In August 2025, the second installment of the Craig Jones Invitational (CJI 2) captivated global grappling fans with an ambitious blend of elite-level competition, digital innovation, and open-access streaming. Held over two days at the Thomas & Mack Center in Las Vegas, the event wasn’t just another jiu-jitsu tournament—it marked a turning point in how sports can be delivered to audiences around the world, freely and without restrictive paywalls.
CJI 2 featured a groundbreaking $1 million team tournament, a $100,000 women’s bracket, and a highly anticipated superfight between Craig Jones and Chael Sonnen, who stepped in as a last-minute replacement for Olympic gold medalist Gable Steveson. Despite the scale of the event and the money at stake, every match, from prelims to headliners, was streamed for free on YouTube. This bold decision stood in contrast to prevailing trends in combat sports broadcasting, where high-profile events are typically locked behind expensive pay-per-view models or exclusive subscription platforms.
The decision to stream CJI 2 at no cost was not without controversy. Rumors had emerged that a partnership with FloGrappling, a major streaming service known for its grappling coverage, might shift the event to a paid model. Fans who had embraced the free format of the first CJI event reacted with concern. However, Craig Jones publicly dismissed the speculation and reaffirmed his commitment to open access, delivering a direct message to his audience that the event would remain free, regardless of who helped with production. His defiant tone and transparency with fans earned praise across the grappling community, reinforcing the promotion’s growing reputation for prioritizing athlete and fan interests over corporate deals.
This fan-first approach was not new for Craig Jones, who has cultivated a loyal following through his outspokenness, humor, and refusal to conform to traditional structures in Brazilian jiu-jitsu. By choosing YouTube—a platform with more than two billion active monthly users—as the primary broadcast channel, Jones not only maximized reach but also embraced a model that is reshaping modern media consumption. YouTube’s algorithm-driven visibility, international accessibility, and ease of use made it the perfect vehicle to deliver CJI 2 to a global audience.
What unfolded during the two-day tournament validated that choice. Grappling fans from all corners of the world tuned in to witness a new era in competitive jiu-jitsu. The eight-team tournament featured squads representing different geographic regions and gyms, bringing together some of the most talented athletes in the sport. The team format introduced strategic matchups and regional rivalries, while the women’s tournament brought unprecedented financial incentives to a division that has historically been underfunded and underrepresented.
The superfight between Craig Jones and Chael Sonnen added an unexpected storyline to the event. Sonnen, a former UFC star known for his wrestling pedigree and promotional charisma, brought added star power and mainstream attention to the card. His late inclusion after Steveson’s injury reflected the event’s flexibility and capacity for spectacle, drawing both grappling purists and casual fans alike.
Still, the financial model raised questions about sustainability. While ticket sales and sponsorships helped support the event, Craig Jones revealed that the promotion was still approximately 2,000 ticket sales short of breaking even just days before the event. He urged fans watching for free to consider purchasing general admission tickets, even if they didn’t plan to attend in person, as a way to support the event’s free-access philosophy. Jones emphasized that reaching the goal of 7,000 ticket sales was critical to maintaining the viability of future free-to-view events.
This financial appeal underscored a core tension in modern sports entertainment: how to balance audience access with the economic demands of running large-scale events. Traditional models have leaned heavily on monetization through broadcasting rights, pay-per-view purchases, and exclusive content deals. In contrast, CJI 2 operated on a model that leveraged audience goodwill, transparency, and community support to offset the absence of direct streaming revenue. The idea was not merely to build viewership, but to cultivate a long-term ecosystem of athletes, fans, and sponsors invested in a shared vision for the sport.
CJI 2’s success in pulling off such a large-scale, high-budget event without charging viewers may serve as a blueprint for other niche sports looking to expand their audience. As younger fans increasingly turn to platforms like YouTube, Twitch, and social media for their content, accessibility and authenticity are emerging as powerful alternatives to paywalled exclusivity. Moreover, this approach aligns with a growing consumer desire to support creators and athletes directly, bypassing traditional middlemen who often dominate the economics of sports and entertainment.
The free streaming model does not come without risks, but it demonstrates a shifting paradigm—one where open access, transparency, and community-driven support can rival or even outperform the gated models of the past. CJI 2 wasn’t just a tournament; it was a live case study in the evolving relationship between sports, media, and fans. Whether this approach will prove financially sustainable in the long term remains to be seen, but its immediate impact is undeniable.
By tearing down the paywalls and opening the doors to fans everywhere, Craig Jones and his team have challenged industry norms and redefined what’s possible in the world of sports broadcasting. If future events follow suit, the ripple effect could redefine not just how grappling is viewed, but how sports at large are consumed in the digital age.