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Fast Company
a minute ago
- Fast Company
After the Paramount merger, could UFC stage a July 4th fight at the White House?
Hours after Paramount and UFC announced a billion-dollar rights deal, Dana White said he had yet to hear from his friend, President Donald Trump, on his thoughts about the fight company's new streaming home. That was fine with White. The UFC CEO was set to travel to Washington on Aug. 28 to meet with Trump and his daughter, Ivanka, to catch up and discuss logistics on the proposed Fourth of July fight card next year at the White House. Trump said last month he wanted to stage a UFC match on the White House grounds with upwards of 20,000 spectators to celebrate 250 years of American independence. 'It's absolutely going to happen,' White told The Associated Press. 'Think about that, the 250th birthday of the United States of America, the UFC will be on the White House south lawn live on CBS.' The idea of cage fights at the White House would have seemed improbable when the Fertitta brothers purchased UFC for $2 million in 2001 and put White in charge of the fledging fight promotion. White helped steer the company into a $4 billion sale in 2016 and broadcast rights deals with Fox and ESPN before landing owner TKO Group's richest one yet — a seven-year deal with Paramount starting in 2026 worth an average of $1.1 billion a year, with all cards on its streaming platform Paramount+ and select numbered events also set to simulcast on CBS. ESPN, Amazon and Netflix and other traditional sports broadcast players seemed more in play for UFC rights — White had previously hinted fights could air across different platforms — but Paramount was a serious contender from the start of the negotiating window. The Paramount and UFC deal came just days after Skydance and Paramount officially closed their $8 billion merger — kicking off the reign of a new entertainment giant after a contentious endeavor to get the transaction over the finish line. White said he was impressed with the vision Skydance CEO David Ellison had for the the global MMA leader early in contract talks and how those plans should blossom now that Ellison is chairman and CEO of Paramount. 'When you talk about Paramount, you talk about David Ellison, they're brilliant businessmen, very aggressive, risk takers,' White said. 'They're right up my alley. These are the kind of guys that I like to be in business with.' The $1.1 billion deals marks a notable jump from the roughly $550 million that ESPN paid each year for UFC coverage today. But UFC's new home on Paramount will simplify offerings for fans — with all content set to be available on Paramount+ (which currently costs between $7.99 and $12.99 a month), rather than various pay-per-view fees. Paramount also said it intends to explore UFC rights outside the U.S. 'as they become available in the future.' UFC matchmakers were set to meet this week to shape what White said would be a loaded debut Paramount card. The UFC boss noted it was still too early to discuss a potential main event for the White House fight night. 'This is a 1-of-1 event,' White said. There are still some moving parts to UFC broadcasts and other television programming it has its hands in as the company moves into the Paramount era. White said there are still moving parts to the deal and that includes potentially finding new homes for 'The Ultimate Fighter,' 'Road To UFC,' and 'Dana White's Contender Series.' It's not necessarily a given the traditional 10 p.m. start time for what were the pay-per-view events would stand, especially on nights cards will also air on CBS. 'We haven't figured that out yet but we will,' White said. And what about the sometimes-contentious issue of fighter pay? Some established fighters have clauses in their contracts that they earn more money the higher the buyrate on their cards. Again, most of those issues are to-be-determined as UFC and Paramount settle in to the new deal — with $1.1 billion headed the fight company's way. 'It will affect fighter pay, big time,' White said. 'From deal-to-deal, fighter pay has grown, too. Every time we win, everybody wins.' Boxer Jake Paul wrote on social media the dying PPV model — which was overpriced for fights as UFC saw a decline in buys because of missing star power in many main events — should give the fighters an increased idea of their worth. 'Every fighter in the UFC now has a clear picture of what the revenue is…no more PPV excuses,' Paul wrote. 'Get your worth boys and girls.' White also scoffed at the idea that the traditional PPV model is dead. There are still UFC cards on pay-per-view the rest of the year through the end of the ESPN contract and White and Saudi Arabia have teamed to launch a new boxing venture that starts next year and could use a PPV home. White, though, is part of the promotional team for the Canelo Álvarez and Terence Crawford fight in September in Las Vegas that airs on Netflix. 'It's definitely not run it's course,' White said. 'There were guys out there who were interested in pay-per-view and there were guys out there that weren't. Wherever we ended up, that's what we're going to roll with.' White said UFC archival footage 'kills it' in repeat views and those classic bouts also needed a new home once the ESPN deal expires. Just when it seems there's little left for UFC to conquer, White says, there's always more. Why stop at becoming the biggest fight game in the world? Why not rewrite the pecking order in popularity and riches and go for No. 1 in all sports? 'You have the NFL, the NBA, the UFC, and soccer globally,' White said. 'We're coming. We're coming for all of them.'
Geek Tyrant
a minute ago
- Geek Tyrant
Trailer for MARTY SUPREME - Timothée Chalamet Chases Ping Pong Glory in Josh Safdie's A24 Drama — GeekTyrant
A24 has dropped the first trailer for Marty Supreme , the latest from Uncut Gems director Josh Safdie, with Timothée Chalamet playing a man obsessed with proving himself in the unlikely arena of 1950s competitive ping pong. Chalamet plays Marty Mauser, a dreamer whose ambitions are dismissed by everyone around him, but who's determined to carve out a name in a game few take seriously, at least in America. While never officially confirmed, the story is said to draw loose inspiration from legendary pro player Marty Reisman. The trailer opens with Marty, in a royal hotel suite, calling a movie star played by Gwyneth Paltrow to declare he's 'something of a performer' too. Later, he tells his love interest, played by Odessa A'zion, 'I have a purpose, and if you think that's some sort of blessing, it's not. It means I have an obligation to see a very specific thing through, and with that obligation comes sacrifice.' In another moment, Marty tries to sell the sport's potential to Kevin O'Leary, saying: 'I know it's hard to believe, but I'm telling you, this game, it fills stadiums overseas. And it's only a matter of time before I'm staring at you from the cover of a Wheaties box.' Marty Supreme boasts a stacked and eclectic cast that includes Tyler, The Creator, Penn Jillette, Fran Drescher, Sandra Bernhard, and filmmaker Abel Ferrara. Safdie co-wrote the script with Ronald Bronstein, producing alongside Eli Bush, Anthony Katagas, Chalamet, and A24. The film opens in theaters on Christmas Day 2025.
Forbes
2 minutes ago
- Forbes
Review: Noah Hawley's ‘Alien: Earth' Is A Must-Watch On Hulu
They're calling it 'the Andor of Alien,' and while I'm not willing to go that far after just two episodes, there is no denying the quality of Noah Hawley's Alien: Earth. The first ten minutes should sell you. Very quickly you realize a primary goal of Hawley here is to make Alien: Earth feel authentic to the late '70s/early '80s aesthetic of the first two films, from the sets to the costumes to the music to the sound design to even the slow fades between scenes. It's unlike modern films which often simply use the mythology for a modern-day blockbuster, but given Hawley's history of Legion and Fargo, this isn't wholly unexpected. It is brilliantly executed. Alien: Earth skips the expected. There's a ship carrying Facehuggers. They escape, they murder everyone. This is not actually shown in any meaningful capacity, only flashes of violence and scenes of the bloody aftermath. So it's not just a retread of the films that came before it, something I think plagued the good-but-derivative Alien: Romulus as of late. Another skip is the Xenomorph reveal itself, which I greatly appreciated. No build-up for six episodes finally to show and unleash the alien near the finale. It's out, it's running around and murdering everyone it comes across. But one other aspect that stands out is the ship carrying other dangerous specimens like a small eyeball octopus that possesses a host, or little pincher bugs that drain your blood and swell disgustingly to thirty times their size. Each of these is a little new horrible mystery and a surprise past the chest-bursting we've seen a hundred times. The non-alien part of this is the concept of 'hybrids,' invented by a young trillionaire who places the consciousness of children into the mind computers of synthetic androids. Not a cyborg, not a synth, a hybrid, and the three 'factions' now vie for world dominance. The children who are recruited are dying, and chosen both for that reason, given that they need a new body, but the fact that adults cannot undergo this process at all. Their minds are fixed, while the mind of a child is still elastic and growing. It 'fits,' while other ages do not. Hence, we have a 12 year-old now calling herself 'Wendy,' now living inside a body of a 20-something. But it's not just living, these bodies possess superhuman strength, speed and intelligence. But they're still just kids. They're sent out on a first mission with the initial spaceship crashes into a city to do search and rescue, and even though they come across creatures they could probably dismember in a few seconds flat, we have scenes like the child-droids covering up a small creature like it's a spider they caught on the kitchen counter, utterly terrified of it. That's a consistent theme. These quasi-humans are still fundamentally children. The show takes a central Peter Pan analogy a bit too far. The children watch the movie at the lab, and Wendy names herself Wendy. But then they go on to name all the other kids characters from the movie, and literally call them 'The Lost Boys.' She grabs a tiny paper cutter blade on her way out that's a stand-in for the movie's sword. Too far. While the only actor I recognize here is Timothy Olyphant as a blonde-eyebrowed synth, it's easy to see this is going to be a standout performance from Wendy Actress Sydney Chandler, her highest profile role this far being five episodes of Apple TV+'s Sugar. This will elevate her greatly the way Legion launched Dan Stevens and Aubrey Plaza to new heights. If we're talking 'Andor,' I'm not sure I've seen the type of gripping storyline and emotion that show gave us, but it's early. The performances, production design are incredible, and it's a must-watch for any Alien fan, but any sci-fi fan more generally. Follow me on Twitter, YouTube, and Instagram.
