As you may have noticed the forum changed a while back as we updated the software. A bunch of money later we have a more SEO friendly forum that looks a little different. The TLDR is WE and by WE I mean mostly JEEM entirely Jeem has made some updates to the front page. And we have many more ideas planned.

Front Page Updates
There is now a more visible Match of the night section the front page (The matches themselves need an update which is being done today) The MOTN of the week will take center stage and the rest will be avail to watch at your liesure.

We moved the last show/match etc to the very top of the page for visibility purposes.

We have added a poster / Ad rotating section to the front. Every time you or someone you love visits the front page they will be greeted by a different poster courtesy of BOO (it's random out of X so YES you might get the same one a few times lmao). There's more to it but ill leave that for down the road we are trying to automate things.

The Video/Stream DB is working again so those will return in the coming days (a lot needs to be added)

The front sliders are being cleaned up to be more readable on Desktop (on mobile its fine but the order is all over the fugn place and I will have to look into cleaning that up somehow)

OCWFED Volume 7: The NeXt Barrage is now the default playlist on the front page. We have an easter egg see if you can find it. 21 community songs have been added tell us what ya think! (On the short list I want to have a dedicated page to our music (not important atm but fun lil joint)

Coming Soon

Front page will also have a POWER RANKING (this is being discussed but more then likely just gonna give it to goozler as he is the only one pushing some player metrics for you lazy asses.

That's all I got for right now.

OH wait forgot. Summercide might be 2 nights.

Former OCW Star’s Return “Imminent”, Sources Say

By Ryan Peralez, posted May 8th, 2026 at 5:30pm for AwesomeMoonsault.net 

It’s been a hectic few weeks in OCW regarding the coming and going of faces in the

promotion, and it seems that the pattern is only continuing, as sources say a former

prominent womens’ wrestler is gearing up for a return to the promotion.

According to sources in OCW, former OCW Superstar Alyssa Marceaux is set to make an

onscreen appearance at the upcoming “First Dance” event marking the beginning of

Season 21 of OCW programming. Those same sources are unclear of what capacity she

will appear in, but state that a contract has been signed and her return is “imminent”.

Currently, the plan is expected to involve her child, OCW Superstar Loretta Marceaux, in

some capacity.

Alyssa has not been seen onscreen in OCW since 2023, in a Hair vs. Hair match against

fellow superstar Lotus FloJo, in which she lost. Shortly after this, she was quietly released

from her contract following disputes over what was reported as “booking position”,

afterwards working for various independent promotions and winning multiple

championships before vacating her championships and taking a hiatus from the ring to

deal with undisclosed health concerns in late 2024.

View full record

Cheryl Stixx Has Nothing to Prove (And Everything to Feel)
Written by Dominique Sisley for DAZED

I’m sure you’ve seen the compilations. Cheryl Stixx crying on X — mascara running, chin trembling, speaking like every word is being pulled straight from an exposed nerve. Or the fan edits: slow-motion entrance, her now-iconic theme “Vegas Bitch” rattling through an arena while she walks like she owns both the room and the ruin. The internet loves her in extremes — deified or devastated, nothing in between.

What it rarely captures is the in-between.

When Stixx answers the phone, she sounds disarmingly normal. Warm. Slightly breathless. “Wait, am I echoing? I feel like I’m echoing. That’s dramatic,” she says, half-laughing. There’s no arena reverb, no swelling soundtrack. Just a woman in her own space, trying to articulate the mess of being perceived at scale.

“It’s funny,” she says. “People think I’m either about to conquer something or about to collapse. And sometimes I am. But mostly I’m just… living.”

Her sophomore album, The Trial of Venus, doesn’t retreat from the spotlight — it reframes it. Where her debut was excavation — digging through her past, tracing the making of Cheryl Stixx as both myth and armour — this record is about now. About what it costs to keep becoming in public.
If the first album constructed the spectacle, this one steps outside of it. Desire, jealousy, faith, ego, devotion — nothing is arranged into neat empowerment arcs. There’s no origin story to hide behind. It’s present-tense, reactive, sometimes uncomfortably exposed. Not aspirational. Not resolved. Just intimate in a way that feels almost invasive.

“I didn’t want to sound strong,” she says. “I wanted to sound real. There’s a difference.”

Strength, in Cheryl’s world, is usually assumed. She main-evented Wrestlelution months ago — a milestone that lives online now as highlight reels and slow-motion GIFs — but she speaks about it like someone describing a fever dream.

“I don’t even remember the applause,” she says. “I remember the quiet right before. That split second where you’re like, ‘Oh. This is mine. I can’t run from it.’ That’s the part that sticks.”

If the internet prefers her mythologised, The Trial of Venus feels like a deliberate demystification. It’s sticky with feeling. It doesn’t resolve neatly. On first listen, it sounds like a woman in love. On second listen, it sounds like a woman interrogating why. By the third, it’s something closer to a confession booth with no priest on the other side.

“I feel everything at a ten,” she says. “Which is beautiful and exhausting. I’ll wake up and be like, okay, today I’m soft and spiritual. By 2PM I’m jealous of something I made up in my own head. By 6PM I’m writing poetry about it. It’s a lot.”

There’s no attempt to sand that down. If anything, she leans into it. “I used to think I had to pick a lane. Like, are you the good girl? Are you the sexy one? Are you the serious athlete? Are you the emotional wreck? And I’m like… unfortunately, I am all of it.”

On “Boys Call It Hot,” she plays with that tension — the way female desire is consumed, renamed, reframed depending on who’s watching. It’s raw, sharp, a little unhinged.

“I didn’t sit down and go, ‘Today I’m coming out,’” she says, rolling her eyes at the idea of branding vulnerability. “I just wrote what felt true. I’ve loved people in complicated ways. I’ve wanted things I was told not to want. That’s not scandalous. That’s being alive.”

She grew up religious — church on Sundays, doctrine that settled deep in the bones — but she resists the narrative that faith and liberation are opposites.

“I still believe,” she says plainly. “I just don’t believe in shrinking. Jesus was a rebel. He was flipping tables and hanging out with sex workers. If anything, I’m very on brand!”

There’s a pause, then she laughs. “I’m sure someone will clip that out of context.”

Her relationship to femininity is less aesthetic, more existential. It’s not about reclaiming softness so much as refusing to apologise for its volatility. “Sometimes femininity is nurturing and calm,” she says. “Sometimes it’s territorial. Sometimes it’s horny. Sometimes it’s petty. I’m not interested in pretending it’s always enlightened.”

She catches herself. “God, I sound insane.”

You don’t, I tell her.

“No, I do,” she insists, amused. “But I’m okay with that now. I’d rather be intense than numb.”
Intensity bleeds into everything — including the way she speaks about Quartz. There’s no grandstanding when his name comes up, no storyline gloss. Just care.

“I genuinely want him to do well,” she says. “And I don’t mean titles. I don’t mean applause. I mean like… I want him to sleep at night. I want him to feel steady in himself. We get so trapped in thinking success is the scoreboard. It’s not. It’s whether you can look at yourself when it’s quiet.”
It’s the kind of answer that feels too soft for the spectacle they both inhabit. And maybe that’s the point.
 

“I fall flat all the time,” she continues. “Publicly. Loudly. I spiral. I doubt. I overthink. I’m a hot mess. But I don’t disappear. That’s my thing. I stay. Even when it’s embarrassing. Especially when it’s embarrassing.”
 

There’s something defiant in that — not the glossy empowerment of “thriving,” but the more stubborn act of remaining visible while imperfect. The album mirrors that philosophy. It doesn’t present growth as linear. It doesn’t punish her for contradiction. It just lets her be contradictory.
“I’m a sad girl,” she says casually. “But I’m also very horny. And very hopeful. And overly romantic. And dramatic. And stubborn. And probably annoying. That’s the cocktail.”

Does she ever wish she felt less?
 

“Sometimes,” she admits. “It would be easier. I see people who seem so contained, so composed. I’m like, wow, what’s that like? But then I think… if I didn’t feel this much, I wouldn’t make anything worth listening to. I wouldn’t walk into rooms the way I do. I wouldn’t love the way I love.”
For someone so often framed as provocative, stirring the pot seems less about chaos and more about honesty.
 

“I don’t wake up trying to shock people,” she says. “I wake up trying to not lie. If that shakes something, good. Maybe it needed shaking.”
 

The Cheryl of fan edits — bathed in firelight, strutting to “Vegas Bitch,” eyes sharp enough to cut glass — is still there. But so is the one who overthinks text messages, who cries in the car, who questions herself at 3AM and still shows up the next day.
 

“I’m not trying to be iconic,” she says. “I’m trying to be honest. If that ends up iconic, cool. If it ends up messy, also cool.”

Before we hang up, she circles back to something she said earlier — about being perceived in extremes.
 

“I think people are scared of women who feel this much,” she says. “We’re easier to digest when we’re either broken or perfect. But the middle? The complicated part? That’s where I live.”
And maybe that’s the real spectacle. Not the pyro. Not the entrance music. Not the milestones archived online. Just a woman refusing to edit herself into something quieter.
“I finally like who I am,” she says, almost surprised by it. “And she’s a lot.”
 

She laughs again — full, uncontained.

And you believe her.
 

Hi everyone! My StixxStars, and the whole OCW Galaxy. 

Today, I’m here to share something deeply personal and incredibly special to me: The Trial of Venus.

This album is a package of everything that went down in my life this crazy year — the year I returned to OCW, the year I fully jumped back in after so many years away. It’s an honest reflection of the journey so far: the monsters I faced, my inner demons, my triumphs, my self-discovery.

If Cherilyn was about the girl before Cheryl Stixx and how she came to be, The Trial of Venus is about where I stand now.

I allowed myself to feel fully. I allowed myself to be petty, angry, fragile, intense, horny, sad, insecure, jealous — all of it.

If I started this project slightly tinted with self-pity, I’m grateful I finished it with the clarity of my freedom — and with the grace to not only forgive myself, but everything that ever tried to hold me back. Through it, I saw that I am pretty when I panic — and that it can be a trap. I faced my fear of relapsing and that constant hunger for the next rush. I saw myself standing at crossroads, begging for things that might never be, but I also earned the pride of refusing to bend just to be chosen — ever.

And speaking of pride, I think it’s safe to say I’ve never been so open about my desires, or so loud about the joy of being exactly who I am. I faced the reality of wanting to be perceived. Respected. Heard. And if I had to build my own table just to have a seat at it — then okay. I can do that.

I allowed myself to be proud of my accomplishments, of my legacy. I am STILL that girl.

I reflected on the nonsensical truth that sometimes things just are what they are — a wingbeat and life’s cray-cray. I got angry. I yelled about jealousy over things and people that weren’t even mine. I wondered which Cheryl is waiting for me behind doors I never got to open — and if I never open them, are they still me? Am I still worth it?

I dressed myself in girlhood and female power — UGH — loads of it. I faced every omen and its consequences. I got horny. I let it out.

And finally, I got my verdict:

Every woman is my religion.

I am divine.

We are.

I hope you experience this journey as deeply as I lived it. It’s been messy, euphoric, painful, empowering — and absolutely worth it.

Thank you for being here. Thank you for witnessing this chapter. Thank you for allowing me to grow in front of you.

I love you.

Stixx up!

Stream The Trial of Venus NOW!

YouTube: 

Album Cover:

Tracklist:

1. The Trial of Venus

Runtime: 4:07

2. Pretty When I Panic

Runtime: 3:35

3. Crashing for Fun

Runtime: 4:44

4. Crimson Cross

Runtime: 3:36

5. Pick Me Not

Runtime: 3:22

6. Boys Call it Hot

Runtime: 3:34

7. A Sit at the Table

Runtime: 5:58

08. Still That Girl

Runtime: 3:34

09. Butterfly Logic

Runtime: 2:29

10. It’s Perfectly Fine!

Runtime: 4:20

11. The Door

Runtime: 3:19

12. Girlette

Runtime: 3:39

13. Omen

Runtime: 5:03

14. Soft Power

Runtime: 3:48

15. The Verdict

Runtime: 3:48

By Brittany Spanos

With her first single from her sophomore album, Cheryl Stixx turns public scrutiny into art — confronting femininity, power, and the cost of being seen.

Cheryl Stixx doesn’t describe her latest era as a reinvention. There’s no tidy narrative about rebirth or redemption, no polished mythology about starting over. Instead, she keeps returning to honesty — sometimes plainly, sometimes with a laugh, sometimes with the clarity that comes from being publicly misunderstood for too long.

“I thought I was writing about myself,” she says. “And then I realized — oh. This isn’t just me. This is about how femininity gets put on trial.”

That realization anchors Trial of Venus, the title track and lead single from Stixx’s forthcoming sophomore album, out Friday. The full album is due February 20. The song unfolds as a slow-burning, orchestral alt-pop confession — less immediately accessible than last year’s Cherilyn, but far more revealing. Where her debut worked like a scrapbook of the persona audiences came to recognize, Trial of Venus opens the door to what’s been happening behind it.

Sonically, the shift is subtle but decisive. Stixx remains unapologetically pop — she still believes in big choruses and emotional payoff — but the palette here is darker, wider, more patient. There are echoes of Lana Del Rey’s cinematic melancholy, Rosalía’s emotional precision, and the theatrical maximalism of Chappell Roan, alongside flashes of indie-sleaze Tumblr nostalgia and sweeping orchestral drama.

“It’s still pop,” she says. “I’m a pop artist. I love that. But this record breathes. It waits. It lets things hurt before they explode.”

That sense of scale is literal. This time around, the music was built differently.

“I had actual instruments in the room,” Stixx says, grinning. “And I had waaay more budget. So… yeah. I used it.”

Where her debut leaned heavily on digital construction, Trial of Venus expands outward. Live strings, piano, guitar, and full-band arrangements give the songs physical weight, grounding their emotional volatility.

“That wasn’t about making it feel more ‘serious,’” she explains. “It was about achieving the landscape I was seeing in my head. I needed a different language.”

That language is lush and dramatic, but never nostalgic for its own sake. Stixx’s electronic instincts remain foundational.

“My DNA is still electronic,” she says. “I love my synths. I love my EQs. That’s not going anywhere.”

Instead, organic and synthetic elements exist in conversation: analog strings swelling beneath processed vocals, live drums colliding with programmed beats. The result feels both intimate and expansive — vulnerability framed in maximalist production.

“It’s not about choosing one or the other,” she says. “It’s about letting them talk to each other.”

If Trial of Venus is a reckoning, it’s also a collective one. This time, Stixx made a conscious decision to work without two collaborators central to her debut — her twin brother Danny and lyricist Ey Feigh I. Their absence is noticeable, though unexplained.

Instead, she reframed the process entirely.

“For this album, I wanted women in the room,” she says.

Writing and production sessions became a closed circuit of trust and vulnerability, with collaborators including Rachel Chinouriri, Ethel Cain, Arca, Elvira Anderfjärd, Luka Kloser, ROSALÍA, BANKS and Caroline Polachek — whose influence threads through the album’s emotional precision and architectural approach to melody.

“It wasn’t about excluding anyone,” Stixx clarifies. “It was about protecting something.”

That sense of protection is audible on the title track, which opens with piano arpeggios, vinyl crackle, and a ghostly choir — more ritual than radio play. From its first line, Stixx situates herself inside a public courtroom where beauty, femininity, and silence are treated as evidence.

“They built a mirror on the altar, called it truth and told me kneel,” she sings.

Throughout the song, spectacle becomes survival. Lipstick turns into armor. Heels become proof of endurance. Judgment becomes fuel.

“Welcome to the Trial of Venus,” she declares on the chorus, her voice layered with female harmonies that swell like witnesses rising from the pews. “I turn their fire into heat.”

The metaphor is expansive but precise. Venus isn’t just Stixx — it’s femininity itself, endlessly scrutinized and disciplined for its visibility.

“There’s this idea that vulnerability disqualifies you,” she says. “That being emotional, sensual, dramatic makes you unserious. I wanted to challenge that.”

That challenge peaks on the bridge, where timpani and choir collide as she sings, “If being soft is my sin, then let them find me there.” It’s one of the album’s most exposed moments — inseparable from the environment in which it was made.

“Being surrounded by women who understood that feeling changed everything,” she says. “There was no posturing. Just honesty.”

The album began as a conceptual exercise — a trial, a public reckoning — but quickly became something more intimate. Written during therapy sessions and long nights unpacking insecurities, the songs are emotionally naked in a way Stixx hadn’t previously allowed.

“For a long time, these thoughts were just for my therapist,” she says, laughing softly. “Now they’re art.”

What’s on trial isn’t just Cheryl Stixx the public figure, but femininity itself — how it’s judged, policed, dissected. When asked who the judges are, she doesn’t hesitate.

“Men,” she says. “Not individual men — but men’s established perceptions. What’s acceptable. What’s valuable. What’s allowed to exist without punishment.”

At first, Venus felt like a stand-in for herself. Over time, that framing shifted.

“I don’t think Venus is just me anymore,” she explains. “She’s everyone who’s experienced femininity through that lens. That’s what made it political, even when I wasn’t trying to be.”

That political charge isn’t slogan-driven, but it’s unmistakable. Stixx has long been candid about body policing, industry hypocrisy, and cancellation narratives, and Trial of Venus doesn’t soften those edges. If anything, it approaches them with vulnerability instead of defiance.

“This isn’t about myth-making,” she says. “It’s about survival.”

Trial of Venus arrives less than a year after Cherilyn, but Stixx bristles at the idea of a comeback.

“Bitch, I never left,” she says, smiling. “This isn’t a pivot — it’s a doubling down.”

If her debut captured how the world came to know Cheryl Stixx, this album documents how she feels now — stripped of cover stories, less interested in spectacle for spectacle’s sake, and more committed to telling the truth, even when it’s uncomfortable.

“I made this record for the girls they love to punish,” she says. “Always.”

In a moment when femininity is endlessly surveilled, litigated, and disciplined under the guise of discourse, Trial of Venus refuses restraint. Even with only the lead single heard, the thesis is clear: this isn’t reinvention. It’s escalation. Cheryl Stixx isn’t waiting for absolution.

She’s already standing.

Stixx up.

Stream The Trial of Venus now:

Next Cup Final Round Sammuel Omen vs Luis Bishop - Next Cup 2026

Safety First Wrex vs Mugen - Turmoil 342

AC Cobra vs Paul Pugh - Riot 649

Wrex vs Aisu - Turmoil 343

H2O vs Nate Ortiz - Turmoil 343

For my match of the month that award goes to.......

Sammuel Omen vs Luis Bishop!

Within those 6 matches only 2 of them were given a 10 and have been awarded with match of the year:
Sammuel Omen vs Luis Bishop
Wrex vs Aisu

There is also some other tabs that I have had that I haven't shared with you guys while posting my ratings.

So let's start here!

Brand of the month (Riot/Turmoil/Ambition)

Coming in last place with only 6 matches and one MOTM. With 25 points.

RIOT

Second place with 8 matches and 28.5 points.

AMBITION

Which leaves only one answer for first. With 11 matches, 3 motm, and 1 moty. With 56 points

TURMOIL

And onto the final awards...

WRESTLERS OF THE MONTH!

Let's start with women.

Coming in at third with 2 matches and 7 points.

LYANNA HARTFIELD

Coming in at second with 2 matches and 7.5 points

JUNKO JIROTA

And finally... The womens wrestler of the month with 2 matches and 8 points.

BEATRIXX

Congrats you spooky witch!

AND FINALLY!!

MEN'S WRESTLER OF THE MONTH!

The numbers here are insane..

In third.. With 4 matches, 1 motm, and 1 moty with 23 points.

LUIS BISHOP!

In second... With 4 matches, 2 motms, and 1 moty with 26 points.

SAMMUEL OMEN!

And finally... With 5 matches, 2 motms, and 1 moty with 34.5 points.

WREX!

THANK YOU GUYS SO MUCH FOR READING AND FOLLOWING THIS!

This helps keep me honest and watch the shows. Think I should go by season and not year for end of awards. Maybe both. We'll see and I'll figure it out!

Anyways. See you guys next month!

If you have any ideas to make this look better or whatever. Let me know! Thanks.


 

As first reported by GRAPS editor Charles C. Knighton -- January 24th, 2026

---------------------------------------------------------------------------------

Late Saturday evening, the wrestling landscape was stunned at initial unverified rumors that former OCW & CCW champion Isaiah Quartz (Currently known as Inness Quartz to OCW fans), was fired at the conclusion of RIOT 649 earlier that night. Quartz was said to have been "uncooperatively removed from Madison Square Garden" after ambushing OCW HOFer and long-time interviewer Stacy Clark during her planned episode of "The Clark Effect". Quartz made vile threats towards Stacy, though she was thankfully able to escape unscathed. 

The same cannot be said for upwards of 9 Madison Square Garden security officials, as well as two junior referees, and OCW Producer Cort Marshall, who were all caught up in a brawl that started in the ring and escalated backstage and throughout the building. Though the early rumors Quartz was leaving the company were confirmed to be untrue, it was made clear that OCWFed owner Jaysin Clinton Sensation was present during the brawl and made it clear Quartz would be suspended indefinitely without pay and would not be welcome at future shows until further notice.

OCWFed has cracked down on physicality towards their non-wrestling staff and has levied over $775,000 in combined fines and multiple suspensions over the last 2 years for those unwilling to keep their hands off of vulnerable staff members. The continued effort to create a safe and reliable work environment for those who are not contracted professional wrestlers has increased backstage morale overall and led to an expansion of duties and production values for OCW, however the recent actions of Quartz looks to put those improvements at risk.

Quartz, who signed with OCWFed in January 2018, has been a fixture on television and freemium live events for most of his career. After returning several months earlier than expected in January 2025 from a second ACL tear, it has been a rollercoaster for the OCW star, to say the least. It was an uncharacteristic show of violence towards his former mentor Ryu "Spider" Matsumoto early in the year that started to turn heads, but soon after, Inness' usual friendly, stoic, and humble persona took a dark turn. 2025 only grew worse from there, as Quartz would go on to unsuccessfully challenge for the CCW Championship several times while toeing the company line when it came to his superiors and fellow pro wrestlers. He hasn't been the same in-ring since this sudden change, either, as the losses continued to pile up and he is considered partially responsible for injuring several fellow wrestlers and fully responsible for costing former Light Heavyweight Champion Anthony Baker his job with the company. 

The downward spiral for the once respected locker room leader seems to have no signs of slowing down and this latest incident is not going to do him any favors. 

While Quartz' is still currently listed as an active member of the OCWFed roster, the days of seeing the former champion on OCWFed Television could very well be behind us. We will continue to monitor this volatile situation and expect to have an update from OCWFed management no later than next Friday as Turmoil 343 & an exciting 2026 looms ahead.

In Paul Harris’ case, there are no injury or contractual issues at play. The situation is being described as an open-ended hiatus, with no current timetable in place for a return. There has been no indication that Harris’ status with the promotion has changed, and a comeback has not been ruled out.

Skadi, meanwhile, is understood to be away for medical reasons. While specific details have not been disclosed, the decision is believed to be precautionary in nature.

In a brief statement, Skadi said:

“I’m taking a little time to focus on my health and appreciate the understanding and support. I’ll see you when the time is right.”

At present, there is no timetable for Skadi’s return either, with OCWFed yet to comment further on either situation.