Danhausen has never approached professional wrestling like a conventional wrestler, and his latest idea extends that approach well beyond the ring. The WWE Superstar has pitched a possible sitcom called The Danhausens, imagining a comedy built around the most ordinary parts of his day-to-day existence — with, naturally, plenty of human monies involved.
Since arriving on WWE programming after debuting for the promotion at WWE Elimination Chamber earlier this year, Danhausen has brought his distinctive “very nice, very evil” presentation to a much larger stage. His character has long thrived on an unusual balance of absurdity, menace, deadpan delivery and comedy, making the prospect of a scripted television project a natural fit for the performer’s established style.
Asked about what a sitcom starring Danhausen might look like, he gave a deliberately straightforward answer that immediately became stranger the longer it went on.
“Oh, it’d be called the Danhausens. Love that Danhausen. Be a sitcom starring Danhausen where I get paid lots of human monies, and I suppose I would just do normal style things like going to work. It’d be riveting television for everyone. I’ll go to the office. Perhaps we’ll call it The Office if that’s not taken.”
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The concept is simple by design: Danhausen, in character, attempting to navigate regular adult responsibilities. Yet the humor would seemingly come from the contrast between a supernatural-looking, curse-threatening wrestler and completely routine settings such as a workplace. Rather than presenting an elaborate fantasy premise, his pitch centers on the idea that even mundane activities would become notable when filtered through the Danhausen persona.
The reference to calling the show The Office was also entirely in keeping with his comedic rhythm. It takes an ostensibly practical idea — a program about going to an office — and turns it into a knowingly absurd suggestion by acting as though one of television’s most recognizable sitcom titles might still be available.
A guest list as unconventional as the premise
Danhausen did not stop with a title and basic setup. When asked who he would want to bring into the project, he named a collection of celebrities that does not point to one obvious genre, industry or comedic format. His proposed cast of guest stars included television host Conan O’Brien, Dan Zieg, pop singer Sabrina Carpenter, Megan Thee Stallion and comedy musician Weird Al Yankovic.
“Oh, let’s see. We’ll put on Conan O’Brien, Dan Zieg, and Sabrina Carpenter, and Meg Thee Stallion. Yes, but of course, a great, great cast. Weird Al Yankovic also.”
It is a list that fits the central appeal of a potential Danhausen sitcom. O’Brien is closely associated with offbeat comedy and late-night television. Carpenter and Megan Thee Stallion are among the biggest names in contemporary popular music, while Yankovic has built a decades-long career around musical parody and playful absurdity. Dan Zieg’s inclusion further underscores that Danhausen was not trying to present a conventional, tightly defined casting plan.
No actual television production, network arrangement, streaming deal or formal casting announcement was included in Danhausen’s comments. The idea remains a pitch from the WWE performer rather than a confirmed project. Still, his answer offers a clear look at how he sees his character functioning outside of a wrestling match: not as someone who needs to change for another medium, but as someone whose existing persona can create comedy simply by being inserted into familiar situations.
Danhausen’s character has always invited expansion beyond wrestling
Professional wrestling has a long history of performers crossing into television, film, music and other entertainment spaces. In many cases, those opportunities are tied to an athlete’s ability to be recognized immediately and to communicate a character in only a few moments. Danhausen’s look, voice and vocabulary make him particularly suited to that kind of crossover discussion.
His character is instantly identifiable, from the face paint and dramatic presentation to signature phrases such as “very nice, very evil” and his references to “human monies.” That consistency gives his humor a framework. Whether he is talking about curses, demanding money or describing a perfectly normal task in an exaggeratedly unusual manner, the audience is in on the premise quickly.
A workplace sitcom would also give that framework plenty of room to operate. The comedy would not necessarily need complicated plots to establish the joke. Danhausen going to work, interacting with colleagues or responding to standard office expectations could all be treated as inherently unusual because of who is doing them. His own description specifically leaned into that low-key notion, calling ordinary activity “riveting television for everyone.”
That is important to the appeal of the pitch. Danhausen did not describe a show based around wrestling matches, a supernatural battle or an elaborate celebrity vehicle. Instead, he suggested that the character itself would be enough to anchor a series, even while performing tasks that would be unremarkable for anyone else.
WWE appearances continue to showcase the comedic side
Danhausen’s sitcom comments arrive while he continues to make his presence felt around WWE. His debut at WWE Elimination Chamber earlier this year introduced him to the promotion’s audience, and his early appearances have maintained the personality-driven approach that helped make him a standout before joining WWE.
That approach was also evident at a recent WWE live event, where Danhausen dressed as Cody Rhodes and sang a belated version of “Happy Birthday” to Rhodes. The moment reflected the same kind of humor present in his sitcom pitch: he used an immediately recognizable figure, put his own spin on the situation and turned a simple celebration into an unusual character bit.
Live-event moments can offer performers the freedom to explore their personalities in a different setting from weekly television, and Danhausen’s Cody Rhodes imitation was another example of how readily his presentation can be adapted to an audience-facing comedy segment. The material did not require a complicated setup. The visual of Danhausen dressed as Rhodes, combined with a belated birthday song, carried the joke.
That instinct is a major reason the idea of The Danhausens is easy to understand even without any production details. His humor works through recognizable reference points, unexpected delivery and a willingness to treat the ridiculous as perfectly reasonable. In this case, an office is not merely an office; it is a place where Danhausen can apparently go to work, receive lots of human monies and perhaps discover that a globally famous sitcom title has somehow not already been claimed.
An intentionally broad entertainment vision
The named guest stars also suggest that Danhausen’s ideal show would not be limited to wrestling personalities. His selections pull from comedy, music and television, potentially giving a fictional version of his world a broad entertainment identity. O’Brien and Yankovic, in particular, would align naturally with an eccentric comedic atmosphere, while Carpenter and Megan Thee Stallion would bring major pop-culture visibility to the hypothetical project.
Of course, those names should be understood as Danhausen’s preferred choices rather than indications that any of them are attached. There was no suggestion that O’Brien, Carpenter, Megan Thee Stallion, Yankovic or Zieg has agreed to appear in a show. The answer was a playful fantasy casting list, delivered in the same spirit as the rest of the concept.
Even so, it demonstrates the range Danhausen believes his character can cover. Wrestling often asks performers to create a connection with fans in a limited amount of screen time, and the strongest characters can make audiences feel as if their world extends beyond the arena. Danhausen’s pitch does exactly that. It imagines what happens when the very nice, very evil character is not preparing for a match, but is instead handling the kind of routine responsibilities most people would find uninteresting.
For Danhausen, that appears to be precisely the point. A normal commute, an office visit or a standard workday becomes the premise because he is the one experiencing it. Whether The Danhausens ever advances beyond an entertaining proposal remains unknown, but the WWE Superstar has made the intended formula clear: put Danhausen in everyday life, add an improbable collection of guest stars and make sure the human monies are substantial.
Darryl Polo
Darryl Polo is a passionate wrestling fan covering WWE, AEW, TNA and beyond. He loves great rivalries, breakout stars and the moments that keep fans talking long after the bell. How we work.