I tend to make a certain connection to wrestling, mainly as far as trying to have good booking and good psychology. Wrestling psychology is something they have to work at in wrestling, and it's basically about two individuals trying to fight with a certain strategy in mind while reacting realistically to what's done to them and what they do.
It goes back to remembering the little details, both in continuity and in terms of getting the full sensory experience. If a normal human punches another normal human in the face, their hand is going to be hurting. There's going to be pain for them, maybe even something messed up in their own knuckles. Maybe they hit the other person's teeth and now they've been skinned by someone who staggers back with a lip bloodied by more than their own blood. Or maybe someone takes a bad hit to the side of their knee and then twists it further in the fight. They better be limping.
Really, for me, the odds aren't always that important in leading into the fight scene, but that's more do to with psychology as well. It's a minor problem, but one that fits in story because my character is pretty much always in a war mindset when he gets into a fight. He doesn't fight to knock an enemy out or to get enough distance to escape; he is trying to kill someone. Most people have to have a really good reason to try and kill someone else in a fight. He has to have a really good reason not to try and kill someone.
The part where I play the odds has more to do with an overarching setup in the conflict between characters in which fights are important but not the absolute key to winning.
That said, if you're going to have fights, you'll have to include them. Maybe you can cut something like a minor scuffle with a mugger or a few street goons, but it's pretty hard to justify cutting a skirmish with a nemesis. In the case of a protagonist willing to kill, that becomes somewhat simpler. Fighting to kill is oftentimes quicker than fighting to disable or demoralize.
Ironically, for those comparing fighting to sex scenes, there's actually an interview with Jake the Snake, a master of wrestling psychology, where he explicitly compares it to the act of having sex. To paraphrase: you don't start off with the one big shot, you take them on an emotional rollercoaster with up times, down times, level times, and then you explode it at the end.
My problem with that is that you have to do all that in a lot less time than a wrestling match, since most fights aren't the dragged-out affairs you see in movies or wrestling.
I will say, though, that while it can be very tempting to throw in interesting wrestling moves in a setting where characters with enhanced strength could actually use them without the aid of the opponent, it's also darn hard to describe some of them. Caused me all kinds of hell trying to create a written description of a front-flip piledriver (aka the Destroyer) without calling it that.