Money in the Bank 2010: The Gimmick Becomes a Franchise

The first dedicated Money in the Bank pay-per-view opens by proving the concept can support a full event instead of existing only at WrestleMania. Kane, Christian, Kofi Kingston, Matt Hardy, Big Show, Cody Rhodes, Drew McIntyre and Dolph Ziggler fill the match with distinct roles rather than interchangeable ladder spots. Big Show's oversized ladder becomes a memorable prop, while Kingston's Boom Drop through the broadcast table supplies the most spectacular risk. The closing stretch gives McIntyre a believable near-win before Kane chokeslams him from the ladder and claims the briefcase. Kane is not the obvious work-rate choice, but the victory gains immediate value later in the show. The match is creative, chaotic and strong enough to justify the new pay-per-view format.

Alicia Fox and Eve Torres receive less than six minutes, which makes the Divas Championship defense feel like a transition between larger attractions. Eve gets enough offense to establish herself as a credible challenger, but the match never develops a sustained rhythm or a meaningful finishing stretch. Fox's scissors kick ends the bout cleanly and gives the champion a straightforward defense after her recent title win. That is preferable to another interference-heavy finish, yet the division is still presented as secondary to the ladder matches and world-title stories. The execution is competent without becoming distinctive. There is little crowd escalation, little character progression and almost no time for a championship match to feel important. It is functional rather than memorable.

The Hart Dynasty and The Usos continue a rivalry that had only recently begun, and the match shows why the teams were worth pairing even in a compressed slot. Tyson Kidd and the Usos provide the pace, while David Hart Smith adds the power exchanges that keep the action from becoming one-note. Tamina and Natalya remain at ringside without overwhelming the match, allowing the teams to establish their own chemistry. The ending is decisive when Smith forces Jimmy Uso to submit to the Sharpshooter. That clean result helps the champions, but the six-minute runtime keeps the match from developing beyond a compact television-style title defense. The work is solid and the rivalry has potential, yet the bout is more useful than essential.

Rey Mysterio and Jack Swagger produce one of the night's strongest conventional matches by centering the story on Mysterio's injured ankle and Swagger's determination to exploit it. Swagger repeatedly returns to the ankle lock, forcing Mysterio to survive through speed and improvisation rather than simply trading finishing moves. The champion's escape by removing his boot is clever, and the immediate rana pin gives Mysterio a resourceful retention without making Swagger look foolish. Swagger's post-match attack extends the danger, but Kane's arrival appears at first to protect Mysterio rather than threaten him. The match itself is focused, well paced and more substantial than many of the card's non-ladder bouts. Its value grows further because the aftermath leads directly into the night's historic cash-in.

Kane's cash-in is only fifty-four seconds, so the score reflects the complete championship moment more than traditional match depth. The timing is the entire point. Kane wins the SmackDown briefcase in the opening match, appears to save Mysterio from Swagger after the champion's defense, then returns with a referee and immediately reveals the real plan. A chokeslam and Tombstone are enough to defeat the injured champion and create the first same-night Money in the Bank cash-in. There is no competitive build because there is not supposed to be one. As wrestling, it is barely a match. As a payoff to the event's central concept, it is concise, surprising and historically essential.

Layla and Kelly Kelly are given under four minutes, leaving the Women's Championship match with almost no room to become more than a brief SmackDown story beat. Kelly brings energy and the crowd responds to her comeback, while Layla works from the defensive position expected of the champion. Michelle McCool's presence gives LayCool its usual numbers advantage, though the finish itself comes through Layla countering a sunset flip into a pin. That result is simple and understandable, but the match is over before either wrestler can build meaningful drama. The division deserves more than a compressed title defense placed between major attractions. Nothing is disastrously executed. The problem is that the bout is treated as too minor to leave a lasting impression.

The Raw ladder match gives the inaugural event a second high-level spectacle without simply repeating the opener. Randy Orton, Chris Jericho, Edge, Evan Bourne, John Morrison, The Miz, Mark Henry and Ted DiBiase create a faster match built around athletic counters and layered ladder setups. Bourne and Morrison provide the aerial highlights, Jericho and Edge bring experience, and Orton feels like the favorite during the closing scramble. The Miz knocking Orton from the ladder and claiming the briefcase is a genuine character-defining victory, especially with hindsight. He leaves the event holding the contract that will eventually make him WWE Champion. The match is busy but coherent, and the finish gives the event another winner whose trajectory changes because of this concept.

Sheamus and John Cena close the show with a cage match designed specifically to keep The Nexus away, which makes the inevitable interference the central irony. Before the angle takes over, the champions and challenger build a solid heavyweight match around escape attempts, power counters and several convincing near-finishes. Cena's Attitude Adjustment and Sheamus's Brogue Kick both create believable endings, while the top-rope exchanges give the cage structure a real purpose. The Nexus eventually surrounds the ring, blocks Cena's escape and creates the opening for Sheamus to climb out and retain. The finish keeps the faction hot and protects Cena, but it also means the stipulation fails at its stated job. Good wrestling survives a conclusion designed more for television momentum than closure.