Renato Laranja

Renato Laranja is a fictional comedic character created within the Brazilian Jiu-Jitsu community and portrayed by Rhasaan Orange, an actual BJJ practitioner and performer. The persona functions as a satirical alter ego — a vehicle for lampooning the stereotypes, tropes, and cultural quirks of the BJJ world through deliberate exaggeration and absurdist humor.

Distinct from Orange's genuine identity and credentials, Laranja operates as a larger-than-life caricature that has cultivated a recognizable following within the grappling community as a staple of BJJ satire. Over time, the character became embedded enough in BJJ culture to feature in high-profile productions — a trajectory that would eventually place the persona at the center of significant controversy.

The Incident

At Craig Jones Invitational 2, the Renato Laranja character appeared in a skit-style interview segment alongside Tom DeBlass, a UFC and ADCC veteran who serves as Vice President of Grappling for ONE FC. The segment drew immediate and widespread criticism online after it referenced DeBlass's personal history with childhood abuse — subject matter that many viewers considered deeply inappropriate and well outside the bounds of acceptable comedy.

DeBlass's Response

By early September 2025, Tom DeBlass had publicly addressed the incident on Instagram, clarifying that Rhasaan Orange was playing the deliberate role of an ignorant interviewer — framing the character's behavior as a performative satirical conceit rather than a sincere provocation. The statement was notably specific in distinguishing intentional character design from a broader endorsement of the segment's content or its reception.

Community Fallout and Broader Implications

The controversy extended well beyond DeBlass's clarification. The incident generated pointed criticism directed at the CJI production itself, with commentators calling for the Renato Laranja character to be removed from the project entirely. The fallout reignited broader debates within the BJJ community about where the line falls between satire and exploitation — particularly when comedic framing is applied to a survivor's personal trauma. The episode served as a flashpoint for ongoing questions about the responsibilities of grappling media productions when platforming edgy or character-driven comedy.