IYO SKY has opened up about the timing behind her marriage announcement with Naraku, revealing that their shared status in WWE played a key role in the decision.

Earlier today, the couple confirmed they are now married after being together for approximately a decade. However, speaking with Model Press, SKY clarified that they have not yet officially registered the marriage, and explained why now felt like the right time to go public.

“We haven’t actually registered our marriage just yet, but the reason is that we’ve finally become colleagues at the same company. Until now, we were in different rings, and as wrestlers and superstars, we were independent of each other, so I felt there was no need to deliberately share details of our private lives.”

SKY emphasized that being under the same WWE banner changed that perspective.

“Now that we’re both under the same WWE contract—colleagues within the same company, so to speak—I really wanted to take this opportunity to let everyone know that we’re now a married couple.”

Both were also asked about the significance of being WWE’s first Japanese married couple on the roster.

Naraku, who has only recently joined WWE, kept his response brief but forward-looking:

“I’ve only just started, so stay tuned for what’s to come.”

Meanwhile, SKY reflected on the challenges of working internationally and what the partnership means to her personally and professionally.

“Although I’m the senior WWE Superstar and have been in the U.S. longer, staying on the front lines competing against the world in a foreign country like America is truly, truly grueling. I’m so happy that we’ve created an environment where we can support each other through that life as a couple.”

She added that their shared journey in WWE will strengthen both their careers and personal lives.

“We plan to continue working hard together, supporting one another without letting our guard down, and pushing each other to grow even stronger.”

The announcement marks a significant personal milestone for both stars, as they now navigate WWE life together both in and out of the ring.

AdvertisementAdvertisement

Scarlett Bordeaux has shared new details about her time in WWE, revealing frustrations over repeated requests from producers to tone down her on-screen appearance.

Speaking on a podcast hosted by D-Von Dudley, Bordeaux explained that she was frequently asked backstage to adjust her ring gear to be less revealing—something she felt conflicted with the character she was brought in to portray.

“I won’t say who, but some of the producers, every single time, like, before going out there, they’d be like, ‘Can you just cover up the cleavage? Can you just pull that down?’ I’m like, OK, this is clearly not what we’re going for right now.”

Bordeaux noted that the mixed messaging left her questioning her role in the company, especially since she believed she had been signed specifically for her established persona.

“After a few months, I’m like, what am I gonna do here? Because I thought they signed me for this character, and they said they liked it, but they don’t want to use it.”

Her comments highlight the broader shift in WWE’s presentation of women’s wrestling over the past decade. The company moved away from the “Divas Era”—which emphasized glamour and character presentation—toward a more athletic and competition-focused approach.

That transition was formalized in 2016 when WWE retired the Divas branding at WrestleMania 32, marking the beginning of what became known as the Women’s Evolution. The change brought longer matches, more main event opportunities, and a greater emphasis on in-ring performance.

Bordeaux’s experience reflects the tension that can arise when a performer’s established character doesn’t fully align with a company’s evolving creative direction.

Scarlett Bordeaux Says WWE Asked Her To Cover Up Cleavage

AdvertisementAdvertisement

AJ Styles has made it clear that he has no interest in being involved in creative decision-making within WWE, stating that his focus remains strictly on his own role as an in-ring performer.

Speaking on The Phenomenally Retro Podcast, Styles discussed the WWE Backlash Premium Live Event while responding to conversation around potential booking ideas and storyline directions.

During the discussion, co-host Tony Giles suggested alternate creative directions for recent WWE storylines, including ideas involving CM Punk and Jacob Fatu. Giles also noted that he is not part of WWE’s internal creative process.

Styles responded by emphasizing that even as an active WWE talent, he is not involved in storyline planning and chooses to stay focused only on his own assignments.

“I work for WWE, and I don’t know anything. But that’s not my job. My job is not to know what we’re doing next with that. My job is specific to what is for AJ Styles, and that’s not it. So, I don’t worry myself with it. I don’t need that job, nor do I want to be part of the storyline committee or whatever that is. No that’s not what I want to do.”

Styles’ comments highlight a clear separation between WWE’s creative team and its in-ring performers, with the veteran stating that he prefers to concentrate solely on his matches and character direction rather than broader booking decisions.

The discussion comes as Styles continues to work an active schedule in WWE while remaining one of the company’s most experienced and decorated performers.

AJ Styles Says He Prefers To Stay Out Of WWE Creative Decisions

AdvertisementAdvertisement

Jim Ross has stated that All Elite Wrestling should revisit the idea of running live non-televised events, saying he disagrees with the company’s current approach of not holding traditional house shows.

Speaking on Grilling JR, Ross discussed how he would structure such events and emphasized that they should directly reflect what fans see on television, with ongoing storylines carried into live events.

“All you’re going to do, Conrad — I let the cat out of the bag — it’s not a ritual here, but you book what’s on television. So you, for example, tonight, if I would have a live event or house show, you’re certainly going to use everybody. Everybody’s got a little story behind them, and when they see that, because the stories merit their exposure, you’ll get great cooperation. So all you’re basically doing is following the TV. You want people to see on television, see in that live event non-televised, you’re going to give them something they have a familiarity with, a match or a rivalry or whatever.”

Ross added that top stars should still be used in singles competition where appropriate, specifically mentioning Darby Allin in the context of AEW’s world championship picture.

“I probably would put Darby Allin in singles because he is your champion, and that’s just the process of helping him get over. He’s peaking on television, so why wouldn’t you. And a lot of events you would. But I wouldn’t load the card there for 16 or 18 guys.”

He stressed that house shows remain important for talent development, particularly for newer wrestlers gaining experience in front of paying crowds.

“I do believe that the house shows are extremely important to revisit from time to time, so that your green talent have a place to work in front of a paying audience. That’s essential to learn how to do that.”

Ross reiterated his disagreement with AEW’s current philosophy of not running regular live events, while acknowledging that there are logistical challenges involved in operating a touring schedule.

“In AEW’s case, there are no house shows, no live events. And I don’t agree with that philosophy, quite frankly. I think he could revisit live events, where it routes well and you get your talents ring time. There’s nothing better.”

He also pointed out that WWE’s continued use of live events serves multiple purposes beyond just in-ring performance.

“I’m surprised that WWE is still doing as many as they do, because I believe that’s a great recruiting tool for talent that you’re out there doing your thing. And because most of those young guys want to work, they want to be seen and recognized and remembered.”

However, Ross acknowledged the practical side of running such events, including financial and operational requirements.

“You gotta have the infrastructure. You gotta have the personnel. It’s not as easy as it sounds. There’s insurance issues. You gotta get all that in line, and you gotta have a separate promoter that’s going out and selling, getting your tickets sold. Worst thing you can do is have a house that you can shoot a gun off in and not hit anybody. It’s just not something you want to take a part of.”

AEW has largely avoided running traditional house shows since its launch in 2019, focusing instead on televised events and occasional special tapings.

Jim Ross Calls For AEW To Reconsider Running House Shows

AdvertisementAdvertisement