The chipped paint of the Galpão da Luta gym in Brazil feels a world away from the O2 Arena in London, but for Felipe Franco, the echoes of training alongside Jailton Almeida are a constant presence as he prepares for his UFC debut Saturday. It’s not just the shared sweat and sparring sessions; it’s the sting of a recent, and to Franco, unjust dismissal that fuels his fire. Almeida, known as “Malhadinho,” was released by the UFC after back-to-back decision losses, a move that sent ripples through the Brazilian MMA community and, according to Franco, revealed a stark new reality: in the age of the Paramount+ deal, the UFC isn’t just looking for fighters, it’s looking for spectacles.
Franco’s arrival in the UFC isn’t a straightforward success story. He’s a 25-year-old with a 10-1 record built on finishes, a fighter who embodies the aggressive style the UFC now seems to crave. Yet, his path was paved with the frustration of the Contender Series, where opponents repeatedly fell out before he finally faced Freddy Vidal last September, losing by late-round knockout. That loss, however, wasn’t a setback, but a lesson. “I got the opportunity to fight on the Contender Series and it was a very good experience despite the loss,” Franco told MMA Fighting. “We stayed firm in our goal, which was to get into the UFC. Being there and experiencing everything the UFC offers an athlete just made me want it even more.” He’s spent the intervening months dissecting that fight, sharpening his skills, and waiting for the call that finally came as a late replacement against undefeated heavyweight Mario Pinto.
The timing of Almeida’s release is what truly resonates. The UFC’s recent multi-billion dollar deal with Paramount+ has fundamentally altered the calculus. It’s no longer enough to win decisions; the new broadcast partner demands highlight-reel moments, guaranteed action, and a constant threat of a finish. As Franco bluntly puts it, “That’s what the UFC wants now, especially after this deal with Paramount. They want entertainment. They want to see blood, they want to see people throwing down.” Almeida, a technically sound and often cautious fighter, didn’t consistently deliver that. Franco believes his friend was a casualty of this shift, a victim of a system prioritizing viral clips over nuanced skill. “What happened to ‘Malhadinho’ was unfair, in my opinion, considering everything he did in the organization,” he stated.
Source material: Yahoo Sports.
This isn’t simply a case of a fighter lamenting a teammate’s fate. It’s a window into a larger trend. The UFC, once lauded for its meritocratic system, is increasingly influenced by the demands of its media partners. The introduction of finishing bonuses – a direct response to the Paramount+ deal – underscores this point. While intended to incentivize exciting fights, they also create a subtle pressure on fighters to chase knockouts and submissions, potentially sacrificing strategic gameplay. Almeida’s move to the Russian promotion ACA, where a different fighting culture prevails, is a testament to this changing landscape. Franco, however, sees it as an opportunity. “It’s always been his dream to become a UFC champion. He might have a few fights in ACA, get the UFC’s attention again, and come back.”
Franco, like Almeida, is a versatile fighter comfortable at both light heavyweight (205 pounds) and heavyweight. He’s studied Pinto extensively, identifying vulnerabilities in the undefeated Brit’s game. “He’s a good fighter. I’m not going to lie to you, he’s good,” Franco admits, but quickly adds, “He has a lot of holes in his game that we’ve analyzed, a lot of patterns he repeats.” He intends to exploit those patterns, promising “surprises” on Saturday. But beyond the specifics of this fight, Franco is fighting for something larger: to prove that the Galpão da Luta’s brand of aggressive, finishing-focused MMA still has a place in the new UFC.
The question now isn’t just whether Felipe Franco can win his debut, but whether the UFC can successfully balance its desire for entertainment with its responsibility to showcase the full spectrum of martial arts talent. Will fighters be forced to abandon their established styles in pursuit of viral moments? And if so, what will be lost in the process? The London card, and Franco’s performance within it, will offer a crucial early data point in this evolving equation.
