Paul E’s first big thing

Scott–


I’m glad to see I’m not alone in considering the Dangerous Alliance to be one of the most perfectly executed angles/blowoffs of all time (as you and other commenters have pointed out, it was essentially booked like a movie, with three distinguishable acts and something of a "Where are they now?"/"Life goes on" coda). My question, then, is how much creative control/input did Paul Heyman wield at the time, and how much of that story line can be said to have come directly from his head?

​I’m pretty sure Heyman was basically given free reign by Jim Ross and the booking committee to do what he needed to do with the angle, until they switched beancounters on top and Bill Watts killed it off. I know Heyman talked about it on his DVD and it sounds like it was mostly his idea, especially the choice of talent. ​