to develop explosive power and timing.^[165]

Snapmare

The snapmare is a fundamental head-pull throw in professional wrestling, executed by positioning the body with the back to the opponent, securing a three-quarter facelock (cravate) on the opponent's head, kneeling down, and forcefully pulling the opponent forward over the shoulder to roll them into a seated position facing away from the wrestler.^[180] This technique emphasizes momentum and balance rather than lifting, distinguishing it from more explosive throws like the suplex by relying on a non-lifting roll generated from the head grip and body pivot.^[180] A common variation is the rolling snapmare, where the wrestler repeats the pulling motion to cause the opponent to somersault multiple times across the mat before coming to rest seated, increasing disorientation and control.^[180] The snapmare driver elevates the impact by transitioning the roll into a face-down slam, with the wrestler dropping to one or both knees to drive the opponent's head or face into the canvas upon release.^[181] Another adaptation is the snapmare neckbreaker, achieved by twisting the opponent's neck during the pull to hyperextend it upon landing, combining the roll with a damaging neck twist for added offense.^[180] In matches, the snapmare serves as a versatile technical move, frequently used to reposition the opponent for follow-up strikes such as kicks to the back or head, or to transition into submissions, enhancing chain wrestling sequences.^[182] It can also briefly reference a headlock takedown by releasing from a loose headlock into the snapmare pull, but operates independently without a sustained lock.^[183] The snapmare traces its origins to catch-as-catch-can wrestling traditions that influenced modern professional wrestling, with significant adoption and refinement in Japanese promotions where it features prominently in technical combo chains despite incomplete documentation of early evolutions.^[182]

Suplex

A suplex is a fundamental overhead throw in professional wrestling, characterized by the attacker lifting the opponent vertically above their head before falling backward to slam them onto the mat, often reversing the opponent's momentum through a bridging arch of the back. This move emphasizes upper body strength and technique, distinguishing it from grounded takedowns like the headlock takedown by fully elevating the receiver before impact. Unlike a back body drop, which relies on a flip without a full overhead lift, the suplex provides a dramatic vertical hang time for crowd impact.^[184] In basic execution, the attacker typically positions behind or in front of the opponent, securing an underhook on one or both arms or a waist lock around the midsection to control posture. The attacker then plants their feet shoulder-width apart, drives their hips forward, and arches their back powerfully to hoist the opponent overhead, falling backward while maintaining the grip to ensure a controlled slam onto the opponent's upper back. For safety, the receiver must tuck their chin to their chest to protect the neck from hyperextension upon landing, ideally on a padded mat to distribute force across the shoulders and upper torso. Recent training resources highlight advanced bridging techniques where the attacker arches into a deep back bridge post-impact, enhancing leverage and reducing spinal strain on both participants.^{[184][185][186]} Common variations adapt the grip and positioning for different dynamics. The vertical suplex, a front-facing lift with underhooks, holds the opponent parallel to the mat for an extended duration to showcase strength before dropping. The belly-to-belly suplex involves facing the opponent, wrapping arms around their waist, and exploding upward with a hip thrust for a forward trajectory. The German suplex, executed from behind via a waist lock, throws the opponent overhead in an arc, often bridged for emphasis. The super suplex elevates the action by performing any of these from the top rope, increasing risk and spectacle through aerial momentum. These adaptations trace roots to amateur Greco-Roman and freestyle wrestling, where suplexes served as scoring throws, but were popularized in professional contexts by Lou Thesz, who integrated them into his technical arsenal during the mid-20th century to elevate match realism and athleticism.^{[187][188][56]} The bridging form of the suplex uniquely facilitates a near-fall pin, as the attacker's arched back presses the opponent's shoulders to the mat while maintaining waist control, often counting toward a two-count in matches. Wrestlers frequently chain multiple suplexes in sequences to wear down opponents, transitioning seamlessly between variations—like a vertical into a German—for sustained offense, as exemplified by high-impact performers building momentum through repetitive lifts and slams.^[189][190]

Trips and sweeps

Trips and sweeps are a category of low-level throws in professional wrestling that primarily utilize the legs to disrupt the opponent's balance and force them to the mat, often serving as setups for pins or submissions. These techniques emphasize quick leg hooks or sweeping motions to exploit the opponent's momentum or stance, distinguishing them from higher-impact throws like the hip toss. Basic execution involves the wrestler positioning one leg to hook or sweep the opponent's lead leg while maintaining control with the upper body, causing the opponent to stumble and fall forward or sideways.^[164] The armbar legsweep, also known as the double leg takedown in some contexts, combines an arm drag or bar with a leg sweep for assistance, where the wrestler grabs the opponent's arm to pull them off-balance before sweeping both legs out from under them to drive them to the ground. This move allows for a seamless transition to ground control.^[191] The dragon screw legwhip is a twisting knee whip executed by grabbing the opponent's leg, wrapping it around the attacker's own leg, and spinning to hyperextend the knee while taking the opponent down, originally innovated by Japanese wrestler Tatsumi Fujinami as part of his "Dragon" series of moves. It targets the opponent's lower body for damage, making it effective against mobile opponents.^[192] A drop toe-hold involves hooking the opponent's ankle with the attacker's foot while pushing their upper body forward, causing them to trip over the hooked foot and fall face-first to the mat; this simple yet effective technique is often chained into submissions like the STF.^[193] The half nelson legsweep combines a half nelson hold—where the attacker threads an arm under the opponent's armpit and locks hands behind the neck—with a leg sweep to unbalance and drop the opponent backward. This hybrid move provides upper body control during the takedown.^[194] The Russian legsweep begins with the attacker grabbing the opponent's wrist or arm and pulling it while simultaneously sweeping the near leg with their own, causing the opponent to fall backward onto their back; variants include the cobra clutch Russian legsweep (incorporating a rear chinlock), forward Russian legsweep (facing the opponent), and three-quarter Russian legsweep (with a partial nelson). Popularized by wrestlers like Bret Hart, it sets up for pins or strikes.^[195][13] The schoolboy is a roll-up sweep where the attacker ducks behind the opponent, hooks their legs from behind, and rolls forward to pin the shoulders while the opponent's momentum carries them over, resembling a surprise cradle pin. This opportunistic move relies on timing to catch the opponent off-guard.^[196] The STO, short for Space Tornado Ogawa, is a sudden takedown named after Naoya Ogawa, derived from the judo throw osoto otoshi, where the attacker stands behind or to the side, traps the opponent's arm or applies a chokehold or front facelock, and drops to the mat driving the opponent's head or face down; variants include the arm-trap STO and chokehold STO. It delivers high impact to the head and neck.^[197] The flatliner, innovated by Chris Kanyon, is a jaw-hook sweep where the attacker hooks the opponent's jaw or chin from the side, falls backward, and drives their face into the mat; variations encompass the arm-trap flatliner, elevated flatliner (from a lift), Gory flatliner (from a back carry), leaping flatliner, lifting flatliner, sliding flatliner, and swinging flatliner. This move emphasizes facial impact for dramatic effect.^[13] Historically, trips and sweeps trace their roots to catch-as-catch-can wrestling, a 19th-century English style that spread to the United States and heavily influenced modern professional wrestling through its emphasis on versatile grappling, takedowns, and submissions without restrictive rules on holds. While influences from judo exist, such as in the STO's origins, catch-as-catch-can provided the foundational framework for these leg-based unbalancing techniques in pro wrestling's carnival and carnival circuit eras.^[164][198]

Other Throws

Catapult

The catapult, also known as the slingshot catapult, is a rope-assisted throw in professional wrestling that propels the opponent forward, typically into the turnbuckle or over the top rope. To execute the basic version, the wrestler positions the opponent supine near the ropes, grasps both legs with their hands, and falls backward while pulling the legs, using the rope's tension as leverage to slingshot the opponent forward into the impact. This technique relies on the elastic rebound of the ring ropes to generate momentum, creating a flipping or launching motion that can disorient the opponent.^[199] Commonly employed to transition into high-impact spots, the catapult sets up aerial dives or follow-up attacks by sending the opponent crashing outside the ring or staggering them for a subsequent strike. In lucha libre styles, it emphasizes acrobatic flair, where the launch can facilitate dives like a somersault huracanrana suicida.^[200] Variations include the seated catapult, where the wrestler sits on the mat and hooks the opponent's legs over their shoulders before pushing upward for the flip, and the standing version, which allows for quicker setup without dropping to the ground. An incomplete catapult variant, performed on the apron, uses partial rope tension to launch the opponent partially over the top rope without full clearance, often leading to a precarious hang or fall to the floor. These adaptations highlight the move's versatility in controlling positioning near the ring's edge, distinguishing it from arm-based rebounds like the Irish whip by focusing on leg grips and vertical propulsion.^[28]

Facebuster

A facebuster is a takedown throw in professional wrestling where the performer grabs the opponent by the head or hair and drives their face directly into the mat, often dropping to one or both knees during execution to maximize impact.^[201] This basic setup emphasizes a direct, vertical drop without twisting, distinguishing it from snap-based moves like the DDT. Common variations include the full nelson facebuster, in which the wrestler secures the opponent's arms behind their head in a full nelson hold before slamming them face-down, and standing versions where the performer maintains an upright posture while pulling the opponent downward.^[202] The move is frequently set up from an Irish whip rebound, allowing the opponent to bounce off the ropes into the attacker's grasp for added momentum.^[203] The primary impact targets the nose and forehead, potentially causing a dramatic bloody effect through intentional blading—where the performer discreetly cuts their own forehead with a hidden razor blade to simulate injury and heighten drama—or from the force of the mat collision itself.^[204] Unlike the mat slam, which piles the opponent back-first onto the canvas, the facebuster specifically orients the drop to strike the facial area.^[199] When performed with improper control, the facebuster carries risks of facial fractures or concussions due to the unprotected impact on the head against the ring surface.^[205]

Iconoclasm

The Iconoclasm is a dynamic throw in professional wrestling, executed from the top rope by applying a three-quarter facelock (resembling a cutter) to an opponent seated on the turnbuckle before jumping down and using momentum to flip them forward, driving the opponent's head face-first into the mat. This technique relies on the wrestler's strength and timing to generate the flip, often practiced in training as an incomplete version to build control without full impact.^[206] A springboard variation incorporates the ring ropes for added elevation, with the wrestler bouncing off the middle rope to propel the flip and cutter, increasing the move's acrobatic flair and impact. This version is a staple among cruiserweight performers, emphasizing agility and high-flying elements in matches.^[207] The move is famously associated with British wrestler Robbie Brookside, who used it as a signature finisher throughout his career, and it has been adapted by his daughter Xia Brookside as the Brooksy Bomb.^[208]

Irish whip

The Irish whip is a foundational professional wrestling technique used to propel an opponent into the ring ropes or other structures, generating momentum for subsequent maneuvers. To execute the basic form, the wrestler grasps the opponent's wrist with one hand, pivots their body to build rotational force, and releases the arm to send the opponent rebounding off the ropes toward the attacker or another point in the ring.^[203][209] A common variation, known as the short-arm Irish whip, involves maintaining a partial grip on the opponent's arm after the initial swing, allowing the attacker to pull the opponent back prematurely at increased speed for an immediate counterattack, such as a clothesline or lariat. This modification enhances control and surprise, distinguishing it from the standard release that relies solely on rebound velocity.^[210] The move originated in the 1930s, popularized by Irish wrestler Danno O'Mahony, a County Cork native who used it as a signature technique during his rise to world heavyweight champion status, earning it the name "Irish whip" due to his heritage. As a fundamental element of chain wrestling, it facilitates fluid transitions between holds and strikes, often setting up counters like the back body drop when the rebounding opponent is elevated over the attacker's head.^[211][212]

Mat slam

The mat slam is a fundamental throw in professional wrestling, executed by lifting the opponent off the mat—typically by securing a waistlock or similar grip—and forcefully dropping them back-first onto the canvas to deliver a jarring impact. This move emphasizes vertical lift followed by a direct downward drop, distinguishing it from more rotational or forward-driven slams, and is often used to stun the opponent or set up follow-up maneuvers.^[213] A key variation is the belly-to-back inverted mat slam, where the wrestler positions behind the opponent, secures a waist grip with the opponent's face up against their back, lifts them into an inverted position, and slams them down back-first to the mat for heightened impact on the spine. This rotational lift can be spun for additional momentum, as popularized by wrestlers like AJ Styles in his signature Styles Clash, though the core execution prioritizes the back landing to avoid excessive risk to the head.^[214][215] Other variations incorporate specific holds for control and setup. The cobra clutch mat slam involves applying a cobra clutch—a rear chinlock with the arm wrapped under the opponent's chin and over the shoulder—before hoisting and slamming the opponent back to the mat. Similarly, the double underhook mat slam uses both arms hooked under the opponent's armpits for a secure lift and drop; the rear mat slam starts from a rear waistlock; the sitout rear mat slam adds a seated drop for extra force upon impact; and the sleeper slam employs a rear sleeper hold to maintain pressure during the lift and slam. These hold-based versions allow technicians to target the back while maintaining dominance.^[216] The slingblade represents a dynamic spinning lift slam, where the wrestler grabs the opponent in a three-quarter facelock, runs forward while spinning the body, and drives the upper back into the mat with a whipping motion for a stunning effect. The tilt-a-whirl mat slam adds rotation by swinging the opponent in a full circle around the wrestler's body—using momentum from a waist or arm grip—before releasing them back-first to the canvas, often requiring precise timing to execute fluidly.^[199] Mat slams primarily stun the opponent's back through direct compression against the mat, causing temporary disorientation and pain without typically transitioning into pins, and are favored by technical wrestlers for their versatility in chain wrestling sequences. Unlike face-first variants such as the facebuster, mat slams focus on the back impact to control positioning safely.^[217]

Monkey flip

The monkey flip is a bridging flip throw in professional wrestling, derived from the judo technique known as tomoe nage or circle throw, where the attacker uses momentum and leg placement to flip an opponent overhead onto their back. In its professional wrestling execution, the move is typically performed from a grounded or defensive position on the mat, with the attacker grabbing the opponent's legs—often after a setup like a waistlock attempt or similar leg grip reminiscent of a headscissors takedown—before falling backward and rolling forward into a bridge to propel the opponent over their body. This creates a dynamic reversal that emphasizes timing, hip elevation for controlled momentum, and safe landing guidance via the initial leg hook, allowing the thrown wrestler to arch and roll out if needed.^{[218][219][220]} A common variation is the roll-through into a pin, where the attacker maintains the bridge position after the flip to secure a three-count, transitioning seamlessly from offense to submission attempt and adding unpredictability to the spot. The technique's emphasis on agility makes it a staple in lucha libre-influenced styles, serving as a high-impact agile spot for smaller wrestlers to counter and topple larger opponents, as demonstrated in Dominik Dijakovic's attempt against the 320-pound Keith Lee in NXT competition, where Lee countered by landing on his feet. Wrestlers like Rey Mysterio, known for his high-flying lucha background, have incorporated the monkey flip into matches to highlight speed and underdog resilience, such as in his bout against Talla Tonga on SmackDown, where he attempted the move.^[221][222]

Muscle buster

The muscle buster is a body compression throw in professional wrestling, executed by first applying a full nelson hold from behind the opponent, clasping both hands behind the opponent's neck while trapping their arms. The performer then lifts the opponent vertically upward before dropping to a seated position, driving the opponent's upper back and shoulders forcefully into the mat to maximize spinal impact.^[223] A low-angle variation begins from a kneeling position, where the performer secures the full nelson while both wrestlers are on the mat, then elevates and sits out with reduced height for closer-range compression. This version emphasizes targeted pressure on the spine rather than elevation momentum.^[224] The move originated in Japanese strong style wrestling, drawing from the Kinniku Buster technique in the Kinnikuman manga series, where it was depicted as a devastating finisher compressing the opponent's torso.^[224] Despite its roots, the muscle buster has seen incomplete adoption internationally, remaining more prevalent in Japan and select independent promotions due to its high-risk execution and potential for injury. It is best known as a signature maneuver of Low Ki, who integrated it into his arsenal to target the spine and set up immediate pin attempts through body compression.^[223] Unlike the standing full nelson slam, which drops the opponent backward without sitting out, the muscle buster's sitout motion enhances the compressive force for a tighter pinfall setup.

Snake eyes

The Snake Eyes is a dynamic corner thrust throw in professional wrestling, typically set up by executing an Irish whip to propel the opponent into the ring's turnbuckle. The attacking wrestler then lifts the opponent onto their shoulder in a fireman's carry position, with the opponent's stomach down and both facing the same direction, before charging forward to ram the opponent's face directly into the top turnbuckle. This shoulder lift technique emphasizes power and control, allowing larger wrestlers to showcase their strength while delivering a high-impact strike to the opponent's head and upper body.^[44] Following the thrust, the move is often transitioned into a follow-up attack, such as a knife-edge chop to the stunned opponent's chest, capitalizing on their disorientation against the corner. The impact frequently results in a cut to the forehead, producing blood that heightens the dramatic tension and visual intensity of the match, making it a staple for building momentum in high-stakes encounters. To mitigate injury risks, professional wrestling rings feature padded turnbuckles, which absorb some of the force while preserving the move's authenticity and spectacle.^[225] The Snake Eyes gained prominence in the early 1990s when Kevin Nash adopted it as a signature finisher during his WCW tenure as the mobster-inspired Vinnie Vegas, where the name reportedly derived from his intense, piercing gaze reminiscent of a snake's eyes. Though the unnamed variation of the thrust likely predated this in earlier decades, Nash's usage established its modern identity as a reliable setup for bigger maneuvers. It later became iconic through The Undertaker's WWE application, integrating seamlessly into his methodical offense.^[225][44]

Spinning crucifix toss

The spinning crucifix toss is a dynamic throw in professional wrestling that combines elements of control and momentum to transition into a pin attempt. The wrestler begins by positioning the opponent from behind, securing one of the opponent's arms across their own neck in a half-nelson grip while simultaneously hooking the opponent's near leg with their other arm, forming a crucifix lock that isolates the upper body and lower limb on the same side. This setup allows the attacker to lift the opponent horizontally across their back or shoulders, maintaining balance through core strength and grip tension to prevent slippage during the rotation.^[226] Once elevated, the performer spins rapidly—typically one to three full rotations—to generate centrifugal force, disorienting the opponent and building speed for the release. The toss concludes by driving forward and hurling the opponent over the head or shoulder to the mat, often landing them on their back or side in a vulnerable position. This rotational element distinguishes it from static crucifix throws, emphasizing athleticism and requiring precise timing to avoid incomplete executions that could strain the attacker's arm or back if the spin loses momentum. The move's acrobatic nature makes it particularly suited for cruiserweight competitors, though larger wrestlers adapt it for impact.^[226] Commonly transitioning into a crucifix pin, the throw leaves the opponent's locked arm and leg trapped beneath their body, facilitating an immediate cover for a potential three-count while exposing the shoulders to the canvas. Wrestlers like James Storm have popularized a signature variation known as the Eye of the Storm, using it as a finisher to showcase power and flair in matches throughout his TNA/Impact Wrestling career. Similarly, Hernandez employs the Border Toss, a high-impact iteration that amplifies the throw's distance and force, often against opponents of varying sizes to highlight his strength.^[227][228]