Culture
Freddie Freeman wallops his way into World Series history with walk-off slam that’ll float forever
LOS ANGELES — Carlton Fisk … Kirby Puckett … Derek Jeter … David Freese.
As he smoothed the dirt in the batter’s box in the 10th inning Friday night, Freddie Freeman never could have envisioned he’d be spending the rest of his life hanging out with those October legends.
But then walk-off magic happened.
Before the next wave of Freeman’s bat, no living human could lean back in an easy chair and describe to you what a walk-off, lead-flipping, extra-inning World Series grand slam looked like. But we can now. It looks exactly like this.
FREDDIE FREEMAN WALK-OFF GRAND SLAM. #WORLDSERIES pic.twitter.com/5MIY5CaX6a
— Los Angeles Dodgers (@Dodgers) October 26, 2024
History is an amazing thing to make — and a breathtaking thing to witness. A stadium rattles until it awakens every Richter Scale in Southern California. A walk-off hero jumps on home plate and disappears into a sea of hugs and laughs and tears of joy.
A scoreboard tries to tell this tale — Dodgers 6, Yankees 3 — but there is so much emotion and so much history that can’t possibly be captured by the final score of Friday’s Game 1 of the 2024 World Series.
So that’s where this column comes in handy. There are certain nights in October that seem to exist so those of us at Weird and Wild World HQ can help you make sense of them. This was one of those nights.
“Freddie just hit a ball that’s going to be in the history reels forever,” Dodgers reliever Michael Kopech told us afterward. “So it’s a special moment — for him and for us.”
When a man hits a walk-off home run in extra innings — in the World Freaking Series — he can’t imagine in that moment that the baseball is never going to come down. But he could ask the guys in the first sentence of this column …
Carlton Fisk … Kirby Puckett … Derek Jeter … David Freese.
They’re in that hallowed Extra-inning World Series Walk-off Club. So Freddie can ask them the next time he sees him. Or even better …
He could walk across his clubhouse and ask Max Muncy.
Six years ago, it was Muncy who stepped to the plate at 12:30 in the morning — California time — and pounded an 18th-inning walk-off home run of his own, to finish off the longest World Series game ever played: Game 3 of the 2018 Series.
It turned out to be the only game the Dodgers won against the Red Sox in that World Series. But if you think that means that home run was forgotten, Muncy is here to set you straight.
“Yeah, Freddie is gonna hear about this one for a long time,” Muncy said Friday night. “Freddie has hit some big home runs, especially in the postseason. But he’s gonna hear about this one.”
So why is that? What is it about home runs like this that cause them to reverberate through history and stick in our memory banks? We can help explain that!
Extra special
This was the 693rd game in World Series history. So think about how wild (and weird) it is that no hitter, in any of those other 692 games, had written a script to match Freddie Freeman’s script.
How many walk-off slams had ever been hit, in any other World Series game? Yep, that would be none.
In fact, only one walk-off slam had ever ended a game in any other postseason round. That was hit by Nelson Cruz, in Game 2 of the 2011 ALDS. So what were the odds that Cruz would be in the park for this one, as a member of the Spanish-language Univision broadcast team? Baseball!
But moving right along, here comes a distinction even wilder than that. Wouldn’t you think that sometime, in the 119 previous World Series, somebody would have dug into a batter’s box somewhere, with his team trailing, and hit an extra-inning home run that turned a loss into a win?
You would think that, all right. But you would think wrong — because the complete list of men to do that consists of …
Freddie Freeman!
Or wouldn’t you think that somebody would have hit a home run that at least tied a World Series game in extra innings? Nope. No one has ever hit one of those, either.
So what we saw Freeman do Friday, in the 10th inning at Dodger Stadium, was produce an all-time October moment. And who can ever get enough of them!
“When you get told you do something like that, in this game that’s been around a very long time — I love the history of this game,” Freeman said. “To be a part of it, it’s special.”
GO DEEPER
Rosenthal: For Freddie Freeman, his family and Dodgers fans, a grand moment on the biggest stage
She is … gone
As the 10th inning began Friday night, one of my fellow baseball scribes turned to me and asked: What are the chances that Kirk Gibson limps out of the dugout to hit in this inning?
We laughed at the thought. But in retrospect …
In the history of the World Series, just two men have ever stood in a batter’s box with their team one out from defeat … and then hit a walk-off home run that changed everything:
Kirk Gibson, Game 1, 1988
Freddie Freeman, Game 1, 2024
(Hat tip: Paul Casella, MLB.com)
Geez. Holy Chavez Ravine. Gibson, of course, flipped that 1988 script in the ninth inning, not the 10th. Nevertheless, is that goosebumpy enough for you — even if Freeman hadn’t been limping around all week, much like Gibson did back in the day?
But when a few of us tried to recast The Kirk Gibson Story afterward, with Freeman as the new lead in this production, Freeman’s teammates were not all in on that. Especially not after Freeman had tripled in his first at-bat of the Series. After all, Gibson could barely make it to third base after his home run back in ’88. So are we sure this was the same thing?
C’mon, Muncy said, “Freddie’s been hobbling too fast. He’s moving good. He had a triple tonight. So I don’t know if you can compare that. From everything I heard, Gibson had half a leg.”
Feels like a good time to show Kirk Gibson’s walk-off home run in Game 1 of the 1988 World Series pic.twitter.com/PC2PuhRwAf
— FOX Sports: MLB (@MLBONFOX) October 26, 2024
In a year that has been so improbable …
When Freeman wriggled into the box with two outs in the 10th, the Dodgers’ chances of winning this game were only 26.7 percent, according to Baseball Reference. That changed swiftly, obviously. One moonshot into the right-field pavilion later, those chances were more like 100 percent.
So if you’re adding along at home, you know what that means: Freeman’s homer had just jumped their Win Probability by a staggering 73.3 percent, with one swing of the bat. Does that seem good? We’ll do you a favor, by stepping outside those decimal points to tell you just how good.
This was officially one of the biggest, most game-changing swings in the history of the World Series!
So there. Does that help make sense of it? And how cool is it that we can measure that with Baseball Reference’s handy dandy Pivotal Play Finder, which can rank every World Series hit by its Win Probability Added. So we did that.
Most pivotal extra-inning homers
HITTER | GAME/YEAR | WIN PROBABILITY ADDED |
---|---|---|
Freddie Freeman |
Game 1, 2024 |
73.3% |
Derek Jeter |
Game 4, 2001 |
46.1% |
Most pivotal extra-inning hits
HITTER | GAME/YEAR | WIN PROBABILITY ADDED |
---|---|---|
Freddie Freeman |
Game 1, 2024 |
73.3% |
Tris Speaker* |
Game 8, 1912 |
50.5% |
(*game-tying single in 10th)
Most pivotal bases-loaded hits
HITTER | GAME/YEAR | WIN PROBABILITY ADDED |
---|---|---|
Freddie Freeman |
Game 1, 2024 |
73.3% |
Terry Pendleton* |
Game 2, 1985 |
68.9% |
(*lead-flipping double with two outs in ninth)
And finally, here it comes, the leaderboard you’ve been waiting for but might not have known you were. It’s the …
Most pivotal World Series walk-off hits ever
HITTER | GAME/YEAR | WIN PROBABILITY ADDED |
---|---|---|
Kirk Gibson |
Game 1, 1988 |
87% |
Freddie Freeman |
Game 1, 2024 |
73.3% |
Joe Carter |
Game 6, 1993 |
65.6% |
(Source: Baseball Reference)
GO DEEPER
How Freddie Freeman delivered an iconic swing on a bad ankle: ‘You dream about those moments’
Their intentions were good
But wait. There’s more. This grand slam would not have been possible if the Yankees hadn’t filled up the bases by intentionally walking Mookie Betts to pitch to Freeman. So how rare is a postseason grand slam following an intentional walk?
Whoa, we hadn’t had one of those since … 12 days ago, when these same Dodgers intentionally walked Francisco Lindor to fill the bases for Mark Vientos … in this same stadium. The baseball gods work in mysterious ways, don’t they?
But if we just confine this discussion to intentional walks that set up a slam in the World Series, we have only four of those in history:
YEAR | GAME | INT BB | HIT SLAM | INNING |
---|---|---|---|---|
1951 |
WS Game 5 |
Johnny Mize |
Gil McDougald |
3rd |
1956 |
WS Game 7 |
Yogi Berra |
Bill Skowron |
7th |
1992 |
WS Gm 6 |
David Justice |
Lonnie Smith |
5th |
2024 |
WS Gm 1 |
Mookie Betts |
Freddie Freeman |
10th |
(Source: STATS Perform)
But you’ll notice this was the first extra-inning intentional walk to set up a grand slam in World Series history — and only the second in postseason history. The other was issued by … Dave Roberts, who intentionally walked a guy named Juan Soto to get to Howie Kendrick in the 10th inning of Game 5 of the 2019 NLDS. That didn’t go quite as well for the Dodgers manager as this!
No wonder Roberts would later describe this game as maybe “the greatest baseball moment I’ve ever witnessed.”
But he was not alone. We’ve measured the cool factor of this home run with lots of numbers. Yet maybe the truest measure was the euphoria this epic blast infused in Freeman’s teammates. An hour later, that feeling hadn’t subsided — not even a little.
“I can’t imagine how Freddie is feeling right now,” said Michael Kopech, “because I feel like I’m floating.”
There’s another baseball game to play Saturday. So the Dodgers will show up and play all nine innings of it (assuming that’s enough). But we should let them in on a secret. If they go on to win this thing, when they all close their eyes — in five years, 10 years, 20 years — and think back on this World Series, they’ll still be floating …
Just like Freeman’s walk-off slam for the ages.
Party of Three
OK, hang with us for just another minute. There are three more things you need to know about this game!
EMPTY NESTOR — Somebody has to give up these momentous home runs. In this case, that somebody was Nestor Cortes. So what’s his claim to fame? As Eric Orns, one of our favorite readers/baseball stat gurus, reports, Cortes became the first pitcher in postseason history — at least in the pitch-count era (1988-present) — to give up two runs on two pitches.
First pitch — spectacular catch by Alex Verdugo on Shohei Ohtani’s foul looper down the left-field line.
Next pitch (after an intentional walk that now requires zero pitches) — walk-off slam.
Hey, at least the Dodgers didn’t run up his pitch count.
GO DEEPER
Nestor Cortes wanted the ball. And all that came with it
GRAND SLAM FEVER — Does it feel like there’s a grand slam every week in this postseason? It should — because this was the fifth of the postseason. And we’re not through playing yet. So as Orns reminds us, it would take only one more slam to break the record for most in a single postseason.
The two years with five of them: 2021 and 1998. Stay tuned!
TRIPLE THREAT — Finally, have we mentioned that Freeman had a triple in his first at-bat of this game and a walk-off extra-inning homer in his last at-bat? We had a hunch he was the first player in history to do that in a World Series. Boy, were we wrong. But it was worth checking … because what a list of guys who have hit a triple and an extra-inning walk-off in the same World Series game.
Freddie Freeman |
Game 1, 2024 |
David Freese |
Game 6, 2011 |
Derek Jeter |
Game 4, 2001 |
Kirby Puckett |
Game 6, 1991 |
(Source: Baseball Reference / Stathead)
Just looking at that list, it reminded us that we remember those games as The David Freese Game … The Derek Jeter “Mr. November” Game … and The Kirby Puckett “We’ll See You Tomorrow Night” Game. So little does Freeman know it, but what we saw Friday will go down in the annals as (what else) The Freddie Freeman Game. Which tells you all you need to know about a classic October evening of …
Baseball!
GO DEEPER
Freeman’s grand statement lifts Dodgers over Yankees in Game 1: Takeaways
GO DEEPER
Yankees’ Boone explains ill-fated decision to use Cortes against Dodger lefties
GO DEEPER
Juan Soto owns defensive shortcomings in Game 1, as sloppy play stifles Yankees
(Top photo: Keith Birmingham / MediaNews Group / Pasadena Star-News via Getty Images)
Culture
The Most Anticipated Book Adaptations of 2025: Movies and TV Shows
New Year, new reading goals. It’s that season again when anything feels possible: Maybe this is the year you’ll finally tackle that dust-laden copy of “Infinite Jest” sitting on your shelf, or earn your “I finished ‘The Power Broker’” mug. And for binge watchers, it’s also the perfect chance to study up by diving into the books that are being adapted into movies and TV shows in 2025. Here are some of the thrillers, romances, sci-fi page turners and detective novels coming soon to a screen near you.
This is a running list. Check back for more updates as the year goes on.
By Matthew Quirk
Peter Sutherland is an F.B.I. agent who works at the White House, monitoring an emergency phone line that seldom rings. One night, he receives a distressing call from a woman named Rose Larkin, who reports that two people have just been murdered. What follows is a whirlwind of action and suspense as the two become entangled in a conspiracy involving high-level corruption and espionage.
Season 2 of “The Night Agent” premieres on Netflix on Jan. 23.
By Arthur Conan Doyle
There have been no shortage of screen versions of Sherlock Holmes, Doyle’s beloved British detective: According to the Guinness Book of World Records, the persnickety genius is the second-most portrayed literary character in the history of film. In “Watson,” the latest adaptation, however, the focus is on Dr. John Watson, Holmes’s loyal confidant and the frequent narrator of his escapades. Though the series is not inspired by a specific book or story, “A Study in Scarlet” is a delectable primer on the two men’s longstanding friendship.
“Watson” premieres on CBS and Paramount+ on Jan. 26.
By Dav Pilkey
In this spinoff of Pilkey’s “Captain Underpants” universe, Dog Man — a part-dog, part-human police officer — and his eccentric friends battle villains and solve crimes. Blending humor, action and heart, the graphic novel series teaches young readers about friendship and bravery — all brought to life through colorful illustrations and quirky anthropomorphic characters. It has already been adapted into an Off Broadway musical. Now it heads to the big screen.
“Dog Man” premieres in theaters on Jan. 31.
By Helen Fielding
In this third installment of Fielding’s series about an endearingly hapless British diarist, Bridget Jones is adjusting to widowed life after the death of her husband, Mark Darcy. Raising her two young children as a single mother now in her 50s, she juggles her career and navigates romantic mishaps with characteristic wit and self-deprecating humor. The book, our critic wrote, “is not only sharp and humorous, despite its heroine’s aged circumstances, but also snappily written, observationally astute and at times genuinely moving.”
“Bridget Jones: Mad About the Boy” premieres on Peacock on Feb. 13.
By Michael Bond
Paddington was still in Peru when he first appeared on the big screen in 2014. Now, over a decade later, he returns to his home country with his adopted Brown family in the third installment of this fan-favorite film series, inspired by Bond’s beloved books. Dozens of titles, including novels, picture books and short story collections, have been published since the clumsy brown bear made his print debut in 1958, but “A Bear Called Paddington” remains a perfect introduction to the marmalade enthusiast.
“Paddington in Peru” premieres in theaters on Feb. 14.
By Giuseppe di Lampedusa
In this 1958 novel, now being given the mini-series treatment, Prince Don Fabrizio Corbera grapples with the decline of his aristocratic family’s status in 1860s Sicily, as Giuseppe Garibaldi leads the Risorgimento campaign to overthrow the monarchy and unite Italy as one nation-state. Lampedusa was himself the last in a line of Sicilian princes, and he drew heavily on his own family’s story to craft this tale about the rise of a new bourgeois class and Prince Fabrizio’s struggles to find his place in a rapidly changing world.
“The Leopard” premieres on Netflix on March 5.
By Edward Ashton
Mickey, an “expendable” worker on a remote ice planet, knows he will most likely die on the job. But no matter: Cloning exists in this space colony and, after one version of Mickey dies, a new one will regenerate. After Mickey7 goes missing on a space mission, Mickey8 is immediately created. The only problem? Mickey7 is still alive. (And in case eight regenerations weren’t enough, the director Bong Joon Ho takes it 10 steps further in his film adaptation, “Mickey17,” starring Robert Pattinson as Mickey.)
“Mickey17” premieres in theaters on March 7.
By Dennis Tafoya
Ray and his best friend, Manny, met in a juvenile detention facility. Nearly two decades later, they’ve found a way to make a living by posing as D.E.A. agents and raiding drug houses in Philadelphia. It’s a simple and lucrative grift — until a poorly chosen mark puts them in the cross hairs of a dangerous kingpin. High-speed car chases, bloody violence and many flying bullets ensue.
“Dope Thief” premieres on Apple TV+ on March 14.
By Hilary Mantel
“The Mirror and Light” is the final book in Mantel’s “Wolf Hall” trilogy, which chronicles Thomas Cromwell’s rise to power in Henry VIII’s capricious court. It’s a sinewy, imaginative work of historical fiction that delights in the psyche of a man whose political maneuvering and ambitions lead him to the pinnacle of power — and to his own undoing. The actor Mark Rylance, who won a BAFTA for his portrayal of Cromwell in the 2015 mini series that covered the trilogy’s first two novels, returns for this final chapter.
“Wolf Hall: The Mirror and the Light” premieres on PBS on March 23.
Culture
Unrivaled’s an instant hit, but can the new women’s basketball 3×3 league sustain?
MEDLEY, Fla. — Outside a custom-built arena on the outskirts of Miami, a line of fans waited to sit on a throne composed largely of basketballs. They wrote personal answers on a sign asking, “What does Unrivaled mean to you?” Empowerment. Leadership. Community. Future. Not even some evening rain could extinguish the buzz that had been building since 2023, when fans learned about the creation of this new 3×3 women’s basketball league.
As fans filed into the 850-seat Wayfair Arena on Friday night for the opening night of Unrivaled, they sported a tapestry of WNBA gear. But many wanted new apparel, too, crowding into the gift shop an hour before tipoff. The least expensive single ticket cost north of $300, but fans flocked to support their favorite WNBA stars and witness a new chapter of women’s basketball history.
At tip-off before the first game of a doubleheader, co-founders Napheesa Collier and Breanna Stewart posed at center court for a photo to capture the moment before they competed against each other.
The nationally televised contests aired back to back on TNT, highlights replayed on SportsCenter, and a clip of Skylar Diggins-Smith sinking the league’s first game-ending shot amassed millions of views across various social media platforms.
In its opening weekend of games, Unrivaled has undoubtedly commanded attention. But to carve out a permanent space in women’s basketball, it needs to accomplish what many other start-up sports leagues have historically failed to do: sustain.
Unrivaled executives say the league’s long-term success has been set up by its stable foundation — signing renowned WNBA stars, attracting big-brand sponsors, capitalizing on lucrative investments and inking a multi-year television deal.
“I think we put ourselves in a great position to be successful right away, but it’s a marathon,” said league president Alex Bazzell, a basketball skills trainer and Collier’s husband. “We’re not running out there from Day 1 trying to get millions of viewers out of the gate. It would be tremendous, but we’re gonna be here for a little while.”
Phee with the steal and Sky got it done 😮💨🔥 pic.twitter.com/CtpkLUnznR
— Unrivaled Basketball (@Unrivaledwbb) January 18, 2025
Before Unrivaled filled its rosters with 22 WNBA All-Stars, it started with just two — Stewart and Collier. Like many of their WNBA peers, the star forwards share a history of spending months overseas during the offseason and competing professionally abroad to supplement their WNBA incomes and sharpen their games.
The routine sparked brainstorming between them. Bazzell first pitched Unrivaled to Stewart in late 2022. “(We were) trying to make women’s basketball continue to be relevant in the offseason from a professional standpoint,” she said.
From the beginning, both players were on constant phone and Zoom calls. They met with investors, relaying their experiences from their years in countries such as Turkey, France, China and Russia. They explained why they believe top women’s basketball players should be marketed in the U.S. during the WNBA offseason and how Unrivaled could offer comparable domestic competition and salaries on par with high-paying overseas clubs.
They wanted to convince stakeholders that Unrivaled wouldn’t be just a novelty but that the league would have staying power. “(Stewart and Collier were) instrumental because when brands come in they act like founders,” Bazzell said.
The two players, alongside other Unrivaled executives, sold their idea to major brands and to deep-pocketed investors, including Gary Vaynerchuk, U.S. soccer star Alex Morgan and NBA legend Carmelo Anthony.
Bazzell said the league already has “far exceeded” the first-year revenue expectations it pitched to initial investors. “We’re focused on building a great business, but for the time being we don’t have to worry about money,” he said.
That is partially because of its media rights deal — a six-year $100 million agreement with Warner Bros. Discovery, according to a source with knowledge of the agreement — and a robust sponsorship roster.
The day before tipoff last week, Stewart paused for a moment and pointed out a banner displaying some of Unrivaled’s partners: Ally, Under Armour, Samsung Galaxy, Sephora. “People are walking that walk and also talking that talk,” she said.
The question is: Will they continue?
Unrivaled’s launch comes at a time of unprecedented attention on women’s basketball. Record-breaking viewership, attendance and media deals became commonplace for women’s college basketball and the WNBA over the last two years.
“You couldn’t have landed this at a better time,” said David Levy, an Unrivaled investor who is the former head of Turner Sports and current co-CEO of Horizon Sports and Entertainment.
Bazzell said Unrivaled operates with a “startup mentality.” Executives might create rules one day and unload boxes the next. The league, of course, is still unproven. But unlike many other short-lived start-up leagues, key to Unrivaled’s early success is that its most important members are verifiable stars.
“A lot of times leagues go away because they don’t have the best of the best playing in them,” Levy said. “Unrivaled didn’t start with names nobody knew or people that didn’t make the WNBA. This is the best of the best.”
Early on, Unrivaled executives recognized attracting top talent would be critical to creating visibility on TV, with partners and on social media. With nearly two-dozen WNBA All-Stars — Stewart, Collier, Brittney Griner, Sabrina Ionescu, Angel Reese among them — and seven No. 1 WNBA Draft picks, name recognition isn’t an issue.
To keep so many stars in the U.S., they knew the importance of paying salaries competitive with top overseas clubs. Unrivaled said it is the highest-paying American women’s sports league in history, with salaries averaging north of $200,000.
Its 36 players are more than just talent in Unrivaled, too. A substantial portion of the league’s equity — around 15 percent — is allocated to players. “We’re proud to be here also as investors,” Diggins-Smith said. “All of us being investors, (we) really care about this product and (it) really doing well… You want it to sustain.”
GO DEEPER
How Unrivaled became a welcome alternative for WNBA players’ overseas offseasons
Three-time WNBA MVP A’ja Wilson and rookie sensation Caitlin Clark are among those not playing in Unrivaled. The league made overtures to rookie Clark, but she elected to sit out the inaugural season, as she recovers from a nonstop last 12 months. Clark’s WNBA salary — around $75,000 — is supplemented by her countless endorsement deals, and she told Time she felt training privately in her own space would be beneficial. Clark, though, didn’t rule out playing in the league in the future. If she does, Levy said, interest in the league will “catapult,” surely propelling its long-term outlook. But he stressed that Unrivaled isn’t built around one person.
Unrivaled already has a high-profile media rights partnership, which is critical to its financial foundation and will be important in its ability to grow.
Initially, Unrivaled executives wondered if the league would need to broker a revenue-sharing deal with a potential TV or streaming partner before getting a licensing deal once the season launched. But they quickly found that multiple parties were interested in a licensing agreement with at least four companies in the final bidding, Levy said.
Bazzell relied on Levy and John Skipper, the former president of ESPN and another early Unrivaled investor, to tap into their professional networks and help find a partner.
Things crystallized this summer when Bazzell met with TNT Sports CEO Luis Silberwasser while in France for the Olympics. Having reach outside of traditional broadcast windows was important to Unrivaled, Bazzell said, as founders recognized the importance — both financially and culturally — of having broad social media reach. Warner Bros. Discovery’s portfolio including Bleacher Report, House of Highlights and HighlightHer (recently renamed B/R W) made it especially appealing.
WBD was ideal, executives said, because of everything it had under one roof: widespread TV distribution (all games will air on TNT or TruTV, and stream on Max), ancillary production, and social media strongholds, a key component of Unrivaled’s business strategy. Warner Bros. also financially invested in Unrivaled, as a sign of its deep commitment to the league’s success.
Getting WBD and Unrivaled founding partner, Ally, on board were critical in the avalanche of partnership deals that followed. (Ally has pledged a 50/50 media spend to support men’s and women’s sports equally.)
Under Armour senior lead for global sports marketing, Tamzin Barroilhet, first met with Bazzell in the summer of 2023. A former college and overseas pro player, Barroilhet said she was “hooked” on the concept and Unrivaled’s deal with WBD helped convince the apparel brand to sign on as the official outfitter. Unrivaled is Under Armour’s highest-profile women’s basketball partnership, and a number of other brands also struck deals in women’s basketball for the first time. Sephora’s agreement with the league is the beauty company’s first partnership with any sports league.
Unrivaled’s scarcity was also intriguing to prospective investors. The league runs only 10 weeks. Its $8 million salary pool is one of its two largest categorical allocation of funds. As a single-site operation, it has a lower operational cost than many other start-up leagues, which Bazzell said minimizes its burn rate.
“(When you) keep the product at a premium level and ultra-competitive, you have some opportunities to pique interest,” he said.
The league announced in December it had raised an additional $28 million (on top of the $7 million in its seed round) from investors, including Milwaukee Bucks star Giannis Antetokounmpo, tennis star Coco Gauff, swimmer Michael Phelps, and South Carolina women’s basketball coach Dawn Staley. A number of its initial investors, including Anthony, Morgan and UConn women’s basketball coach Geno Auriemma, committed additional capital.
“We have new people trying to rush in and now we’re getting to a point where you have to be selective,” Bazzell said.
How Unrivaled engages and grows its audience is paramount to its future.
League officials stress TV ratings will be just one aspect of that answer. “It’s part of a puzzle,” Levy said. “How many people are following (on social media)? What are they doing? How many people are sharing? How much is the fan base interacting with it? How much is merchandise going up? There are going to be so many different metrics that I think are going to play into this.”
Part of their build involves recruiting the next generation. Aliyah Boston, the Indiana Fever center and 2023 No. 1 pick, said college players she’s talked to aim to play in the WNBA and Unrivaled. LSU star Flau’jae Johnson has an NIL deal with Unrivaled, and UConn’s Paige Bueckers, who is the presumed No. 1 pick in this April’s WNBA Draft, has an NIL deal and equity in the league. Bueckers plans to play in Unrivaled when she turns pro.
USC’s JuJu Watkins won’t enter the WNBA until 2027, but when she enters the pro ranks, Unrivaled will have a spot for her. She was among the December investors and is optimistic about the league’s future and sustainability.
When those players set foot in Unrivaled, the league will almost assuredly be different. This season, all 10 weeks of action take place at the Florida facility, but a tour model for competition is planned for next year.
GO DEEPER
Can Unrivaled’s 3×3 style benefit WNBA players?
The locations are yet to be determined but Unrivaled is targeting non-WNBA cities and college towns. Bazzell said it wouldn’t visit more than four cities and the league will still have a home base. The operational cost, Bazzell said, would be similar as it’s likely only four teams would travel to a given stop. Important to maintaining a premier player experience, the league would use charter airfare to transport its players.
“We want to go to different markets to help grow the game and bring a touch point to hopefully a lot of young girls around the country that are looking up to these players and haven’t been able to see them play in person,” Bazzell said.
Taking the league on the road will bring logistic challenges, but league executives believe it will help grow Unrivaled’s business and open it to even more fan opportunities. Barroilhet, the Under Armour executive, foresees potential youth clinics and camps in conjunction with Unrivaled’s tour. Brands could produce activations at different venues, furthering engagement and reach.
Ensuring the WNBA’s top players participate will be critical to Unrivaled’s sustainability, and perhaps some are less interested in any travel necessary for touring. WNBA salaries drastically increasing in the next CBA — the league is negotiating a new agreement with the WNBPA — could also diminish part of a player’s financial lure to the new league. Plus, while TV ratings aren’t fully indicative of overall fan interest, they still remain a datapoint that will impact the league’s viability, especially when media rights conversations begin for a second time.
Yet for now, the stars seem delighted to be in the new venture. Throughout Friday and Saturday’s action, Unrivaled athletes from other teams sat around the arena and watched their peers, enjoying the moment. Fans approached players like Jackie Young, Rhyne Howard and Natasha Cloud for selfies. Onlookers cheered not only for athletes playing, but for those wandering the aisles. “It’s a very intimate setting,” Jewell Loyd said.
Maintaining that connection will build fan loyalty. But for television audiences, the game — the appeal of watching the best players in the world perform — will have to remain at the forefront.
“At the end of the day, the product needs to be great for fans to continue to want to watch it,” Bazzell said. “You can capture people’s attention, but how do you keep people’s attention? It’s done through the most competitive product possible, which is really what we’re adamant on, day in and day out.”
(Top photo of Kahleah Copper: Carmen Mandato / Getty Images)
Culture
Book Review: ‘Mona Acts Out,’ by Mischa Berlinski
MONA ACTS OUT, by Mischa Berlinski
If not for the opiates in her system, or the weed she vaped to boost the pills’ effect, Mona Zahid might have handled Thanksgiving Day better — not ducking into the bedroom of her Manhattan apartment to hide from her quarreling relatives while dinner cooks, or emerging only to grab her affable beagle, Barney, and head for the front door. But in Mischa Berlinski’s novel “Mona Acts Out,” she is, fundamentally, very, very stoned.
So when, on her way through the building’s lobby, she finds a postcard in her mailbox from Milton Katz, the famous Shakespearean stage director who for two decades shepherded her acting career, its piteous message grabs hold of her fuzzy mind.
“I am dying, Egypt, dying,” he scrawls, repurposing a line from “Antony and Cleopatra,” and even though she well knows the charismatic Milton’s habits of shameless self-dramatization and precision-calibrated emotional manipulation, she worries that he speaks the truth. Ever since a #MeToo article in The New York Times got him expelled from his own legendary East Village company, the Disorder’d Rabble — the name is borrowed from “King Lear” — he has lived in disgraced exile.
Mona, who was one of his leading ladies and remains at least a semi-loyalist, hasn’t seen him in nearly a year. Her imminent turn as Cleopatra for the Rabble, without him at the helm, is only stoking her anxiety. His postcard suggests he knows it.
She must go to him immediately, she decides, and she will walk. That means an hourslong odyssey from Morningside Heights to Brooklyn Heights, but again, she is quite high — and trying to avoid her Trump-voting father-in-law, who is on the wrong side of the Shakespeare authorship question, as well as her doctor husband, with whom she is in a holiday snit.
And so the plot is set in motion in Berlinski’s book, which takes inspiration from a 2017 article in The Times by Jessica Bennett, about nine women accusing the veteran playwright and artistic director Israel Horovitz of sexual misconduct.
It’s unlikely fodder for a comic novel, yet Berlinski (“Fieldwork,” “Peacekeeping”) pulls it off, laughing not at Milton’s trespasses but at the ridiculousness of being human — especially in the theater, and especially in New York. As Mona’s sidekick, the joy-seeking Barney is like a furry little clown.
Structured in five acts and an interlude, this psychologically acute, Shakespeare-steeped tale is about both the aftermath of Milton’s downfall and its plentiful causes over many years. By the time of his banishment, he is something of a Lear figure, and Mona something of a middle-aged Cordelia. But the novel’s curiosity is less about Milton than about her and other women once in his orbit, who figure in Mona’s Thanksgiving.
Like Susan Choi in “Trust Exercise,” Berlinski has an intricate understanding of the dynamics of predation, the psyches of performers and the culture of theater, particularly the grittier, convention-trampling downtown variety.
Ambitious and egregiously self-absorbed — Mona and Milton have those traits in common — Mona always tolerated his aggressive handsiness, his middle-of-the-night phone calls, his chronic inappropriateness. “He’s kissed me more than you have,” she tells her husband. To her, enduring that was the price of making great art, a condition about which Milton had been “totally clear with everyone.”
This puts her at odds with Rachel, her beloved college-student niece. A target for Milton’s unwanted kisses as an intern at the Rabble, she became an anonymous source for the reporter from The Times. There is also Mona’s erstwhile friend Vanessa, once Milton’s latest young discovery, who fell fervidly in love with him, not realizing the danger to her nascent acting career if their affair should end.
The journey of “Mona Acts Out” is insightfully, entertainingly multitudinous. Its destination is a letdown. Too neat, too complacent, too contrived, the ending feels like a cop-out not because it fails to wrap up the story in a particular way, or at all, but because it places characters with a profound and important conflict between them in the same small space and pretends it’s a cozy tableau.
Perhaps Berlinski means this outbreak of placid coexistence to be hopeful, even a metaphor for a less fractured United States: its angry old men and outraged women enjoying a moment of détente.
But it comes across as a willful skirting of confrontation — as if our storyteller had averted his gaze and stepped away, humming cheerfully. In that, though, he is merely following the master’s template. Shakespeare’s comedies often behave similarly, culminating in scenes of harmony that the playwright has essentially magicked up.
“Mona Acts Out” is a comedy, too, but its affinity for Shakespeare gravitates at least as much toward the tragedies, and there remains a swirl of stubborn trauma at the novel’s center. A smudge of complexifying darkness would not have gone amiss in its final moments, just before the Act V curtain falls.
MONA ACTS OUT | By Mischa Berlinski | Liveright | 304 pp. | $27.99
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