Neil Robertson misses real reason snooker’s world champion isn’t paid £1m like Luke Littler

Neil Robertson misses real reason snooker’s world champion isn’t paid £1m like Luke Littler

 

 

 

Veteran snooker star Neil Robertson has reignited debate about the commercial future of snooker after suggesting the World Snooker Championship must find a new home if it ever hopes to match the seven-figure prizes now commonplace in darts. Robertson, currently ranked world No 3, argued that the iconic Crucible Theatre in Sheffield — with its capacity of fewer than 1,000 fans — limits ticket revenue and therefore prize money growth, and hinted the sport may move the flagship event abroad after its 2027 contract expires.

His comments were prompted by the contrasting fortunes of darts sensation Luke Littler, who this year pocketed £1 million for winning the 2026 PDC World Darts Championship — a landmark payday made possible by a major prize fund overhaul.

While Robertson frames the prize gap largely as a matter of venue income and tradition, experts say the reasons behind snooker’s relatively modest £500,000 top prize lie deeper in how the two sports generate money and project commercial value.

At snooker’s 2025 World Championship, winner Zhao Xintong received £500,000 from a total prize fund of £2.395 million — making it one of the richest events in the sport’s calendar but still well short of darts’ six-figure stakes at the pinnacle. In contrast, the 2026 PDC World Darts Championship expanded to a £5 million prize pool, with Littler’s £1 million share symbolising the sport’s widening commercial reach.

Broadcasting and sponsorship are key factors. The Professional Darts Corporation (PDC) has secured lucrative long-term TV deals, particularly with broadcasters like Sky Sports, that underpin prize money growth across its tour and major events. Industry insiders note the sport’s evolution into a mainstream TV spectacle — with booming viewing figures and entertainment-led presentation — has created a bigger commercial pie to share with players.

By contrast, snooker’s global broadcast rights, while historically strong in the UK and in key markets like China, have not grown at the same pace. Snooker’s prize money has been relatively static for years, with top payouts anchored in tradition rather than aggressive commercial expansion, and incremental increases focused on maintaining the sport’s calendar rather than driving headline-grabbing jackpots. Analysts also highlight that snooker’s heavy reliance on one venue and a single flagship event limits negotiators’ leverage for bigger broadcast deals and sponsorship packages compared with darts’ expanding global tour model.

Robertson’s suggestion that a move away from the Crucible might unlock new revenue opportunities isn’t misguided — larger venues and new markets could boost ticket sales and sponsorship interest — but it doesn’t directly address the core revenue dynamics behind prize funds. Snooker’s prize pools are shaped more by historical broadcast deals and sponsorship commitments than by gate receipts alone.

Crucially, commentators say, darts’ seven-figure winner’s prize is not just about one breakout player — it’s about structural growth. The PDC’s decision to double the winner’s cheque to £1 million was part of a broad strategy to elevate the sport’s profile worldwide, expand the World Championship field from 96 to 128 players, and increase total prize money by millions.

As snooker faces questions about modernisation and commercial strategy, Robertson’s comments sharpen the spotlight on a broader challenge: balancing tradition with a drive for growth. Only time will tell whether snooker can reshape its revenue model to offer the kind of prize money now seen in darts — but most observers agree the solution lies beyond simply changing venues.