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Jake Paul vs Chavez Jr. fight time: Ring walk time, fight card, prelims and streaming details for US and UK

Jake Paul vs Chavez Jr. fight time: Ring walk time, fight card, prelims and streaming details for US and UK

Time of India6 hours ago

Influencer-turned-boxer Jake Paul returns to the ring tonight in a much-anticipated bout against former world champion Julio César Chávez Jr., in what is being dubbed the YouTuber's most formidable test yet. Scheduled to take place at the Honda Center in Anaheim, California, the fight is expected to draw global attention as fans gear up for an action-packed night of boxing.
Jake Paul Fight Time: Ring Walks and Main Event Details
The Jake Paul vs Chávez Jr. bout will headline a loaded card tonight, Saturday, June 28, 2025. The main card starts at 8 p.m. ET on DAZN pay-per-view, with main event ring walks expected around 11 p.m. ET. / 8:00 p.m. PT. For viewers in the United Kingdom, this translates to approximately 4:30 a.m. UK time on Sunday, June 29, as mentioned in a report by Uncrowned.
The showdown will be available on a pay-per-view basis via DAZN, with U.S. users required to pay $59.99, a price that includes access to DAZN content for seven days.
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This event comes on the heels of Jake Paul's record-breaking bout last year against Mike Tyson, which drew over 108 million viewers on Netflix, making it the most-streamed sporting event to date.
Julio César Chávez Jr: The Comeback Challenge
Chávez Jr., son of Mexican boxing icon Julio César Chávez, brings a professional record of 54 wins, 6 losses, and 1 draw. The 39-year-old last competed in July 2024, securing a decision win over former UFC star Uriah Hall. While once crowned WBC middleweight world champion (2011–2012), Chávez Jr now faces the challenge of re-establishing his credentials at cruiserweight, a class in which Paul has found recent success.
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Despite Jake Paul being the bookmakers' favourite, Chávez Jr's pedigree and experience cannot be discounted — even if he's been inactive over the past few years.
Full Fight Card: Main and Preliminary Bouts
Tonight's bout is not a one-fight affair. A comprehensive undercard features several high-stakes contests across various weight classes:
Main Card
(8 p.m. ET / 5 p.m. PT, DAZN Pay-Per-View)
Cruiserweight: Jake Paul vs Julio César Chávez Jr.
WBA/WBO Cruiserweight Titles: Gilberto Ramírez vs Yuniel Dorticos
Lightweight: Floyd Schofield vs Tevin Farmer
Welterweight: Raul Curiel vs Víctor Ezequiel Rodríguez
Welterweight: Avious Griffin vs Julian Rodríguez
Preliminary Card
(3 p.m. ET)
Women's Lightweight: Holly Holm vs Yolanda Guadalupe Vega
Welterweight: Joel Iriarte vs Kevin Johnson
Super Flyweight: John Ramirez vs Saleto Henderson
Bantamweight: Alexander Gueche vs Vincent Avina
Heavyweight: Joshua Edwards vs Dominic Hardy
Super Featherweight: Victor Morales vs Rene Alvarado
Streaming Access and Broadcast Notes
DAZN retains exclusive broadcast rights for the main card. With fight fans from across the U.S., UK, and beyond tuning in, the event is set to be one of the most watched of 2025.
High Stakes for Paul's Boxing Career
With a professional record of 11-1, Jake Paul enters the fight with growing confidence and ambition. Having last defeated Tyson via unanimous decision, the 27-year-old continues to claim he's on a path to boxing world championship glory. A victory over Chávez Jr., a bona fide former champion, would strengthen that claim — and quiet some of his critics.
However, failure to impress against a fighter who has competed only once in four years could derail Paul's aspirations and raise further questions about his competitiveness at the elite level.
FAQs
When is the Jake Paul vs Julio César Chávez Jr. fight?
The fight takes place tonight, Saturday, June 28, 2025, at the Honda Center in Anaheim, California.
How can I watch the Jake Paul vs Chávez Jr. fight?
The event is available via DAZN Pay-Per-View for $59.99 in the U.S. This includes access to all DAZN content for seven days.

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The silence of the reels: Why Hindi cinema never faced the Emergency
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Power games: The few filmmakers who did deal with the subject, either directly or indirectly, faced bans and attacks For an industry that prides itself on chronicling the nation's struggles, Hindi cinema's silence about the Emergency is more revealing than any film could ever be. The 21 months between June 1975 and March 1977, when Indira Gandhi suspended civil liberties, censored the press, and jailed thousands without trial, were arguably the most consequential in India's modern political history. Yet, in the decades since, Hindi cinema—the self-appointed mirror of Indian society—has barely mustered a smudge to reflect it. This conspicuous absence did not arise from creative oversight or timidity alone. In the early decades of Independence, popular cinema was never truly free. Nehruvian socialism shaped public policy and the ideological contours of the industry. The so-called golden triumvirate—Dilip Kumar, Raj Kapoor, Dev Anand—crafted personas that echoed Pandit Nehru's vision of the self-sacrificing, morally upright everyman. Dilip Kumar's dialogue seemed like leftovers from Nehru's speeches, Dev Anand's rebellious charm served the establishment's romantic socialism, and Raj Kapoor's everyman heroes peddled idealism to the masses. Such intimacy with power set the template. The state could inspire cinema, but never the other way around. When that same state turned authoritarian, the industry found itself unprepared and unwilling to challenge it. In the Emergency years, the machinery of coercion extended directly into the corridors of Bombay. V C Shukla, Indira's information & broadcasting minister, became infamous for exerting his influence over the film industry. Wielding the Maintenance of Internal Security Act like a scythe through the industry, the political establishment wasn't breaking new ground—it was merely weaponising an existing dependency. Kishore Kumar, the mercurial genius whose voice had soundtracked a generation's dreams, was banned from All India Radio and Doordarshan for refusing to perform at a Youth Congress rally. Dev Anand, tricked into attending a Sanjay Gandhi event and asked to praise his 'dynamism', found his films blacklisted when he refused to comply. When he sought an explanation from the I&B Minister, he was told with chilling matter-of-factness that it was 'a good thing to speak for the govt in power.' Shatrughan Sinha , then one of cinema's busiest stars, saw his films banned for the cardinal sin of supporting Jayaprakash Narayan. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like The Most Unwelcoming Countries in the World, Ranked BigGlobalTravel Undo Gulzar's 'Aandhi', merely suspected of drawing inspiration from Indira Gandhi's life, while most argued it'd taken a few chapters from the life of Tarkeshwari Sinha, was banned for the duration of the Emergency, releasing only after the Janata victory restored a semblance of democratic normalcy. 'Maha Chor' starring Rajesh Khanna casually inserted a 'Vote for Congress' graffiti into a musical sequence. Most telling was the fate of Amrit Nahata's 'Kissa Kursi Ka', a political satire that dared to mock the Emergency's absurdities. All prints of the film were destroyed allegedly by Sanjay Gandhi at a factory in Gurgaon. This was not subtext—it was brazen collusion between art and authority. Yet what happened after the Emergency lifted reveals the true depths of the industry's moral bankruptcy. When the time came to reckon with the period—its absurdities, its tragedies, its moral squalor—Hindi cinema fell silent. There was an almost immediate return to sycophantic normalcy. Feroz Khan's 'Qurbani' (1980), the biggest hit of the year when Indira Gandhi returned, opened with a short film eulogising Sanjay Gandhi, narrated by Khan himself as he dedicated his film to the memory of the 'Prince' and bowed in reverence to the 'Mother'. If films between 1977 and 1980 did not address the Emergency, to expect that to happen after Indira Gandhi returned would perhaps be hoping for a miracle. This wasn't just political calculation—it was the instinctive reaction of an industry that had learned to worship power. 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