For years, fans have debated where the line is between comedy that’s disposable and creativity that genuinely reshapes a wrestler’s identity. When WWE leaned into theatrical absurdity with Pretty Deadly, many assumed the act was destined to remain a short-lived punchline rather than a long-term creative gamble. That assumption, according to Kit Wilson, misses the point entirely.
The idea of “Pretty Deadly: The Musical” was never meant to be ironic filler or a one-week experiment. While Wilson is currently charting a singles path on WWE SmackDown as his partner Elton Prince recovers from a neck injury, he insists the musical concept is very much alive. During a conversation on “Insight with Chris Van Vliet,” Wilson framed the project as something WWE took far more seriously than fans may have realized.
“The musical was big, and we had some big plans for that musical. It’s still coming,” Wilson explained, before acknowledging the uncertainty around timing. “I just don’t know when… the musical is a real thing.” He went on to detail the level of preparation involved, emphasizing that this was not a loose sketch tossed together for television. “We have or had… 10 songs. We had lyrics. We were learning them. We were trying to do a proper good job of it.”
What Wilson described was closer to a full-scale production than a wrestling segment. He stressed that the goal was to commit completely rather than half-step into parody. “We wanted to go full force with it… It still might happen. We never know. If this career goes well, I think there’s a good excuse to hit it.” That framing positions the musical not as nostalgia bait, but as a reward tied to momentum and audience buy-in.
The ambition extends beyond WWE television. Wilson has openly floated the idea of staging the musical in England, Pretty Deadly’s home country, if WWE ever brings WrestleMania to the UK. In that context, the project becomes less about shock value and more about cultural presentation, blending British theatrical tradition with sports entertainment spectacle.
From an industry perspective, Wilson’s comments underline how character work in modern wrestling is evaluated. Gimmicks are no longer judged solely on crowd reactions in a single segment, but on whether they can evolve across formats and time. A fully realized musical would test fan patience, taste, and openness to genre-crossing in a way few wrestling ideas ever attempt.
Whether or not “Pretty Deadly: The Musical” ultimately reaches the stage, the fact that it was built with this level of intent reframes how the act should be viewed. It suggests that WWE’s creative risks are not always abandoned due to failure, but sometimes paused until the right moment. In an era where wrestling identities often blur into sameness, Wilson’s insistence on theatrical excess may be less of a novelty than a deliberate challenge to what fans think wrestling is supposed to look like.
