UFC 324 marks the ceremonial ushering in of a new era for mixed martial arts’ flagship promotion. Saturday’s event is the first numbered card since the UFC’s new $7.7bn broadcasting deal with Paramount+ came into effect. Pay-per-view is dead, long live the subscription model.
The announcement of the UFC’s switch from ESPN was one of the biggest stories in combat sports last year. Following TKO sister company WWE in recoginsing that PPV is dying in a streaming-centric world, the new deal means guaranteed money for the UFC without having to worry about whether a particular event is selling – something that is pertinent for reasons we will get into.
But it isn’t just Dana White and company reaping monetary rewards from this new agreement. With Paramount+, the financial burden of following the UFC has been dramatically lightened for the fan. During the seven years of ESPN, fans in the US had to factor in a base cost of an ESPN+ subscription, which was $11.99 per month, while also shelling out $80 for ever UFC numbered event. Meanwhile, a Paramount subscription costs viewers $7.99 per month. If an UFC fan stateside wanted to watch every PPV and Fight Night last year, it would have cost them $1103.88. In 2026, they can access the same number of events for $95.88.
UFC president White has hailed the deal as “historic” and one that “puts the UFC amongst the biggest sports in the world”. However, similar hype was given to the ESPN deal in 2019, a partnership that went on to be maligned by the fans for its price hikes and poor streaming experience, and then by the company for its falling pay-per-view performance.
The New York Post’s Erich Richter reported last March that pay-per-view buys were “way, way down” for the UFC, which tallies with a noticeable drop-off in enthusiasm from many UFC fans in recent times. The product has grown stale and the grandeur of a sport that once captivated the mainstream has now been reduced to White hopping on Instagram live every now and again for his latest frankly uninspiring fight announcement. “If you don’t like it, don’t watch it,” the UFC president said last week in response to criticism over his matchmaking. That’s where we’re at.
Simply ditching the PPV model will not transform the product on its own. In theory, the lack of a paywall could even harm things, with the UFC no longer having as much of an incentive to bolster numbered cards as long as the fans keep paying their subscriptions. The success of the Paramount deal will therefore depend on quality control rather than cutting corners amid new financial guarantees. But if UFC 324’s card is anything to go by, quality is not the issue.
The Paramount era is kicking off with a bang in Las Vegas, with Liverpool’s own Paddy Pimblett facing off against Justin Gaethje for the interim lightweight title. That was meant to be supported by the return of former double-champion Amanda Nunes against formidable bantamweight queen Kayla Harrison, which would have been one of the biggest female fights of all time, only for Harrison to be forced out with a neck injury barely 10 days before her first title defence. The card, which also sees former champions Sean O’Malley and Rose Namajunas in action, nevertheless remains stacked to the point Umar Nurmagomedov vs Deiveson Figueiredo – which could easily headline a Fight Night – finds itself on the prelims.
The card is further aided by the injection of one of sports broadcasting’s most respected figures, Kate Scott, into the product. Scott, known for her work as a CBS Sports presenter covering the Champions League as well as high-profile boxing matches, will host the broadcast desk for her debut event at UFC 324, bringing an extra level of legitimacy to any new viewers. Her arrival may indicate a change of pace for UFC programming; previously, it was commentator Jon Anik who would take on the role as de facto lead broadcaster, filling the air in between fights to the background noise of intense electric guitar, a motif distinguishable with the UFC for decades. This is not Scott’s style, so expect something a move towards the format Dazn and Netflix take on for their combat sports events.
It’s crucial that the UFC aren’t simply peacocking for their Paramount curtain-raiser, though maintaining this calibre of event will be difficult due to their long-running problem of lacking superstar-power. But with Saturday’s main event, this issue may be addressed.
Pimblett, one of the UFC’s most eccentric personalities, has long been touted to become something along the lines of “the next Conor McGregor” – a sharp-tongued, charismatic attraction for the mainstream. He is far from the darling of the UFC hardcore faithful, though, who hold a sentiment that despite his undefeated status in the company, “The Baddy” has been fast-tracked to a title shot ahead of perhaps more deserving contenders, such as number-one ranked Arman Tsarukyan.
Pimblett has defied his doubters many a time, however, and if he beats one of lightweight’s all-time greats to claim the gold on Saturday, his status as a UFC poster-boy will be ratified. It could set them up for the Paramount era perfectly, with a pre-made blockbuster feud with champion Ilia Topuria – currently away from the cage due to personal reasons – there to build 2026 around.
It will be a huge year for the UFC, one that looks set to include a fight night at the White House and, potentially, the return of McGregor. Both could be defining factors in determining the sport’s trajectory for the next few years, for better or worse. But for now, we look towards a fresh start that offers the UFC hope of returning to its former glory.
