Taker vs. Punk

3/5/13 in WWE   |   kjbriden   |   19 respect

        Monday Night Raw began its Old School edition last night with an appearance by the Dead Man himself, the iconic bells of his entrance theme ringing throughout the arena as the lights came up to start the show.  He made his way to the top of the ramp and summoned forth this year’s WrestleMania logo before disappearing as quickly as he appeared.  His entrance set the tone for an evening of WrestleMania challenges, including an official challenge from Triple H to Brock Lesnar.
        The main event of the evening, however, was the Fatal 4-Way that was created to determine which unfortunate soul would be combatting the Undertaker’s 20-0 winning streak at WrestleMania.  Sheamus, Randy Orton, and Big Show all stepped forward to challenge CM Punk’s claim of entitlement, leading Vickie Guerrero to create the match.  While Sheamus claimed the luck of the Irish, Orton claimed experience, and Big Show claimed only a Giant could take on the Dead Man and win but CM Punk claimed only a Straight Edge superstar could stand a chance against the Undertaker.
        CM Punk’s tirade demanding respect and a shot at the Undertaker brought forth not only the fire that’s been missing from Punk’s recent promos, but also this return to his Straight Edge gimmick.  CM Punk has refrained from mentioning his lifestyle since his altercations last year with Jericho.  Much like his infamous “pipe bomb” speech before his 434 day WWE Championship reign, his Straight Edge reality allows him tap into a fire that isn’t always showcased by fake storylines and gimmicks.  With a microphone and a serious issue he wants to address, CM Punk is captivating, motivated, and completely unstoppable.
        CM Punk has been working his tail off for the WWE for the last year and a half: he was honored with the cover of WWE '13 and a 434 day title reign, but nothing says the company believes in you, win or lose, like a one-on-one match match with the Undertaker at the biggest show of them all.
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