Connect with us

Culture

Could MLB nationalize its media rights? Why some clubs are pushing to end local TV deals

Published

on

Could MLB nationalize its media rights? Why some clubs are pushing to end local TV deals

Sixty years ago, baseball commissioner Ford Frick received a telegram from a Wisconsin congressman. Rep. Henry Reuss was worried the Milwaukee Braves would defect to Atlanta for the promise of a richer television contract, and proposed a fix: if all the Major League Baseball teams would share their television money, then the Braves might stay.

According to the Associated Press, Frick replied in that summer of 1964 that “… a plan to pool all television receipts would not be feasible or acceptable at this time,” but would be “worthy of future consideration.”

Now, in 2024, that conversation has arrived. Commissioner Rob Manfred and some of the sport’s owners are more seriously talking about nationalizing baseball’s TV rights than ever before. Not because of relocation, but because of cord-cutting, the failure of some traditional regional sports networks, and the simultaneous battle for streaming supremacy waged by Netflix, Amazon and other streamers that has left sports leagues and rights holders in a chaotic reformation.

Some baseball owners and executives, mostly in smaller markets, believe the best way to grow media revenues over the long haul is to centralize the deal-making, and from there, to potentially sell all 30 teams’ regular-season broadcasts as one streaming package. Others in the game, particularly those whose teams make the most money, are vehemently opposed to surrendering their power over their rights.

The hurdles to such a change are massive, but that it is even being contemplated is remarkable. The end of local media rights in baseball would be one of the most radical alterations imaginable in the tumultuous world of sports television. Unsurprisingly, the possibility is also controversial.

Advertisement

“As the local media situation evolves, we will continue to evaluate the best model for us moving forward,” Manfred said in a statement to The Athletic. “Our course of action will be determined by the clubs, who are the ultimate decision makers under our constitution.”

While MLB has long arranged various national media deals — including for the postseason, with networks such as FOX and TBS, and for Sunday night games during the regular season, with ESPN — individual teams have always controlled most of their regular-season inventory, as well as the choice of television stations they partner with inside their home markets. (The central office already controls each team’s “out-of-market” rights, which is why fans in New York can sign up for MLB.tv and watch any game besides the Mets’ or Yankees’.)

Doing away with local rights could eliminate many of the blackout restrictions that frustrate fans. But not all clubs believe Manfred’s office could utilize the rights better than they do individually.

The most divisive matter, though, is the dollars. Regardless of how a commissioner deployed the rights, the question would be: How is the revenue distributed, by equal split or otherwise? The New York Yankees received an estimated $143 million as a rights fee in 2022, much greater than a team like the Colorado Rockies, which received $57 million that same year, according to Forbes. It is ultimately, then, a rekindling of baseball’s classic drama, big market vs. small.

“Everything is on the table for the future, because it’s so unknown,” Sam Kennedy, president of the big-market Boston Red Sox, said during spring training. “Look, there’s always issues that come up where large-market teams have a different view than the small-market teams. In the end, the greater good of the industry is what we have to also focus on.”

Advertisement

A new era is just beginning in sports broadcasting, and the changes are happening quickly. On Wednesday, Netflix and the NFL announced that the streamer would newly carry Christmas Day games. Netflix is paying in the neighborhood of $75 million per game.

Elsewhere Wednesday, the other three major men’s sports leagues in the U.S., MLB, the NBA and the NHL, were in court arguing that one of their most significant broadcast partners, Diamond Sports Group, was bumbling its way through bankruptcy and a carriage dispute with a prominent cable company, Comcast. This month, a dozen MLB teams carried on Diamond’s Bally-branded channels cannot be viewed by Comcast’s roughly 13.6 million television customers.


The Diamond Sports Group bankruptcy has been an ongoing problem for MLB. (David Berding / Getty Images)

Then on Thursday, FOX, Warner Bros. Discovery and Hulu announced the name of their upcoming sports package: “venu.”

The prospect of a big payout from a streaming company is naturally alluring in baseball circles. Regional sports networks have traditionally committed a lot of money to teams upfront. Streamers might act differently, preferring a risk-reward model — the more people who flock to the content, the more money that is paid. But in the long run, as the streamers jockey for position, Manfred could bet that Amazon and its ilk will pay more in aggregate than the traditional RSNs do today for fragmented content.

The heart of the discussion, then, is really whether baseball could thrive as a “national” sport. Ironically, the national pastime is often regarded as a local game.

Advertisement

“Like almost everything in American life, it’s all about money,” former baseball commissioner Fay Vincent said in a phone interview. “The money is so enormously tilted locally. You know, trying to get yourself, if you’re living in New York, interested in a game where Seattle is flying to San Diego or something — it just doesn’t work.”

MLB just sold a package of Sunday-morning games to Roku, which The Athletic reported Thursday was for $10 million per year. Previously, Peacock had paid $30 million per season for the same package. Roku, unlike Peacock, does not require a paid subscription, but MLB’s lessened fee was nonetheless discouraging to some officials.

“It just goes to show, there’s no national package,” said an executive in the sport granted anonymity to speak candidly. “People want to pay only for the premium teams.”

One sport has long thrived on a national rights model: the National Football League. At the time that Frick made his comments in 1964, the NFL was already negotiating deals as one entity.

But the sports were in different places then, as they are now. The once-a-week NFL schedule has always delivered a much smaller number of games compared to baseball’s nightly cadence.

Advertisement

“The local television contract in football simply never had that much value in the early days, because of the small inventory,” said James Walker, professor emeritus of communication at Saint Xavier University in Chicago, who has authored books about baseball’s broadcasting history. “What that meant is that the (football) teams, when they established their television policy, were much closer in parity. The notion of big-market team versus small-market team simply didn’t have the same meaning in the NFL, as it always did in Major League Baseball.”

Football’s move to nationalize rights is an achievement often credited to a titan among sports commissioners, Pete Rozelle, who took over in 1960. Walker said that a predecessor of Rozelle’s, Bert Bell, actually deserves attention to that end as well.

Whether Manfred wants to be remembered as the Rozelle of baseball, or the Bell, is one of the more interesting questions as Manfred marches toward his planned retirement in 2029.

Manfred’s mission is likely simple: make the most money with the most certainty possible, be it by going into the local media business headlong or outsourcing it, as has long been the norm. But any substantive change is going to require him to corral his 30 bosses, and a rights-structure change might be a bridge too far.

“In baseball, it’s very difficult for a commissioner to get owners to work for the collective good,” Walker said. “The idea that at this stage, the Yankees would suddenly agree to pool their local rights, in some kind of shared configuration — it’s not impossible that that could happen.

Advertisement

“But it would basically mean you’d have to figure out a way that the Yankees receive what they consider to be their fair compensation. And you’d be going against the grain. If you go back to the radio era, you’re really talking about 90 years of history.”

Existing contracts between teams and regional sports networks are a huge predicament. Some teams have deals with RSNs that run into the 2030s. These deals have often promised exclusivity to the RSN, such that MLB couldn’t just turn around and bundle the games as it saw fit with a simulcast.

Hence, even if the teams agreed to nationalize local rights tomorrow, and assigned their current deals over to the league office, MLB would have to wait until some expire to use the rights in new ways — or it would have to otherwise negotiate an early end to those deals. The Dodgers’ TV contract, for example, goes through 2038.

The league also might have to negotiate changes with the players’ union, because revenue sharing between teams is collectively bargained. That means the next CBA negotiations, in 2026, could bring these issues to a head. The MLBPA declined comment.

Alternative theories exist as to the direction baseball or any sport should go. Perhaps greater revenue exists in developing packages grouped together by market, rather than by sport: a New York bundle across various leagues, and so forth.

Advertisement

A three-quarters vote typically allows the owners to modify the sport’s constitution. But support anywhere short of 100 percent for a shift in the rights setup could leave MLB in perilous territory. If any owner felt the league was improperly assuming something of value, lawsuits could fly.

In a nuanced distinction: MLB could launch some sort of smaller national streaming package, one with perhaps half the teams, without changing its actual rights system. Some teams today are not in exclusive deals with RSNs, freeing them up for the league to roll up into a bundle immediately. Manfred has expressed interest in doing this as soon as 2025, but he doesn’t have enough teams he could pool together at this point for a viable product. That could change later this year, however, if Diamond Sports Group fails to emerge from bankruptcy.

Asked in February if the idea of moving away from local rights would have been unthinkable just a few years ago, Kennedy said, “The world is changing fast.”

“Consumers need to have the ability to access our product, our games, whenever they want, wherever they want, quickly,” Kennedy said. “We can’t make it difficult.”

(Top photo of Manfred: Mike Carlson / MLB Photos via Getty Images)

Advertisement

Culture

Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

Published

on

Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

At 53, and after more than a decade in the industry, things are happening for the romance writer Kennedy Ryan that were not on her bingo card.

The most recent: a first look deal with Universal Studio Group that will allow her to develop various projects, including a Peacock adaptation of her breakout 2022 novel “Before I Let Go,” the first book in her Skyland trilogy, which considers love and friendship among three Black women in a community inspired by contemporary Atlanta.

With a TV series in development, Ryan — who published her debut novel in 2014 and subsequently self-published — joins Tia Williams and Alanna Bennett at a table with few other Black romance writers.

“What I am most excited about is the opportunity to identify other authors’ work, especially marginalized authors, and to shepherd those projects from book to screen,” said Ryan, a former journalist. (Kennedy Ryan is a pen name.) “We are seeing an explosion in romance adaptations right now, and I want to see more Black, brown and queer authors.”

Her latest novel, “Score,” is set to publish on Tuesday. It’s the second volume in her Hollywood Renaissance series, after “Reel,” about an actress with a chronic illness who falls for her director on the set of a biopic set during the Harlem Renaissance. The new book follows a screenwriter and a musician, once romantically involved, working on the same movie.

Advertisement

In a recent interview (edited and condensed for clarity), Ryan shared the highs and lows of commercial success; her commitment to happy endings; and her north star. Spoiler: It isn’t what readers think of her books on TikTok.

Your work has been categorized as Black romance, but how do you see yourself as a writer?

I see myself as a romance writer. I think the season that I’m in right now, I’m most interested in Black romance, and that’s what I’ve been writing for the last few years. It doesn’t mean that I won’t write anything else, because I don’t close those doors. But the timeline we’re in is one where I really want to promote Black love, Black art and Black history.

What intrigued you about the period of history you capture in the Hollywood Renaissance series?

I’ve always been fascinated by the Harlem Renaissance and the years immediately following. It felt like a natural era to explore when I was examining overlooked accomplishments by Black creatives. I loved the art as agitation and resistance seen in the lives of people like James Baldwin or Zora Neale Hurston, but also figures like Josephine Baker, Lena Horne and Dorothy Dandridge, who people may not think of as “revolutionary.” The fact that they were even in those spaces was its own act of rebellion.

Advertisement

What about that period feels resonant now?

The series celebrates Black art and Black history and love at a time when I see all three under attack. Our art is being diminished and our history is being erased before our very eyes. I don’t hold back on the relationship between what I see going on in the world and the books I write.

How does this moment in your career feel?

I didn’t get my first book deal until I was in my 40s, so I think this is the best job I’ve ever had. I’m wanting to make the most of it, not just for myself, but for other people, and I think the temptation is to believe that it will all go away because that’s my default.

Why would it all go away?

Advertisement

Part of it is because we — my family, my husband and I — have had some really hard times, especially early in our marriage when my son was diagnosed with autism, my husband lost his job, and we experienced hard times financially. I’ll never forget that.

When I say it could all go away, I mean things change, the industry changes, what people respond to changes, what people buy and want to consume changes. So I don’t assume that what I am doing is always going to be something that people want.

Why are you so firmly committed to defending the “happy ending” in romance novels?

It is integral to the definition of the genre that it ends happily. Some people will say it’s just predictable every one ends happily. I am fine with that, living in a world that is constantly bombarding us with difficulty, with hurt, with challenge.

I write books that are deeply curious about the human condition. In “Score,” the heroine has bipolar disorder, she’s bisexual, there’s all of this intersectionality. For me, there is no safer genre landscape to unpack these issues and these conditions because I know there is guaranteed joy at the end.

Advertisement

You have a pretty active TikTok account. How do you engage with reviews and commentary on the platform about you or the genre?

First of all, I believe that reader spaces are sacred. Sometimes I see authors get embroiled with readers who have criticized them. I never ever comment on critical reviews. I definitely do see the negative. It’s impossible for me not to, but I just kind of ignore it. I let it roll off.

How does this apply to being a very visible Black author in romance?

I am very cognizant of this space that I’m in right now, which is a blessing, and I don’t take it for granted. I see a lot of discourse online where people are like, “Kennedy’s not the only one,” “Why Kennedy?,” “There should be more Black authors.” And I’m like, Oh my God, I know that. I am constantly looking for ways to amplify other Black authors. I want to hold the door open and pull them along.

How do you define success for yourself at this point?

Advertisement

I have a little bit of a mission statement: I want to write stories that will crater in people’s hearts and create transformational moments. Whether it’s television or publishing, am I sticking true to what I feel like is one of the things I was put on this earth to do? I’m a P.K., or preacher’s kid. We’re always thinking about purpose. And for me, how do I fit into this genre? What is my lane? What is my legacy? Which sounds so obnoxious, you know, but legacy is very important to me.

Continue Reading

Culture

How Many of These Books and Their Screen Versions Do You Know?

Published

on

How Many of These Books and Their Screen Versions Do You Know?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights the screen adaptations of popular books for middle-grade and young adult readers. Just tap or click your answers to the five questions below. Scroll down after you finish the last question for links to the books and their screen versions.

Continue Reading

Culture

Ellen Burstyn on Her Favorite Books and Her Love of Poetry

Published

on

Ellen Burstyn on Her Favorite Books and Her Love of Poetry

In an email interview, she talked about why she followed up a memoir with “Poetry Says It Better” — and when and why she leans on the “For Dummies” series. SCOTT HELLER


Describe your ideal reading experience.

Next to a warm fire in a house in the woods. Barring that, at home in bed.

How have your reading tastes changed over time?

When I first began reading, I read fiction. My favorite novel was “The Magic Mountain,” by Thomas Mann. Over the years I find that I am less interested in fiction and more interested in trying to learn about science and mathematics. I love the “For Dummies” series. I remember reading or hearing many years ago, maybe in high school, that the first law of thermodynamics is that energy cannot be created or destroyed; it can only change form. So, I was thrilled to learn there was such a book as “Thermodynamics for Dummies.” It was interesting reading, but I’m afraid I could not quote you anything from that book.

Advertisement

What’s the best book you’ve ever received as a gift?

I received the “Rubaiyat” of Omar Khayyám from someone, probably from my first husband, Bill. It stimulated my love of poetry, beautifully illustrated books and also my fascination with the East and the Mideast.

Why write “Poetry Says It Better” rather than, say, a follow-up to your 2006 memoir?

“Poetry Says It Better” has some references to my life, but I feel I wrote enough about myself in my memoir, and I include some of my personal history in this book.

You write that you’ve memorized poems your whole adult life. What’s the last poem you memorized?

Advertisement

I am working on “Shadows,” by D.H. Lawrence. I am trying to get that securely in my memory. Of course, at 93 I am not as good at memorizing as I used to be, or at holding on to what I have already memorized. But it is good exercise for the memory to use it.

You quote a line from Kaveh Akbar: “Art is where what we survive survives.” Why does that line resonate so much for you?

That line is so meaningful to me because I know that the difficult first 18 years of my life is the emotional library I descend into for every part I’ve ever played, and every poem that has landed in my heart.

Of all the characters you’ve played across different media, which role felt the richest — the most novelistic?

I would have to say Lois in “The Last Picture Show.” She was a character I didn’t really understand right away. I had to dig for her. She was multidimensional. I feel literary characters are like that.

Advertisement

What’s the best book about acting, or the life of an actor, you’ve ever read?

I have to name two. “My Life in Art,” by Konstantin Stanislavsky, and “A Dream of Passion,” by Lee Strasberg.

How do you organize your books?

I’ve collected my library for 70 years. All my classic literature is together, on two facing walls in the front of my living room. On the other end of the room, I have my art books. Facing them are my travel and music books. On the fourth wall are some of my science books.

In the large entrance hall, I have one standing bookcase of the complete Carl Jung collection, and near it another bookcase of poetry anthologies. In my kitchen office are all the books about food. Then I have a writing room that contains books of poetry and science, and my Sufi books. In my bedroom are my spiritual and religious books.

Advertisement

What books are on your night stand?

Currently: “Anam Cara: Spiritual Wisdom From the Celtic World,” by John O’Donohue; “Prayers of the Cosmos,” by Neil Douglas Klotz; “The Courage to Create,” by Rollo May; “Radical Love,” by Omid Safi; Pema Chödrön’s “How We Live Is How We Die”; “The Trial of Socrates,” by I.F. Stone; “Our Green Heart: The Soul and Science of Forests,” by Diana Beresford-Kroeger; and “On Living and Dying Well,” by Cicero.

What book might people be surprised to find on your shelves?

Probably Ken Wilber’s “A Brief History of Everything” and Michio Kaku’s “Physics of the Future.” These are two of my favorite books. I love to read books on science that are not written for scientists but for curious readers like me.

You’re organizing a literary dinner party. Which three writers, dead or alive, do you invite?

Advertisement

Oh, definitely Mary Oliver, my favorite poet of all time, and Edgar Allan Poe. The thought of those two people talking to each other. Finally, Tennessee Williams, who’s written some of the greatest plays ever.

Continue Reading
Advertisement

Trending