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Professional wrestling throws
Professional wrestling throws
from Wikipedia

Professional wrestling throws are the application of professional wrestling techniques that involve lifting the opponent up and throwing or slamming them down. They are sometimes also called "power" maneuvers, as they are meant to emphasize a wrestler's strength. Many of these moves are used as finishers by various wrestlers, who refer to them by several different names that reflect their gimmick. Moves are listed under general categories whenever possible.

Armbreaker

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An armbreaker is any move in which the wrestler slams the opponent's arm against a part of the wrestler's body, usually a knee or shoulder.

Diving armbreaker

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A wrestler dives from the ropes and lands on the opponent's arm.

Double knee armbreaker

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The wrestler grabs one of the opponent's arms, jumps and connects both their knees against the opponent's stretched arm. As the wrestler falls onto their back, this forces the opponent's arm down into both knees, thus damaging it. A variant where the performing wrestler puts his opponent in a hammerlock before performing a double knee maneuver similar to a double knee backbreaker also exists, simply known as a hammerlock double knee armbreaker.

Snap armbreaker

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The attacking wrestler grabs the opponent's arm as in a cross armbar attempt, and proceeds to pull the arm in a snap motion towards their own body. Penta uses a variant in which he performs a grounded hammerlock on the opposite arm before performing the snap armbreaker, calling it The Sacrifice.

Arm drag

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A move in which the wrestler uses their opponent's momentum to the opponent's disadvantage. The wrestler hooks the opponent's arm and flips them over on to the mat. The wrestler may roll on to their side to give the move extra momentum.

Japanese arm drag

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This move is performed when an opponent runs towards the wrestler facing them. When the opponent is in range, the wrestler hooks the opponent's near arm with both hands and falls backwards, forcing the wrestler's own momentum to cause them to flip forwards over the head of the wrestler and on to their back. Despite its name, it actually originates from Mexican lucha libre, not Japanese puroresu.

Over-the-shoulder arm drag

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The wrestler grabs their opponent's arm, then turns to face the other direction and pulls the opponent over their shoulder. It is essentially the same as the ippon seoi nage found in judo.

Tilt-a-whirl arm drag

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An arm drag which sees the wrestler being spun in front of the opponent's body in a tilt-a-whirl, and then ending it with an arm drag.

Wheelbarrow arm drag

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This arm drag sees the wrestler being held in a wheelbarrow hold by the opponent, and then going for an over the shoulder arm drag as they free their legs off of the opponent's waist. It was used by AJ Lee as a transition move.

Arm wringer

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An arm wringer or spinning wristlock is a move in which the wrestler grabs the opponent's wrist with both hands and twists it over the wrestler's head to spin the arm around, either with enough force to flip the opponent to the mat or just to hyperrotate the joints while standing. When used as a hold, the wrestler often yanks the arm for added effect. A snap drop variant in which the performing wrestler drives the opponent in a front drop after performing the arm wringer has been popularized by MJF.

Atomic drop

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A move in which the wrestler goes behind an opponent, then puts their head under the opponent's shoulder. They then lift their opponent up, and drops them tailbone-first on the wrestler's knee. Known in Mexico's lucha libre as silla eléctrica (Spanish for electric chair).

Inverted atomic drop

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Also known as a "Manhattan drop", this is a move in which the wrestler puts their head under the opponent's shoulder and lifts the opponent up and then drops their groin on the wrestler's knee.

Sitout full nelson atomic drop

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Better known as a full nelson bomb, this move sees the wrestling apply a full nelson hold to the opponent from behind. The wrestler then lifts the opponent into the air and falls into a seated position, driving the opponent tailbone-first on to the mat. This move is used by Bubba Ray Dudley, who dubbed it the Bubba Bomb/Bully Bomb.

Backbreaker

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A backbreaker refers to professional wrestling moves in which a wrestler drops an opponent so that the opponent's back impacts or is bent backwards against a part of the wrestler's body, usually the knee.[1]

Back body drop

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A back body drop or backdrop (also sometimes called a shoulder back toss), is a move in which a wrestler bends forward or crouches in front of their opponent, grabs hold of the opponent, and stands up, lifting the opponent up and over and dropping them behind the back. It is applied frequently against a charging opponent. In Japan, a backdrop is the term for what is called a belly-to-back suplex in America, so in Japan, it is called shoulder throw.

Mountain bomb

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Innovated by Hiroyoshi Tenzan. This move sees the opponent runs towards the wrestler. The wrestler ducks, hooks one of the opponent's legs with one of their arms, stands up and falls backwards, flipping the opponent and driving them back first down to the mat, with the wrestler landing on top of the opponent.

Biel throw

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The wrestler stands slightly to the side of their opponent, grabs the opponent by the nape in a single or double collar tie, and throws them forward, causing the opponent to flip over onto their back. It is considered a very basic technique, so basic that a forward rolling fall is commonly called a biel bump and is mainly used by very large wrestlers to emphasize power and strength over finesse.

Brainbuster

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Austin Aries performing a brainbuster to Mark Haskins.

A brainbuster is a move in which a wrestler puts their opponent in a front facelock, hooks their tights, and lifts them up as if they were performing a vertical suplex. The wrestler then either jumps up or quickly falls onto their back so that the opponent lands on their head while remaining vertical.

Bulldog

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A bulldog, originally known as bulldogging or a bulldogging headlock or the headlock jawbreaker, is any move in which the wrestler grabs an opponent's head and jumps forward, so that the wrestler lands, often in a sitting position, and drives the opponent's face into the mat.[2] This move plus some other variations are sometimes referred to as facebusters.

Cobra Clutch bulldog

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The wrestler applies a Cobra Clutch and then leaps forward, falling into a sitting position and driving the face of the opponent into the ground.

Diving bulldog

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The wrestler jumps from the turnbuckle behind the opponent, then applies a headlock, driving the opponent's face into the mat. Popularized by Rick Steiner. It is also used by Trevor Murdoch as a finisher.

Diving leg drop bulldog

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Also known as a Diving Famouser. The wrestler springboards off one of the ropes or jumps from the top turnbuckle, dropping a leg across the nape of a leaning forward opponent. This was popularized by both Billy Gunn and John Cena as one of their signature moves. Carmelo Hayes currently uses this move under the name Nothing But Net.

Fireman's carry bulldog

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The attacking wrestler picks up the opponent in a fireman's carry. The wrestler then proceeds by holding their opponent's legs with one arm and applying a headlock with their other arm in a similar fashion to an Air Raid Crash. From here, the attacking wrestler twists the opposite way and quickly switches back, throwing the opponent's legs out backwards and drops down to the mat while holding the opponent's head, forcing them to fall face first into a bulldog position. This variation was used and popularized by TNA wrestler James Storm, who dubbed it the Eight Second Ride.

Full nelson bulldog

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This variation begins with the wrestler holding the opponent in a full nelson. The wrestler then leaps forward into a sitting position, driving the opponent face-first. The move was popularized by Jillian Hall.

Half nelson bulldog

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The wrestler hooks a half nelson hold on their opponent with one arm and their opponent's waist with the other, then leaps forward into a sitting position, driving the face of the opponent into the ground. This move is a signature of Edge, who calls it Winning Edge.

Inverted bulldog

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The attacking wrestler stands side-to-side and slightly behind the opponent, facing in the opposite direction, then leaps in the air and drops to a seated position, driving the opponent neck- and back-first to the mat. In another variation, the attacker runs to the opponent and executes the move. This is usually referred to as a lariat takedown.

Knee drop bulldog

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A version that involves the wrestler placing one knee against the base of a bent over opponent's neck, then dropping to force the opponent down to the mat, landing on the opponent's upper body. There is also a diving version.

Leg drop bulldog

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The wrestler jumps in the air and uses one leg to push down on the head of an opponent who is leaning forward, which drives the opponent face-first into the mat. The move was innovated by Johnny Ace, calling it the Ace Crusher II, popularized by Billy Gunn, who called it the Famouser (or the fame-ass-er when he was wrestling as ‘Mr.Ass.) Nic Nemeth/Dolph Ziggler used the move as well. Marty Jannetty performed a version of the move where he applied a wristlock to the opponent first, which became known as the Rocker Dropper. Kelly Kelly later adopted the same variation as her finishing maneuver, calling it K2.

Inverted leg drop bulldog

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Melina performing an inverted leg drop bulldog on Alicia Fox

An inverted version of this sees the attacking wrestler drop the opponent on the back of their head, as done in a reverse bulldog. This can be achieved by first holding an opponent in an inverted facelock or by simply grabbing the opponent and forcibly leaning them back before lifting their far (or sometimes inside) leg, rotating so the leg is over the opponent's head, and dropping to a sitting position, kneeling, or a split-legged position and maintained into a pin. WWE wrestler Melina popularized this move.

One-handed bulldog

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Chris Jericho performing a one-handed bulldog on Booker T.

The one-handed bulldog is in fact more of a facebuster than an actual bulldog and generally sees a wrestler run up from behind their opponent, grab the opponent's head with one hand, and leap forward. Kenny Omega has used a variation, called the Kotaro Krusher, where he performed a jump from the canvas over the opponent, usually jumping upwards of 6 feet before hitting the bulldog.

Reverse bulldog

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Standing next to or diagonally behind an opponent, the attacking wrestler leaps up, grabs the opponent's head and pulls backwards, resulting in both individuals landing supine. Current TNA wrestler Nic Nemeth uses and popularized this move, which he calls the Danger Zone. It was previously known as the Zig Zag during his tenure in WWE as Dolph Ziggler.

Slingshot bulldog

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Similar to a hangman, where the wrestler catches the opponent in a side headlock, running towards any set of ropes. The wrestler then jumps over them and bulldogs the opponent, driving the chin/face of the opponent into the top rope. The wrestler would eventually either land standing or seated on the apron or the outside of the ring.

The same maneuver can be used on a cornered opponent (who is facing away from the ring) to drive their face into the top turnbuckle.

Spinning bulldog

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The wrestler stands to the side of the opponent and applies a side headlock. The wrestler then spins around in a circle and drops into a seated position, driving the opponent face-first into the mat.

Springboard bulldog

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Trish Stratus hits the Stratusfaction (springboard bulldog) on Victoria

The wrestler applies a headlock on the opponent, then runs towards the ropes and bounces off, driving the opponent face-first into mat as they land. WWE Hall of Famer Trish Stratus popularized this move and dubbed it the Stratusfaction and it was also used by Bo Dallas as the Bo-Dog.

Two-handed bulldog

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The wrestler places both hands behind the opponent's head, then falls into a seated position, slamming the opponent's face into the canvas. Another variation sees the wrestler placing one hand behind the opponent's head and the other behind the back, then falling backwards into a bulldog. WWE Hall of Famer Mick Foley used this move as one of his signature moves. The move was also used by Scotty 2 Hotty as a signature move.

Wheelbarrow bulldog

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This bulldog sees the opponent clutching the wrestler in a wheelbarrow bodyscissors. The wrestler then falls downwards, while still scissoring their legs around the opponent's waist, and pushes against the canvas. As they rebound back to the opponent, the attacker releases their legs, quickly places their hand behind the opponent's head, and goes for a bulldog. The bulldog is usually one-handed rather than a headlock bulldog.

Catapult

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A catapult or slingshot catapult is a throw that typically starts with the opponent on their back, and the wrestler standing and facing them. The wrestler hooks each of the opponent's legs in one of their arms, then falls backwards to slingshot the opponent into a turnbuckle, ladder, rope, mat, etc. This can also be held for a backbreaker.

Chokeslam

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A chokeslam is any body slam in which the wrestler grasps their opponent's neck, lifts them up, and slams them to the mat, causing them to land on their back. The move is used by numerous wrestlers, often larger ones who portray "monster" characters.

Cobra Clutch slam

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In this slam a wrestler places the opponent in a Cobra Clutch and then lifts the opponent into the air by their neck before jumping backwards to drive the opponent back-first down to the mat while remaining standing, falling forward, or dropping into a seated or kneeling position. The fall-forward version of the move were both used by Billy Gunn as the One & Only and later popularized by Ted DiBiase Jr., who used a modified version in which he dropped the opponent to one side, naming it the Dream Street. Jinder Mahal currently uses the kneeling side slam version of this move, calling it the Khallas.

DDT

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Animated DDT move

The DDT is a move innovated by Jake "The Snake" Roberts, performed by putting the opponent's head underneath the attacker's arm in a front facelock and then falling back, driving the opponent's head into the mat.

Driver

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A driver is a move in which the wrestler clutches the opponent's body in some form before falling into a sitout position while dropping the opponent on their back, neck, and/or shoulders.

Abdominal stretch driver

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First the wrestler applies an Abdominal stretch. They then uses their free arm to creating momentum by raising it skywards and bringing down quickly in between the opponent's legs while using their own body weight to fall sideways, flipping the opponent over them to slam them on the back of their head and neck. NXT wrestler Gigi Dolin uses this move as a finisher called the Gigi Driver.

Black Fire driver

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Used as a finisher by Rey Fenix, this move starts with the wrestler having their opponent up on their shoulders as if they are going to perform a muscle buster, but then spin their opponent around into a Michinoku driver II-B.

Cobra Clutch driver

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The wrestler stands behind an opponent and applies a cobra clutch on their opponent, placing one of their hands against the opponent's neck after hooking the opponent's arm with it. They then scoop the opponent's near leg with their other arm and lift the opponent up, flip the opponent upside down, and then either kneel or sit down, driving the opponent down to the mat on their neck. Another variation has the attacking wrestler apply a pumphandle prior to executing this technique and is used by wrestlers like Jinder Mahal.

Electric chair driver

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Also known as a Joker Driver. In this variation of a driver, the wrestler lifts the opponent on their shoulders in an electric chair sitting position and then takes hold of the opponent and pulls them over their shoulder and down to the mat while falling to a sit out position so that the opponent lands on their upper back and neck between the legs of the wrestler, facing towards them, usually resulting in a pin. A one-handed variation is used by Kenny Omega, known as the One-Winged Angel and by Big Damo known as the Ulster Plantation. Chris Hero has also used this move as well, calling it the Rubik's Cube, as well as "Speedball" Mike Bailey, who uses a cross-legged version of the move called the Flamingo Driver.

Fisherman driver

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This move was innovated by Shiro Koshinaka and it was called a Samurai Driver '94 as a finisher. The wrestler places the opponent in a front facelock and hooks one of the opponent's legs with their free arm. The wrestler then lifts the opponent upside down or on to their shoulders, and then sits down, driving the opponent between their legs, head and shoulder first. A wrist-clutch variation of this driver exists which sees the wrestler lift the opponent on to their shoulders, and while the opponent is on their shoulders, they use the hand hooking the opponent's leg to reach upwards and clutch the wrist of the arm opposite the hooked leg. While maintaining the wrist-clutch, they then perform the driver. There is a further variation that does not include the shoulder lift that sees the wrestler hook the leg and wrist while the opponent is standing in front of them, lift the opponent upside down and then fall to the sitout position. This move was made popular by wrestler Low Ki who calls it the Ki Krusher. A cross legged version is used by CIMA, who calls it the Perfect Driver.

Wrist-clutch fisherman driver

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This variation involves grabbing and pulling by the opponent's wrist, then lifting them up into the air, before falling to their back, driving the opponent to the ground on the back of their head/neck. This was popularized by Shingo Takagi as The Last Falconry, now known as The Last of the Dragon.

Half nelson driver

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This was invented by Kensuke Sasaki. The wrestler stands behind an opponent and applies a half nelson hold on their opponent, placing one of their hands against the opponent's neck after hooking the opponent's arm with it. They then scoop the opponent's near leg with their other arm and lift the opponent up, flip the opponent upside down, and then either kneel or sit down, driving the opponent down to the mat on their neck. Another variation has the attacking wrestler apply a pumphandle prior to executing this technique. This variation has been used by Jordynne Grace (Juggernaut Driver; formerly Beast Mode and Plumphandle), Pénta (Pénta Driver), Yoshi-Hashi (Karma), Shingo Takagi (Made in Japan) and several other wrestlers.

Nick Aldis performing the Michinoku driver II on Christopher Daniels
Ayako Hamada performing a Michinoku driver II on Daffney

Michinoku Driver II

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Innovated by Taka Michinoku, and technically known as a sitout scoop slam piledriver. Facing their opponent, the wrestler reaches between their opponent's legs with their right arm and reaches around the opponent's neck from the same side with their left arm. They then lift the opponent up and turn them around so that they are held upside down, as in a scoop slam, before dropping down into a sitout position, driving the opponent down to the mat neck and shoulder first. Many people call it the Michinoku Driver because it is used more often than the original Michinoku Driver. This variation of the move was also used by Vampiro under the name Nail in the Coffin.

Michinoku Driver II-B

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A variation of the Michinoku Driver II in which the wrestler stands behind the opponent, applies an inverted facelock, lifts them upside down, and then drops down to a sitting position, driving the opponent down to the mat between the wrestler's legs upper back first. AEW wrestler Ricochet uses a spinning version of the move called Vertigo.

Samoan driver

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The attacking wrestler drapes an opponent over their shoulders in a fireman's carry position and then takes hold of the opponent and pulls them over their shoulder and down to the mat while falling to a sitting position so that the opponent lands on their upper back and neck between the legs of the wrestler, facing towards them. It is used as finishing moves by wrestlers such as TNA wrestlers Su Yung (Panic Switch), and Ash by Elegance (formerly known as Dana Brooke in WWE), and is also used by Chris Sabin (Cradle Shock, which consists of a cross-legged carry), Santos Escobar (Phantom Driver) and Lyra Valkyria (Nightwing). Former WWE Diva Ivory uses this as a signature move. Shinsuke Nakamura formerly used the move as a finisher as Landslide, only to later change his primary finisher to the Bomaye/Kinshasa, although he stills occasionally uses the move as a signature. A variant of the move, which involves a wrist-clutch, is used by Shingo Takagi as the Last of the Dragon or Last Falconry.

Wheelbarrow driver

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Similar to the wheelbarrow facebuster but instead of dropping their opponent face first, they drop their opponent so that the opponent lands on their upper back and neck between the legs of the wrestler, facing towards them, usually resulting in a pin. Swerve Strickland is well known for using this move as his finisher, using a half-nelson variation dubbed Big Pressure (formerly known as the JML Driver).

Electric chair drop

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The wrestler lifts the opponent on their shoulders in an electric chair sitting position and then falls backwards driving the opponent back-first into the mat. There is also a driver, a facebuster and a suplex variation of the move.

Facebreaker

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A facebreaker is any move in which the wrestler slams their opponent's face against a part of the wrestler's body, usually the knee.

Double knee facebreaker

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This facebreaker involves an attacking wrestler, who is standing face-to-face with an opponent, hooking both hands around the opponent's head and then leaping to bring both knees up to the face of the opponent. The wrestler then falls backwards to the mat, thus forcing the opponent to fall forwards and impact the exposed knees. The move was originated by Phillip Michael Grant, and later popularized by Chris Jericho, who named it the Codebreaker. It would also be used by Asuka, James Storm and Carmelo Hayes as signature moves, with Storm referring to the move as Bottoms Up! and Hayes referring to it as The First 48. Bushi uses a diving variation called MX where he dives from the top rope to hit the double knee facebreaker, as well as Tessa Blanchard, who calls the move Magnum, also as an homage to her stepfather Magnum T.A.. Liv Morgan's 201/Jersey Codebreaker is a variation where she stands 90 degrees from the opponent, and delivers the double knees or shins while she is landing on her back.

Fireman's carry facebreaker

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This move is performed in a manner similar to the TKO, but instead of dropping their opponent face first on the mat, they would be dropped face first on the knee of the wrestler performing the move. Austin Theory is currently using this move as a finisher initially dubbed as the Austin Theory Lift (ATL) during his time in NXT, but now has been dubbed the A-Town Down ever since moving up to the main roster.

Inverted stomp facebreaker

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Also known as the Foot Stunner. The user applies a standing wrist lock on their opponent, then places their foot on the opponent's face and falls backwards, forcing the opponent's face into their foot. This move is used as a finishing move by Gail Kim (Eat Defeat), Chuck Taylor (Sole Food), Xavier Woods (Lost in the Woods), Enzo Amore (JawdonZo), Colt Cabana (Eat The Feet) and Mia Yim (Seoul Food [formerly known as Eat Defeat]).

Knee smash facebreaker

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The move is a standard facebreaker which involves the wrestler facing an opponent and grabbing their by the head or hair and pulling the opponent's face down, dropping it on to the wrestler's knee. Often used by a wrestler to stun an opponent and set them up for another move. Many other facebreakers use the knee to inflict the damage; one variation sees the wrestler apply a standing side headlock, and simultaneously pull the opponent forward and smash the wrestler's knee to the opponent's head. Triple H popularized this move.

Shoulder facebreaker

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Also described as a hangman's facebreaker or an over the shoulder facebreaker, this facebreaker is performed when an attacking wrestler, who is standing in a back to back position with an opponent, reaches back to pull the opponent's head over their shoulder before (while keeping a hold of the opponent's head) spinning round to twist the opponent's head over as they drop down to one knee forcing the opponent face-first into the wrestlers exposed knee in one quick fluid motion.

Single knee facebreaker

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Similar to the double knee facebreaker, but with only one knee. Shawn Spears used this move during his second tenure in the WWE as "Tye Dillinger", calling it Perfect 10. Ricochet uses this move, calling it Recoil and Gregory Helms also uses it

Facebuster

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A facebuster, also known as a faceplant, is any move in which the wrestler forces their opponent's face down to the mat which does not involve a headlock or facelock.

Fireman's carry throws

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A fireman's carry involves the wrestler holding the opponent in place over both shoulders. From this position, various throws can be performed.

Airplane spin

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Ric Flair performing an airplane spin on Greg Valentine

A wrestler lifts the opponent on to their shoulders and spins around and around until they get dizzy and crash to the ground. This move has been made famous notably by WWE Hall of Famer Gorilla Monsoon and NXT's Tyler Bate. This move was the finisher of Mike Rotunda during his time in the WWF in the mid-80s.

Inverted airplane spin

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This move is performed from an Argentine Backbreaker Rack Hold. Occasionally, the person doing the move can do it without their hands on their opponent, typically on the hips. Used by Claudio Castagnoli as the "UFO" ("Unidentified Flying Opponent"),.

Death Valley driver

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Derek Wylde executing a Death Valley driver which will put Scotty O'Shea (in green) through a table.

Also known as the Death Valley Bomb in Japan, this move is performed from a fireman's carry. The wrestler throws the opponent off their shoulders and falls in the direction that the opponent's head is facing, driving the opponent's head or back into the mat. Similar to the fireman's carry takeover, with more of an emphasis on targeting the neck. The Death Valley driver was innovated by Louie Spicolli (although he credited Etsuko Mita as the move's originator). Kazuchika Okada uses this move as Heavy Rain. Buddy Murphy uses a pumphandle lift version called Murphy's Law. Velveteen Dream uses a cartwheel version of the move itself called the Dream Valley Driver. Sean O'Haire used a variation that saw him toss his opponent to the opposite side, landing flat onto their back, called the Widow Maker.

Inverted Death Valley driver

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Also known as the Victoria Driver or Burning Hammer, this move is executed from an Argentine backbreaker rack position. The wrestler then falls sideways, driving the opponent's head to the mat. This is considered an extremely dangerous move, as the opponent's body cannot roll with the natural momentum of the move to absorb the impact. In a cut-throat variation of this driver, instead of holding the body of the opponent, a wrestler holds the far arm of the opponent across the opponent's own throat and maintains it by holding the opponent's wrist before performing the inverted Death Valley driver. The Inverted Death Valley Driver was innovated by Kotetsu Yamamoto in the 1970s but popularized by Kenta Kobashi as the Burning Hammer. Michael Elgin uses a sit-out variation of the Burning Hammer so as not to hurt the head or neck of his opponent allowing them to roll left or right, while Tyler Reks' Burning Hammer saw hers flip the opponent onto their stomach before impact (as in an inverted Fireman's Carry Takeover).

Side Death Valley driver

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A variation between the regular Death Valley driver and the inverted one. The opponent lies on their side on the shoulders of the wrestler, facing either the opposite or the same direction as the wrestler, with the wrestler holding the opponent by the lower leg and either the head or lower arm. The wrestler then falls sideways, driving the opponent down to the mat shoulder and neck first. Claudio Castagnoli used this move a few times and now uses it as his signature move, named the Swissblade.

Fireman's carry drop

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The attacking wrestler first lifts their opponent over their shoulders in a fireman's carry position. The attacking wrestler then pushes the opponent forward and off their body, slamming the opponent face-down onto the mat. The wrestler may land in a kneeling or squatting position. This move was used by Mojo Rawley.

Fireman's carry headlock spinning elbow drop

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The wrestler performs the fireman's carry from a standing position, then tosses the opponent off their shoulders and drops the opponent into a Headlock Elbow Drop. It is currently used by Hirooki Goto as the GTW.

Fireman's carry sitout side powerslam

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The wrestler performs the fireman's carry from a standing position, then swings the opponent around and drops them Sitout side powerslam. The move is used by Hiromu Takahashi as the Dynamite Plunger and JD McDonagh as the Ireland's Call.

Fireman's carry slam

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Wade Barrett preparing to perform a fireman's carry slam (Wasteland) on Randy Orton

The wrestler first drapes an opponent over their shoulders in a fireman's carry position. The wrestler then takes hold of the thigh and arm of the opponent, which are hung over the front side of the wrestler, and leans forward, pulling the opponent over their head and shoulders, slamming them down on their back in front of the wrestler. A rolling fireman's carry slam is a variation that sees the wrestler keep hold of the opponent and run forward before slamming the opponent to the ground, using the momentum to roll over the opponent and is referred to as a Steam Roller, Rolling Hills or Finlay Roll. A variation of this move from corner middle rope exists and has been used by Mr. Kennedy which he called the Green Bay Plunge. A swinging leghook fireman's carry slam is another variation that involves a wrestler holding the wrist of the opponent while putting their head under the opponent's chest. Then after grabbing the opponents nearest leg, the wrestler lifts the opponent's leg outward before swinging forward using the opponent's momentum and slamming them down back-first. A neckbreaker variation also exists where the wrestler lifts the opponent on their shoulders in a fireman's carry, then lifts their opponent over and grabs the head before slamming them down in a neckbreaker slam. Bobby Roode used the neckbreaker version as a finisher, which he calls Roode Bomb. Keith Lee uses a powerslam or jackhammer version as a finisher that he calls the Big Bang Catastrophe.

Another version of this move sees the wrestler using which ever near hand on the opponent's chest to push and throw them upwards while maintaining the hold on the opponent's inside thigh to slam them over to one's side while remaining standing. Diamond Dallas Page used the standing version. This move has also been transitioned into a sidewalk slam, a fall forward side slam, and a chokeslam.

Fireman's carry takeover

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John Cena performs an Attitude Adjustment (standing fireman's carry powerslam) on Kane.

There are two versions of the fireman's carry takeover used in professional wrestling. The first is borrowed from amateur wrestling and sees the wrestler kneel down on one knee and simultaneously grab hold of one of the opponent's thighs with one arm and one of the opponent's arms with their other arm. The wrestler then pulls the opponent onto their shoulders and rises up slightly, using the motion to push the opponent off their shoulders, flipping them to the mat onto their back. The other closely resembles a Death Valley driver. The wrestler performs the fireman's carry from a standing position, then tosses the opponent off their shoulders as they drop down to their knees, causing the opponent to land on their back. The standing variant is a higher impact version of the move because the wrestler falls from a greater height, and is a move closely associated with John Cena through his use of it as his finishing maneuver, which he calls the Attitude Adjustment (formerly the F.U.). Another variation sees the move done from the top or middle rope, used occasionally by Cena as the Super Attitude Adjustment or Avalanche Attitude Adjustment.

Olympic slam

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The wrestler holds the opponent's wrist while putting their head underneath the opponent's chest, grabs the inside of one of the opponents legs, then lifts the opponent up onto their shoulders while falling backwards. This move was popularized by and named in reference to Olympic gold medalist Kurt Angle, who also dubbed it the Angle Slam as an alternate name.[3]

Samoan drop

[edit]
Jillian Hall setting up to perform the Samoan drop on Xandra Bale.

The wrestler drapes an opponent over their shoulders in a fireman's carry position then falls backwards, driving the opponent down to the mat on their back. A one-handed, swinging leg hook, and a twisting version are also possible. This move is most often performed by wrestlers of Samoan heritage (typically from the Anoaʻi family, including The Rock, Rikishi and Roman Reigns (who uses the one-handed variant), as well as a pop-up version used by Umaga, Nia Jax, Jacob Fatu and The Usos). A top rope variant was also regularly performed by Scott Steiner, while Ronda Rousey uses the twisting version as a finisher, calling it Piper's Pit. This move was not only used just by wrestlers of Samoan heritage. Wrestlers such as Terry Gordy and Viscera have used this move as well. Mike Rotunda also used this move as a finisher during his run as VK Wallstreet and I.R.S., calling it the "Stock Market Crash". WWE Legend Tatanka also used this as a finisher, calling it the End of the Trail.

Flapjack

[edit]

Also can be called a pancake slam, this maneuver involves the attacking wrestler lifting their opponent up in a quick motion while holding a single leg or both legs. Usually, the opponent's upper body and head is lifted above a shoulder of the attacker, while the legs have been caught. The attacker then falls on their back, bringing opponent's legs with them. The opponent lands face-first into the mat, with their upper body damaged. The Single-leg version is more commonly used. Former NXT Rookie Percy Watson used a variant in which he holds his opponent in a fireman's carry before transitioning into a flapjack, dubbing this move Percycution.

A hotshot is referred to when a flapjack is performed so that the opponent falls across the ring ropes. The fireman's carry flapjack sees the wrestler lift the opponent on to a fireman's carry, and then throw the upper body of the opponent away from the wrestler while the wrestler falls backwards, driving the opponent down to the mat chest first.

Pop-up

[edit]

Also called a "free-fall" or "push-up flapjack". A pop-up is a flapjack where the attacker, upon facing an opponent rushing towards them, flings the opponent vertically up into the air without holding on to the opponent. The standing attacker or the airborne opponent is free to carry out an attack after the pop-up. Examples of attacks from the standing wrestler include performing a European uppercut to the falling opponent,[4] or catching the opponent and then performing a sitout powerbomb.[5] Examples of attacks from the airborne opponent include executing a dropkick on the standing opponent.[6] Tag teams may also utilize the pop-up by throwing an opponent to a teammate who would execute an attack.

Full nelson

[edit]
Mason Ryan performing a full nelson slam on Curt Hawkins

Full nelson slam

[edit]

In this move, the attacker places their opponent in a full nelson hold and uses it to lift them off the ground. With the opponent in the air, the attacker removes one arm (so their opponent is now in a half nelson) and slams the opponent back-first into the mat. Another similar variation, known as a double chickenwing slam, sees the wrestler apply double chickenwing instead of a full nelson before slamming the opponent. Aron Stevens used the full nelson version.

Inverted full nelson slam

[edit]

Also known as the reverse full nelson slam, this variation sees the attacker tuck and slide their arms under the opponent's armpits and then clutch the opponent's lower jaw. Then, the attacker lifts the opponent before falling forward to slam the opponent back-first into the mat. This move is used as a finisher by Luke Gallows, dubbed the "Gallows Pole"

Half nelson slam

[edit]

The wrestler stands behind, slightly to one side of and facing the opponent. The wrestler reaches under one of the opponent's arms with their corresponding arm and places the palm of their hand on the back of the opponent's neck, thereby forcing the arm of the opponent up into the air to complete the half nelson. The wrestler then lifts the opponent up, turns, and falls forward, slamming the opponent back-first into the mat.

Giant swing

[edit]
Cesaro performing the Cesaro Swing (giant swing) on Sin Cara

A giant swing starts with an opponent lying on the mat, face up, and the wrestler at the opponent's feet. The wrestler takes the opponent's legs up under their arms, similar to the setup for a catapult, but instead pivots, spinning around to lift the opponent off the mat. The attacker may release the opponent to send them flying, or simply slow until the back of the opponent returns to the ground. AEW's Claudio Castagnoli uses the giant swing as a signature move.

Guillotine drop

[edit]

This move sees the attacking wrestler lift the opponent in a standing guillotine choke and drop the opponent to the mat, lower spine first. This causes an effect to the whole spine and neck. A variation involving a standing double underhook rather than the guillotine choke also exists. It is used by Angel Garza as the Wing Clipper.

Gorilla press

[edit]

Also known as a Military press, the attack sees the wrestler lift their opponent up above their head with an overhead press as used in weight lifting. The attacking wrestler may repeatedly press the opponent overhead to show their strength prior to dropping them.

Beth Phoenix setting up a military press drop on Eve Torres

Gorilla press drop

[edit]

The wrestler lifts their opponent up over their head with arms fully extended, then drops the opponent down face-first in front or back. This was the finisher for wrestlers Chyna and the Ultimate Warrior. It is a popular technique for very large wrestlers because it emphasizes their height and power.

Gorilla press slam

[edit]

This slam sees a wrestler first lift their opponent up over their head with arms fully extended, before lowering the arm under the head of the opponent so that the opponent falls to that side while flipping over and landing on their back. This move is also called the military press slam. Some wrestlers perform this maneuver by doing a lifting motion up and down or may hold the opponent in place before dropping them as a way to emphasize their raw strength. The British Bulldog used it regularly as signature move.

Another variation of this move called a Deadly Driver sees the attacker performing this move to an opponent who is positioned on the top rope by the attacker themselves or as a counter to the opponent attempting a diving attack. This move can be done in the standard fashion or in a smooth throwing motion. A double-team version of this move also exists.

Gutbuster

[edit]

A gutbuster is any move in which the wrestler lifts their opponent up and jumps or drops them so that the opponent's stomach impacts against part of the wrestler's body, usually the knee. A basic gutbuster is often called a stomach breaker and is essentially the same as a backbreaker but with the opponent facing the opposite direction. This similarity with backbreakers is reflected in almost every gutbuster variation, which if inverted would become backbreakers and vice versa.

Elevated gutbuster

[edit]
Roderick Strong in the last moments of executing an elevated gutbuster on Davey Richards. This was transitioned from a fireman's carry, a common version of the gutbuster.

This variation of a gutbuster sees an opponent first elevated into a high lifting transition hold before being dropped down for a gutbuster. Taiji Ishimori uses a Single underhook version of the move as his finisher calling it the Bloody Cross while T. J. Perkins uses a double chickenwing version.

Fireman's carry gutbuster

[edit]

This is the most common version of the elevated gutbuster and sees the attacking wrestler first lift the opponent up across their shoulders; a position known as a fireman's carry, before then dropping down to one knee while simultaneously elevating the opponent over their head forcing them to drop down and impact their exposed knee. Wrestler Kaitlyn uses this as one of her signature move. A slight variation of this uses a modified double knee gutbuster and sees the attacking wrestler drop down to their back while bringing both knees up for the opponent to land on. Fred Rosser used the move as his finisher calling it Gut Check. The move was popularized by Roderick Strong, who calls it Death By Roderick.

Gutbuster drop

[edit]

An elevated gutbuster in which an attacking wrestler would lift an opponent up, stomach-first, across one of their shoulders before dropping down to their knees forcing the opponent's stomach to impact on the wrestler's shoulder.

Gorilla press gutbuster

[edit]

A maneuver in which the user drops the opponent directly in front of them while putting their own knee out in front of them. The victim lands stomach or ribs first on the knee, made more impactful by the long drop. the double-knee variant was popularized by Xavier Woods.

Rib breaker

[edit]

A rib breaker is a version of a gutbuster that involves the wrestler scooping the opponent up by reaching between the legs of the opponent with one arm and reaching around their back from the same side with their other arm. The wrestler then lifts their opponent up so they are horizontal across the wrestler's body. From here the wrestler drops down to one knee, forcing the opponent to drop stomach/rib-first against the wrestler's raised knee.

Headlock takedown

[edit]

Also known as a spinning headlock takedown and side headlock takeover. This throw starts with the wrestler catching the opponent in a side headlock. The wrestler turns and twists their body so their back is horizontally against the opponent's torso. The wrestler turns to one side (depending on which hand is used to catch the opponent) while still catching the opponent with the headlock. Therefore, the opponent is slammed back-first into the mat after being almost "forcibly flipped" over the wrestler's back (as the wrestler turns to their sides).

Headlock driver

[edit]
Dean Ambrose setting up his finisher Dirty Deeds (headlock driver) on The Miz.

Similar to the snapmare driver, the wrestler applies a side headlock before dropping down on either their chest or their knees and driving the opponent's head down to the mat forehead first, with the side headlock usually using whichever near leg on the same side the opponent is standing on, lifting it upwards and swinging behind them to power the throw and drives the opponent's head down to the mat forehead first. The wrestling may also sweep one or both the opponent's legs with their own leg for greater impact.. This was the original version of the finisher used by Jon Moxley (formerly as Dean Ambrose), known as Dirty Deeds before reusing as a regular move (Paradigm Shift) in 2019. Ethan Carter III (EC3) uses this as his finisher and he calls it the One Percenter. WWE superstar Bayley utilized this move during her indie days (then known as Davina Rose) dubbing it the Rose Plant. She started using a variant of this move where she hooks the opponents arm around the leg and planting the opponent in the canvas. She started using this move again in late 2019.

Headscissors takedown

[edit]
Flying Scissors to the neck, executed during the 2004 "Gio-To-Festival" in Minden, Germany.

Known as tijeras (scissors) in Lucha Libre. This move is performed with the wrestler's legs scissored around the opponent's head, dragging the opponent into a forced forward somersault as the wrestler falls to the mat.[7] It is often erroneously called the Hurricanrana in American wrestling, but due to the lack of a double leg cradle pinning combination, it is a standard headscissors takedown.

Rey Mysterio uses a standing spinning version of this move which sees him, while standing behind a standing opponent facing the same direction, jump, placing himself on both the opponents shoulders, spinning around 180 degrees, and executing a backflip to land chest first to flip the opponent onto their back. This version is known as the Mysterio Rana. He was also known to transition into this move from a cartwheel to then jump onto the opponent's shoulders in his earlier career. It's possible to stay seated to reach back to hook the opponents legs to attempt to score a pinfall.

Handstand headscissors takedown

[edit]

This move is performed when the attacking wrestler, in a handstand position, scissors their legs around the opponent's head and follows with the headscissors takedown. There are multiple variations of the handstand headscissors takedown. For example, in one variation, the attacking wrestler rolls forward after scissoring their legs around their opponent's head; in another, the opponent rolls backwards into a handstand position to follow with a headscissors and the takedown. It is commonly used by Kalisto and Cedric Alexander. This move was also popularized by Trish Stratus, who used it as a signature move, called the Stratusphere.

Tilt-a-whirl headscissors takedown

[edit]

This move is actually a counter. Usually, the opponent grabs the attacking wrestler (as if they were performing a sidewalk slam), the attacking counters and swings their body upwards, then scissors their legs around the opponent's head, spins around the opponent's body, and swings their legs downwards, resulting in the headscissors takedown.

Hurricanrana

[edit]

Though it is commonly referred to as a Hurricanrana, the original Spanish name for this maneuver is the Huracánrana (English: Hurricane frog hold). The name was taken from its innovator, Mexican luchador Huracán Ramírez. Sometimes referred to as a reverse victory roll, it is a headscissors takedown (tijeras) that ends in a double leg cradle pinning hold.[8][9] A rana is any double-leg cradle. Another notable user of the move is French wrestler René Ben Chemoul [fr], who was documented on tape as using the move as early as 1950; his version of the maneuver, which would be more directed on a head slam, would become the catalyst to the creation of what is now known as the Frankensteiner. A somersault version also exists, called the Dragonrana.

Frankensteiner

[edit]

This move is derived from the original huracánrana. It is described as a headscissors take down that is performed against a running opponent. The wrestler jumps on the shoulders of the charging opponent and performs a back flip. The move varies from the hurricanrana as when the opponent lands – they would land on their head as opposed to their back.[10]

The move was innovated by René Ben Chemoul [fr]. It was named the Frankensteiner by Scott Steiner, who used it as a finishing move.[11] The move also has a variation where the opponent is sitting on the top rope, that variation is also referred to as a Frankensteiner that Scott has used as a finisher also.

Another variation of the Frankensteiner sees a grounded wrestler first "kip-up" on to a standing opponent's shoulders, this is where a wrestler rolls on to the back of their shoulders bringing their legs up and kicking forward to build momentum to lift themselves off the floor and on to the standing opponent.

Hurricanrana driver

[edit]

The wrestler performs a headscissors takedown to a seated or kneeling opponent, driving them head first into the mat. Ruby Soho and Kalisto use this move in some of their matches.[12][13][14][15]

Reverse Frankensteiner
[edit]

Also known as an inverted frankensteiner or a poison rana, this move uses a standard Frankensteiner, but instead of performing the move facing the opponent's face, it is done facing the back of the opponent.

Rope-aided hurricanrana

[edit]
Mickie James performing a rope-aided hurricanrana on Katie Lea Burchill

This maneuver is also known as swinging hurricanrana. The attacking wrestler, beginning on the corner, uses the top ropes for leverage to scissor their legs around the opponent (usually an oncoming opponent) and swings to perform the hurricanrana. This hurricanrana variation was popularized by Mickie James, as she named the move herself Mick-a-rana.

Hip toss

[edit]

The wrestler stands next to the opponent with both facing the same direction, and the wrestler hooks their closest arm underneath and behind the opponent's closest armpit. The wrestler then quickly lifts the opponent up with that arm and throws them forward, which would lead the wrestler to flip the opponent on to their back to end the move. There is also a sitout variation, in which the wrestler performs a normal hip toss and then lands in a seated position.

Iconoclasm

[edit]

This top rope flipping slam sees a wrestler stand under an opponent, who is situated on the top turnbuckle, turn their back to this opponent while taking hold of the opponent's arms from below, often holding underneath the opponent's arm pits. The wrestler would then throw the opponent forward while falling to a seated position, flipping the opponent over in midair, and slamming them down to the mat back first. CIMA uses both this move as well as a straight jacket version called the Goriconoslasm.[16][17] The wrestler may fall forward, kneel down, or remain standing while executing this move also.

Lance Archer, while using the original move as well, also uses a variation of this move referring to both called the Blackout. From a standing position, he reaches between an opponent's legs with his stronger arm and reaches around their back from the same side with their weaker arm before then lifting the opponent up over his shoulder. He then lifts the opponent holding underneath their armpits to execute a kneeling version of the slam.

Irish whip

[edit]
Gene Snitsky Irish whips Brian Kendrick to the turnbuckle.

Also called a hammer throw. A move in which the wrestler grabs one of their opponent's arms and spins, swinging the opponent into an obstacle such as the ring ropes, a turnbuckle, or the stairs leading into the ring. An Irish whip into the ring ropes is usually used to set the opponent up for another technique as he/she bounces off. An Irish whip into the turnbuckles usually sees the opponent remain in the corner, allowing a follow-up attack from the wrestler; the opponent may remain standing or slump to the ground, usually in a seated position, which will vary the attack. One occasional use of the Irish whip is to try to "hit for the cycle" by whipping one's opponent into each corner in turn. Some professional wrestlers can use this move as an advantage by running up the turnbuckle and using a high flying move.

The move acquired its name due to its association with Irish wrestler Danno O'Mahony.

Jawbreaker

[edit]

A jawbreaker is any move in which the wrestler slams their opponent's jaw against a part of the wrestler's body, usually their knee, head or shoulder.

Shoulder jawbreaker

[edit]

Also known as an inverted stunner, the wrestler stands facing the opponent, places their shoulder under the jaw of the opponent and holds the opponent in place before falling into a sitting or kneeling position, driving the jaw of the opponent into their shoulder.

Sitout jawbreaker

[edit]

A standard jawbreaker is seen when a wrestler (either stands facing or not facing opponent) places their head under the jaw of the opponent and holds the opponent in place before falling into a sitting or kneeling position, driving the jaw of the opponent into the top of their head. Sometimes it is also used to counter a headlock by the opponent.

Stunner

[edit]

A stunner is a three-quarter facelock jawbreaker. It involves an attacking wrestler applying a three-quarter facelock (reaching behind the head of an opponent, thus pulling the opponent's jaw above the wrestler's shoulder) before falling to a seated position and forcing the defender's jaw to drop down on the shoulder of the attacking wrestler. This move was innovated by Michael Hayes and popularized by Stone Cold Steve Austin.

Mat slam

[edit]

A mat slam is any move in which the wrestler forces the back of the opponent's head into the mat which does not involve a headlock or facelock. If these are used then the move is considered a type of DDT (if the wrestler falls backwards) or bulldog. Some neckbreakers also slam the back of the opponent's head into the mat, but the attacker is back-to-back with the attack's receiver. A standard mat slam involves the wrestler grabbing hold of the opponent by their head or hair and pulling back, forcing the back of the opponent's head into the mat.

Belly-to-back inverted mat slam

[edit]
Styles preparing to perform the Styles Clash on Matt Hardy.
Styles performing the Styles Clash on Matt Hardy.

From a position in which the opponent is bent forward against the wrestler's midsection, the wrestler grabs around their opponent's midsection and lifts so that the opponent is held upside down, facing in the same direction as the wrestler. The wrestler then hooks both arms of the opponent using their legs, and then falls forward planting the opponent's body into the mat face-first. The move often sees the wrestler keep their legs hooked under the arms of the opponent after hitting the move, using the underhooking technique to turn the opponent on to their back into a Rana style pinning position. This move was innovated by Col. DeBeers and was made famous by A.J. Styles, who refers to the move as the Styles Clash. Styles performs the maneuver with a variation, as seen in the photos to the right: he does not hook the opponent's arms before performing the slam, but takes two steps and moves his legs in front of the opponent's arms enabling him to use his legs to cover the shoulders for a pin. This variant is later utilized by former WWE Diva Michelle McCool, who referred to the move as the Faith Breaker. Claudio Castagnoli uses a variation called the Neutralizer where he grapevines the opponents leg with his arm similar to a cradle piledriver. El Phantasmo uses a cross-arm Variation called CRII, where he lifts his opponent up and he lets him fall face first into the mat.

Cobra clutch mat slam

[edit]

In this standing version of the normal mat slam, the wrestler stands behind the opponent and uses one arm to place the opponent in a half nelson. The wrestler then uses their free arm to pull the opponent's arm (the same arm to which the wrestler is applying the half nelson) across the face of the opponent. The wrestler then locks their hand to their wrist behind the opponent's neck. The wrestler then pulls back, releasing the hold to force the back of the opponent's head into the mat. Drew McIntyre used a variation of the move earlier in his career in which after placing and holding the opponent in the cobra clutch, saw him walk the opponent backwards to bounce them of the ropes forcing them forwards to then slam them on the back of their head for greater force.

Double underhook mat slam

[edit]

The wrestler faces an opponent, overhooks both arms, and then pivots 180° so that the opponent is facing upwards with their head pressed against the upper back or under an arm of the wrestler. The wrestler then drops down to their back, driving the back of the opponent's head and neck into the mat.

Rear mat slam

[edit]

As well known as a falling rear mat slam. This move starts with the wrestler standing behind the opponent, and then takes hold of the front of the neck or head, and then falls onto their stomach, driving the opponent's back of the head into the mat first. Another variation of this move sees the wrestler performing a backflip from the top turnbuckle, and as they float over the opponent, they quickly grab the opponent's head or neck with both hands and falls on their stomach to complete the rear mat slam.

Sitout rear mat slam

[edit]

The wrestler takes hold of their opponent from behind, holding them by either their hair or head. The wrestler then jumps backwards and falls to a sitting position, driving the back of the opponent's head into the ground between their legs. This was a signature move for Edge, which he called Edge-O-Matic. A variation sees the wrestler run up the corner turnbuckles, perform a backflip over a chasing opponent, and at the same time grab hold of the opponents head and perform the slam. Dustin Rhodes during his time in the WWF/WWE as Goldust used this move dubbing it "Oscar".

Sleeper slam

[edit]

This slamming version of a headlock takedown sees a wrestler apply a sleeper hold to the opponent, then falls face first to the ground, pulling the opponent down with them and driving the back and head of the opponent into the ground. Heath uses a jumping variation of the move. A lifting version also exists, where a wrestler applies a sleeper hold to the opponent, lifts the opponent up and slams the opponent into the ground.

Slingblade

[edit]

A spinning sit-out variation of a sleeper slam that makes use of the wrestler's own momentum. The attacking wrestler starts by running and extending their arm like a lariat takedown but instead performs a revolution around the opponent's shoulders. This causes the wrestler to switch to their opposite arm before taking their opponent down to the mat while simultaneously landing in a seated position. Another variation involves the wrestler leaping off the ropes before performing the movement. The move is used by Hiroshi Tanahashi, with some commentators even calling the move a 'Tanahashi' when anybody performs it due to how associated it is with him. Other users include Pentagon Jr., JTG, Seth Rollins, Masato Yoshino and Finn Bálor, with JTG calling it Da Shout Out and Bálor using it as the first move in a signature three-move combo to set up for his finisher. Richie Steamboat even used this as a finisher move during his time in FCW and NXT.

Tilt-a-whirl mat slam

[edit]

As the name suggests the wrestler would first use a tilt-a-whirl to raise the opponent into a belly-to-belly (piledriver) position, from here the wrestler would fall forward planting the opponent into the mat back-first. Matt Riddle uses a cradle variant dubbed the Bro-Derek.

Monkey flip

[edit]

This move, often referred to as a monkey climb in British wrestling, involves an attacking wrestler, who is standing face-to-face with an opponent, hooking both hands around the opponent's head before then bringing up both legs so that they place their feet on the hips/waist of the opponent, making the head hold and the wrestlers' sense of balance the only things allowing both wrestlers to be in an upright position. At this point, the attacking wrestler shifts their weight so that they fall backwards to the mat while forcing the opponent to fall forwards with them, only to have the attacking wrestler push up with their legs, forcing the opponent to flip forward, over the wrestler's head and onto their back. This move is most commonly performed out of a ring corner. This is due to it being easier to climb on an opponent while in the corner as balance is easily retained, and it allows the maximum length of ring to propel the opponent across.

Muscle buster

[edit]
Cody Rhodes performing a Muscle Buster on Seth Rollins.

Invented by Kodo Fuyuki and inspired by Chamaco Valaguez's La Valagueza submission maneuver,[18] this move is performed when an attacking wrestler hooks both an opponent's legs with their arms and tucks their head in next to the opponent's before standing and lifting the opponent up, so that they are upside down with their head resting on the attacking wrestler's shoulder. From this position, the attacking wrestler jumps up and drops down to the mat, driving the opponent shoulder first down to the mat with the opponent's neck impacting both the wrestler's shoulder and the mat. This can see the wrestler pick up an opponent who is standing but bent forward, but it often begins with an opponent who is sitting on an elevated position, usually on a top turnbuckle, because it is easier to hook and lift an opponent when they are positioned higher than the wrestler. The move also has a neckbreaker variation, which focuses more of the attack on the opponent's neck. This move originated from the Kinnikuman manga, originally known as the Kinniku Buster (kinniku being Japanese for "muscle"), with the move ending with the opponent crashing down on their neck against the attacking wrestler's shoulder. This variation is currently used by Jungle Kyona as the “Jungle Buster”.

Popularized by Samoa Joe as one of his finishers (he uses an electric chair version falling backwards, sparing the opponent's neck) until 2015 when he accidentally injured Tyson Kidd, which ended his wrestling career and almost paralyzed him. He would re-use the move in 2022 at AEW. Ryback uses a different variation as his finisher, called Shell Shocked, where he lifts the opponent into position with a fisherman's suplex and only hooks one of the opponent's legs before running forward and dropping them off his shoulders, in a Samoan drop-esque motion.

Neckbreaker

[edit]

There are two general categories of neckbreaker, which are related only in that they attack the opponent's neck. One category of neckbreaker is the type of move in which the wrestler slams their opponent's neck against a part of the wrestler's body, usually their knee, head or shoulder. A neckbreaker slam is another technique in which the wrestler throws their opponent to the ground by twisting the opponent's neck.

Cutter

[edit]

A cutter is a three-quarter facelock neckbreaker. This move sees an attacking wrestler, while facing away from the opponent, apply a three-quarter facelock (reaching back and grabbing the head of the opponent, thus pulling the opponent's jaw above the wrestler's shoulder) before falling backwards (sometimes after running forwards first) to force the opponent face-first to the mat below. The most notable users of this move are Diamond Dallas Page, referring to the move as the diamond cutter, and Randy Orton, best known as the RKO.

Piledriver

[edit]

Whilst giving the illusions of slamming the opponent's head into the ground, a properly executed standard piledriver has the opponent's head barely touching the ground, if at all. The technique is said to have been innovated by Wild Bill Longson.

Powerbomb

[edit]

A powerbomb is a move in which an opponent is lifted into the air and then slammed down back-first to the mat.[19] The standard powerbomb sees the opponent placed in a standing headscissors position (bent forward with their head placed between the wrestler's thighs), lifted on the wrestler's shoulders, and slammed back-first down to the mat. The move was innovated by Lou Thesz. This move was used as a finisher for wrestlers such as Batista, The Undertaker, Kevin Nash, Chyna, JBL, among others.

Powerslam

[edit]

A powerslam is any slam in which the wrestler performing the technique falls face-down on top of their opponent. The use of the term "powerslam" usually refers to the front powerslam and the scoop powerslam.

Pumphandle

[edit]

Pumphandle drop

[edit]

Also known as a tilt slam or a pumphandle falling powerslam, the wrestler stands behind their opponent and bends them forward. One of the opponent's arms is pulled back between their legs and held, while the other arm is hooked. The wrestler then lifts their opponent up until they are parallel with the wrestler's chest, then throws themselves forward, driving the back of the opponent into the ground with the weight of the wrestler atop them.

Pumphandle fallaway slam

[edit]

The wrestler hooks up the opponent as a pumphandle slam, then the wrestler goes through the body movements for the fallaway slam, executing the release of the opponent as they enter the apex of the throw, instead of at or just past the apex of the throw like when one executes the fallaway slam. Usually the opponent then adds effort to gain extra rotations in the air for effect or to ensure that they do not take the bump on their side.

Pumphandle slam

[edit]

The wrestler stands behind their opponent and bends them forward. One of the opponent's arms is pulled back between their legs and held, while the other arm is hooked (pumphandle). The attacking wrestler uses the hold to lift the opponent up over their shoulder, while over the shoulder the attacking wrestler would fall forward to slam the opponent against the mat back-first, normally the type of powerslam delivered is a front powerslam. The move can also see other variations of a powerslam used, particularly into a sidewalk slam position. Rhea Ripley uses the move itself or a powerbomb version called Riptide.

Sitout pumphandle slam

[edit]

The wrestler lifts the opponent as with a pumphandle slam, but falls to a sitting position and drops the opponent between their legs as with a michinoku driver II. Kenta Kobashi innovated the move and used it as a finisher, however his looked more like a sitout powerbomb but with a pumphandle; thus, he called this move the Kentucky Bomb.

Scoop

[edit]

Body slam

[edit]

A body slam is any move in which a wrestler picks up and throws an opponent down to the ground limp back-first. When used by itself, this term generally refers to a very basic variant for a scoop slam.

Scoop slam

[edit]
Ivory setting up to perform a scoop slam on Trish Stratus

Facing their opponent, the wrestler reaches between their opponent's legs with their stronger arm and reaches around their back from the same side with their weaker arm. The wrestler lifts their opponent up and turns them upside down so that they are held up by the wrestler's arm cradling their back. The wrestler then throws the opponent to the ground so that they land on their back. The opponent will often assist the slammer by placing their arm on the slammer's thigh.

Shin breaker

[edit]

The wrestler faces the opponent from the side, slightly behind, then tucks their head under the opponent's near armpit and grabs hold of the opponent's near leg, bending it fully. The wrestler then lifts the opponent up and slams them downwards, driving one of the wrestler's knees into the opponent's bent leg. This move is used to weaken the leg for a submission manoeuvre.[citation needed]

Shoulderbreaker

[edit]

A shoulderbreaker is any move in which the wrestler slams their opponent's shoulder against any part of the wrestler's body, usually the shin or knee. This move is normally used to weaken the arm for a submission maneuver or to make it more difficult for the opponent to kick out of a possible pinfall attempt. The most common version sees the wrestler turn the opponent upside-down and drop the opponent shoulder-first on the wrestler's knee. Usually the opponent is held over the wrestler's shoulder in either a powerslam position, or less commonly an inverted powerslam position for what is sometimes called the inverted shoulderbreaker.

Snake eyes

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This move sees the standing wrestler place the opponent stomach down on their shoulder so that they both are facing the same direction. The attacking wrestler then drops the opponent face-first into the turnbuckle or ropes. This move is most commonly used by The Undertaker. Johnny Gargano uses a variation called Lawn Dart, where he throws the opponent face first onto the second turnbuckle.

Snapmare

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With the wrestler's back to the opponent, they apply a three-quarter facelock (also known as a cravate) and, either kneeling down or bending over, pulls the opponent forward, flipping them over their shoulder down to the mat, back first. Another variation, sometimes called a "flying mare", sees the wrestler pull the opponent by the hair over their shoulder before slamming them to the mat.[7]

Rolling snapmare

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This variation of the snapmare sees the application of the facelock with the takeover to the opponent, but rather than the wrestler remaining stationary, they roll with the opponent's momentum.

Snapmare driver

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A high impact variation of the snapmare where instead of flipping the opponent over, the wrestler drops down either on their chest or down on their knees, usually using whichever near leg on the same side the opponent is standing on, lifting it upwards and swinging behind them to power the throw and drives the opponent's head down to the mat forehead first, with the three-quarter facelock much like a cutter. The wrestling may also sweep one or both the opponent's legs with their own leg for greater impact. An inverted variation of this move also exists. However, the wrestler holds their opponent's head in a back to back position, before performing the move. Adam Rose used this as the Party Foul. Melina used this move after her return in 2010, most notably to win her second Diva's championship at SummerSlam 2010. Madcap Moss uses a reverse neckbreaker like variation of this move, calling it the Punchline. LA Knight uses this as the Blunt Force Trauma (BFT).

Snapmare neckbreaker

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A high impact combination of the snapmare and the falling neckbreaker. With the wrestler's back to the opponent, they apply a three-quarter facelock and then pulls the opponent forward, flipping them over their shoulder, before turning to land in a neckbreaker. Tyson Kidd briefly used this as his finisher in 2009.

Spinebuster

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A spinebuster is a move in which the wrestler starts by facing their opponent and then grabs them around their waist, lifts them up, and then either slams the opponent down while landing on top of them, or tosses them forward on to their back. It was used as a signature and a finisher by wrestlers such as The Rock, Batista, Ron Simmons, Arn Anderson among others.

Spinning crucifix toss

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The attacker lifts the opponent above their back with the opponent's arm spread out in a crucifix hold, spins around multiple times in place, pushes the opponent up, and moves out of the way, dropping the opponent down to the mat. Kevin Nash used this move as a finisher during his time as his character Oz and called it the Oz Twister. James Storm currently uses this move calling it the Eye Of The Storm.

Suplex

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A suplex is the same as the amateur suplex, a throw which involves arching/bridging either overhead or twisting to the side, so the opponent is slammed to the mat back-first. Though there are many variations, the term suplex (without qualifiers) can also refer specifically to the vertical suplex, Made famous by Terence Travis from Mossley Hill.

Trips and sweeps

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Armbar legsweep

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The wrestler stands beside their opponent to either side, crosses their arm against the opponent's opposite hand in front of it (as the wrestler stands beside the opponent, and uses for example their right arm, they would cross it against the opponent's left arm, and vice versa). From this point, the wrestler places their leg in front of the opponent's opposite leg, and falls backwards, causing the opponent's arm to be slammed into the mat.

Double leg takedown

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A tackle where the intention is to force the opponent down on their back by tackling them at their waist or upper thighs. This usually involves grabbing the opponent with both arms around the opponent's legs while keeping the chest close to the opponent, and using this position to force the opponent to the floor .

Dragon screw legwhip

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Dragon screw legwhip (or simply Dragon screw) is a legwhip where a wrestler grabs an opponent's leg and holds it parallel to the mat while they are facing each other. The attacking wrestler then spins the leg inwards causing the opponent to fall off balance and twist in the air bringing them to the ground in a turning motion. Although it is usually attributed to Tatsumi Fujinami, the move was actually created by his trainer Karl Gotch. The move has been used significantly by numerous professional wrestlers, many of them Japanese; a more famous case of a user of the move is Hiroshi Tanahashi, who borrowed it from Fujinami (an idol of Tanahashi).

Drop toe-hold

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The wrestler falls to the ground, placing one foot at the front of the opponent's ankle and the other in the back of the calf. This causes the opponent to fall face first into the ground. It is sometimes used illegally to force an opponent into a chair or other elevated weapon; it is also used occasionally to force an opponent face-first into the turnbuckles, stunning them momentarily. This move can also be used by an already grounded wrestler as a counter to a standing or charging opponent.

Half nelson legsweep

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The wrestler stands behind, slightly to one side of and facing the opponent. The wrestler reaches under one of the opponent's arms with their corresponding arm and places the palm of their hand on the neck of the opponent, thereby forcing the arm of the opponent up into the air (the half nelson). The wrestler then uses their other arm to pull the opponent's other arm behind the opponent's head, so both opponent's arms are pinned. The wrestler then hooks the opponent's near leg and throws themselves backwards, driving the opponent back-first to the ground. This was the finisher of Byron Saxton, dubbed "Saxonation".

Russian legsweep

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Damien Sandow performing a Russian Legsweep on Rob Van Dam.

Also known as a side Russian legsweep and called a neckbreaker by Gorilla Monsoon. This is a move in which a wrestler stands side-to-side and slightly behind with the opponent, facing in the same direction, and reaches behind the opponent's back to hook the opponent's head with the other hand extending the opponent's nearest arm, then while hooking the opponent's leg the wrestler falls backward, pulling the opponent to the mat back-first. There is also a jumping variation of the Russian legsweep, which is similar in execution to that of the leaping flatliner and different modified versions of the move.

Cobra clutch legsweep

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Also called a Cobra clutch buster, the wrestler places their opponent in a cobra clutch, then stands to one side of the opponent, hooks their nearest foot behind their opponent's nearest leg and throws themselves backwards, forcing their opponent backwards to the ground. Ted DiBiase and his son Ted DiBiase Jr have used this move as a finisher. Corporal Robinson uses this move as a finisher calling it the Boot Camp.

Forward Russian legsweep

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The wrestler grabs the opponent by the arm and goes behind him while holding the arm and hooking the opponent's leg. The wrestler then bends the opponent's back and slams their face to the mat. The forward Russian legsweep was popularized by Jeff Jarrett, who began using the maneuver as a finisher in the late 1990s and calls it The Stroke.

Full nelson forward Russian legsweep
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A slight variation of the forward Russian legsweep, the wrestler approaches the opponent from behind and places them in a full nelson before hooking their leg. The wrestler then falls forward in an almost identical way, slamming the opponent face-first into the mat. The most notable practitioner of this variant is The Miz, who calls the move the Skull Crushing Finale and has used it as a finisher since August 2009.

Three-quarter facelock Russian legsweep

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The wrestler stands in front of, facing away from and slightly to one side of the opponent. The wrestler then reaches behind themselves and applies a three-quarter facelock to the opponent. The wrestler then hooks the opponent's near leg with their own near leg and sweeps the leg away, simultaneously throwing themselves backwards, thus driving the opponent to the ground (with the weight of the wrestler on top of them) and wrenching the opponent's neck. Former WCW wrestler Lash Leroux is best known for using this move as a finisher which he calls the Whiplash '00.

Schoolboy sweep

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This technique gives its name to the schoolboy bump and is performed when the wrestler gets behind their opponent, drops down to their knees, puts their hand through the opponent's legs, hooking the opponent's hips, and pulls backwards. This pulls the opponent backwards, with straightened and trapped legs, forcing the opponent to fall backwards, over the wrestler, flat on the floor.

STO

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The STO (Space Tornado Ogawa) is a sweep in which a wrestler wraps one arm across the chest of their opponent and sweeps the opponent's leg with their own leg to slam the other wrestler back-first. This can also be a lariat-legsweep combination to slam down the opponent. This is also a move used often in Judo and in other grappling martial arts. This maneuver can be used running and standing. Innovated by Black Gordman during the 70s and 80s before utilized by Japanese silver medalist judoka Naoya Ogawa. Evil currently used this as Evil. Shad Gaspard used a high impact variant of this move called Thugnificent. Johnny Gargano uses a Full Nelson and reverse variant of this move called Hurts Donut (formerly referred to as Uniquely You).

Arm trap cradle somersault STO

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The wrestler faces the opponent, ducks under the opponent's arm closest to them, wraps their closest arm around the waist of the opponent and then quickly performs a forward flip whilst sweeping the opponent's leg, thereby dropping the opponent on their back, ending up in a cradle pin.[20][21][22] This move was innovated by Madoka as Ranhei. It was also made popular by Kofi Kingston, who calls it the S.O.S.

Chokehold STO

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Shelly Martinez executing the FTS (chokehold STO) on Alexia Nicole.

This move is an STO where the wrestler would first apply a chokehold with one hand before sweeping their opponent's leg. Alexa Bliss uses this as a signature move, normally followed by her rope-assisted repeated stomps.

Front facelock STO

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This variation of the STO sees the attacker apply a front facelock on their opponent and sweeping the opponent's leg and falling forward, with the opponent landing on their neck and shoulders. A pinning variation also exists where the attacker keeps the front facelock applied as they cover the opponent slightly.

Flatliner

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Well known as the complete shot or reverse STO, this is a move in which a wrestler stands side-to-side and slightly behind with the opponent, facing in the opposite direction, and reaches around the opponent's torso with one arm across the opponent's chest with their hand holding on to their other hand which is behind the opponent's head. The wrestler then falls backward, driving the opponent into the mat face-first. The wrestler can also cross their leg between the opponent's leg before hitting the reverse STO, with this slight variation being known as a leg hook reverse STO.It was innovated by Gedo.

Arm trap flatliner

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This move sees the wrestler stand side to side with the opponent, tucking their arm behind the opponent's head at a 90° angle and putting their near leg in front of the opponent's closest leg. The wrestler then pushes the opponent forward and quickly pulls them backward, with the attacker landing on their back whilst the opponent falls face first.

Elevated flatliner

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In this variation the wrestler first locks the opponent in a standard flatliner lock, then sees the opponent and put their ankles on some elevated surface (usually top rope, or turnbuckle, or barricade outside of the ring), the wrestler then falls backward, driving the opponent face-first into the mat. Another variation of this move including the opponent standing on the apron outside of the ring, and attacking wrestler first grabs opponent and pulls them over the top rope until opponent's ankles match the ropes, the attacking wrestler then falls backward, driving the opponent face-first into the mat. Tommaso Ciampa used this move at NXT TakeOver: Toronto in a match against Scott Dawson.

Gory Special swinging flatliner

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The wrestler locks a back-to-back backbreaker submission in (better known as the Gory Special) and then drops the opponent into a Swinging flatliner. Popularized by Brian Cage as Weapon X.

Leaping flatliner

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A variation of the flatliner, this move see the wrestler jumping up towards the side of an opponent and grabbing their head before falling backwards onto the mat, planting the opponent face-first. The move has been used by various professional wrestlers like Mil Muertes (Straight to Hell), Shelton Benjamin (Paydirt), Montel Vontavious Porter (the Play of the Day/305) and R-Truth (Lil' Jimmy/the Lie Detector). Liv Morgan uses this move as her finisher when her opponent is standing with the support of the ring ropes which she calls the ObLIVion.

Lifting flatliner

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A slight variation of the flatliner, this move sees a wrestler perform exactly the same set-up but instead of falling backward immediately, they lift the opponent before dropping them face-first into the mat, making it similar to a flapjack. It was innovated by Chris Kanyon. Baron Corbin's finisher is a variant of this move called the End of Days while Angelina Love uses the move as a signature (previously a finisher) called Lights Out. Another variation of this move involves using a pumphandle lift where the wrestler sets the opponent up for a pumphandle hold and then lifts them into the execution of the move. Pete Dunne uses this variation as a finisher previously calling it Drop Dead but now known as the Bitter End. Damian Priest recently started using this move as a finisher after Cody Rhodes returned to the WWE in 2022.

Austin Theory uses a flipping version of this move in which, to a bent over opponent, he hooks his opponent's near arm with his far arm and hooks their near leg with his near arm. He then lifts the opponent off the mat flipping them in a 450 style motion forwards while simultaneously falling backwards to catch the falling them with his near arm completing the rotation and dropping them into the facebuster. He calls this move Ataxia.

Sliding flatliner

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Also known as a "low flatliner", this variation sees the opponent perform a flatliner on a kneeling opponent, either by normally setting up a flatliner, leaping or running towards the opponent before executing the move.

Swinging flatliner

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Another variation of the flatliner, this move sees a wrestler grab their opponent around their neck and lean them backwards. The wrestler then swings their opponent around, slamming them face-first into the mat. Alex Shelley uses it as one of his pinfall finishers which is called Shellshock. Bray Wyatt used this maneuver as his finisher, which was referred to as Sister Abigail. NJPW/AEW wrestler Jay White uses a variation called Blade Runner. Knux calls it the Knuxout. Alexa Bliss currently uses this move as a finisher but with a different twist. Lexis King uses a snap variation of the move called The Coronation.

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
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. These techniques emphasize athleticism and spectacle, often choreographed to appear perilous while prioritizing performer safety through cooperative execution. 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. 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. Safety protocols, including padded rings and rehearsed impacts, ensure longevity in a physically demanding field, though risks like neck strains remain inherent.

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. 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.

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. This technique emphasizes timing and momentum, allowing the attacker to transition quickly to ground control or follow-up strikes. 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. 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. 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. 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. 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.

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. 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. 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. 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. 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.

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. 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. 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. 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. 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. 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. 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.

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. 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. 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. 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. To mitigate risks, performers emphasize padded ring surfaces for landings, which absorb impact and help prevent neck hyperextension or strain during the overhead flip.

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. 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. 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. 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. 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. 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.

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. 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. 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.

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. 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. 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). 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. 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. 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. 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. 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.

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. 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. 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.

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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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.

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. This move emphasizes control through the underhook grip, distinguishing it from other slams by its straightforward lifting motion without additional rotation or drive. 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. 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. 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. 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. 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. 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. 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. 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. 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.

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. 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. 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. 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. 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. 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. 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 into the fireman's carry position (also known as fireman carry), where the wrestler holds the opponent upside down over the shoulder with their belly to the wrestler's back. In this position, the wrestler lifts the opponent across their shoulders, with the opponent's torso draped over the wrestler's upper back/shoulders, belly facing down against the wrestler's back, and head and legs hanging down. From this setup, various drops, slams, or spins are executed to emphasize the performer's strength and control. This lift typically begins with the wrestler securing the opponent's near leg with one arm while trapping their far arm, then ducking under to hoist them into this position, 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. 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. 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. 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. 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. 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. 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. 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.

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. 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. 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. 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. 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. A standing variant, the airplane spin, differs by initiating from an upright fireman's carry position rather than grounded.

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. 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. 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. 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. 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. 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. 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.

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. 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. 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. 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. 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. It can be set up briefly from an arm wringer to enhance the twist.

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. 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. 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. 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. 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. 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. 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. These adaptations differ from piledriver variations by prioritizing suplex-height descent over a knee-bend pile.

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. 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. 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.

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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. Though not a direct head snap, some drivers like the powerbomb variant target the body more broadly for thematic contrast. 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. 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. 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. 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. 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. 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.

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. 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. Unlike non-inverted alternatives such as the brainbuster, the piledriver inverts the opponent fully for a vertical drop. 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. 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. 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. 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. 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. 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. 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. 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.

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. 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. 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. 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. 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. Some setups briefly reference the gorilla press as an overhead lift transition to amplify the move's elevation.

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. 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. 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. 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. 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. 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. 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. 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. This contrasts with abdominal compression moves like the gutbuster, which focus on internal pressure rather than external extension.

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. 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. 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. 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.

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. 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. 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.

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. 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. 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. 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.

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. 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. This motion isolates the neck for a side-to-side twist, unlike the forward snap of a DDT. 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. 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. 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. 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. 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. 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.

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. 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. 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. 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. Wrestlers like Scott Norton incorporated this as part of a gutwrench rack transition, dropping the opponent into the inverted position for added drama. Papa Shango (Charles Wright) popularized the inverted shoulderbreaker in the early 1990s WWF, using it as a signature to emphasize voodoo-themed menace. 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. 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. 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. 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. 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. Unlike the armbreaker, which extends the elbow specifically, the shoulderbreaker broadly impacts the entire shoulder assembly, distinguishing it in throw classifications.

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. 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. 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. 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. 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. 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. 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. A common release variation involves whipping the opponent backward into a snapmare for momentum reversal.

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. 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. 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. 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. 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. 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.

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. 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. 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. 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. 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.

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. 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. 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. 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. 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. 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. 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. 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.

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. 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. 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. 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.

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. 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. 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. 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. 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. 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. 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. 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. 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. 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.

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. 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. 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.

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. 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. 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. 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. Unlike the mat slam, which piles the opponent back-first onto the canvas, the facebuster specifically orients the drop to strike the facial area. 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.

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. 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. 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.

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. 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. 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.

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. 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. 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. 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. 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.

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. 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.

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. 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. 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. 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. 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. 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. 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.

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. 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. 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.

References

  1. https://en.wiktionary.org/wiki/Irish_whip
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