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How the WNBA went from an ‘existential’ moment to record success

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How the WNBA went from an ‘existential’ moment to record success

In spring 2020, as the COVID-19 pandemic upended the country, WNBA commissioner Cathy Engelbert was locked down in her New Jersey home. The league was facing a season on the brink right as its stakeholders felt it had begun to gather momentum.

In conversations with league owners and players, Engelbert sensed in those early weeks of the pandemic the tension over what was at stake. Without a season, the league faced what she later called an “existential” moment about the prospect of going dark for 20 months.

“I don’t know if we would have made it, but I do know we wouldn’t be where we are today without having had that highly competitive 22-game season in the bubble,” Engelbert said.

Four years after the “Wubble,” the league is celebrating the WNBA Finals between the New York Liberty and Minnesota Lynx as a capstone to its most successful year. The WNBA has never been in a better place. Television ratings are up. So is attendance. The league is riding a boom in interest and talent, driven by the steady excellence of longtime stars like A’ja Wilson and Breanna Stewart, and the arrival of Caitlin Clark. Three expansion teams have already been named and another is expected. A lucrative new media deal is set to start in 2026.

 

The progress has not been without its growing pains. For years, WNBA players pushed for private charter flights for teams traveling between games — a common practice for their peers in the NBA and most other major professional sports leagues — before the league granted them this season. Occasional high-profile games have been moved because of scheduling conflicts, and fans have voiced frustration about merchandise and broadcast accessibility. Engelbert received criticism from players, including an admonishment from the players’ union, last month for what they said was an inadequate public response to the online harassment and abuse many said they’ve received this season. The union has also routinely called for more transparency from the league on its finances and operations.

But the league remains on the ascent, and the choice to play in 2020 has been hailed by team owners as an important springboard. “I think it was one of the best decisions made in the history of this league,” Seattle Storm co-owner Lisa Brummel said.

That decision kept the WNBA in the consciousness of fans and created a strengthened player body. As important, it continued to generate revenue via media rights and corporate partnerships.

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A few months after the conclusion of the 2020 season, the WNBA made another choice that significantly affected its trajectory. It began a capital raise that has helped supercharge its reach and popularity. It didn’t have to come in from the shadows to do so. If not for that window of time, stakeholders say, the WNBA might not be where it is now.


Before Engelbert took over as the WNBA’s first official commissioner in 2019 — the league was previously run by presidents — she had to interview with the league’s team owners. As she went around the country, visiting all 12 markets, she heard a similar refrain. After nearly three decades of trying to find its footing, the WNBA’s power brokers had decided it was time to grow. The plan, Engelbert said, was based on a simple idea: “Go big or go home.” The league, they told her, needed more capital.

There was no consensus on how much. Just that it needed more to grow. Engelbert sought perspectives from influential people around her. When she met Kobe Bryant late that year, she said he asked what the WNBA needed. Engelbert passed along the desire for more capital and floated $50 million as a target. That number turned out to be a fraction of what it later received from investors.

In early 2021, the WNBA put out a pitch deck to investors. The process was driven, in part, by the Liberty’s ownership group, which also owns the Brooklyn Nets and Blue Pool Capital, a private equity firm. “At the time, we really needed that infusion of capital,” Liberty co-owner Clara Wu Tsai said.

It was a new approach by the WNBA. The NBA had helped stand up the league over its first two-plus decades in existence, but now it sought money from other sources. The WNBA was short on resources and manpower. It needed investments to put into marketing and brand building, digital innovation and to drive more revenue.

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A year later, it closed a $75 million capital raise that came with a $475 million post-money valuation for the WNBA. Michael Dell and Nike were the largest investors, according to one source with knowledge of the raise who was not authorized to speak publicly about the agreement. Nike invested $25 million, according to multiple league and industry sources. Nike declined to comment. Engelbert did not dispute that number when asked but said the sneaker company was a natural partner.

“Nike called and wanted to make a substantial investment because part of their strategy was to double down on women’s sports,” she said.

Investors in the capital raise took a roughly 16 percent stake in the league, with WNBA owners and NBA owners each splitting the rest in half, and took preferred equity. That gives them a priority return on their investment with a 5 percent dividend, said one person with knowledge of the capital raise who was granted anonymity because the person did not have the authority to speak publicly about the league’s financial structure. Though they have non-voting shares in the league, they also have two observers on the Board of Governors.

“I was just intrigued that there was this league where the quality of the players is so great,” Karen Finerman, Metropolitan Capital CEO and a WNBA investor, said. “And yet the league was struggling.”

The WNBA’s financial situation has improved since then, and high-ranking executives and owners point to the raise as a reason. It helped supercharge the league’s growth and put the WNBA in a place where it could take advantage of the surge in popularity since 2020.

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Increased globalization was announced as one of the uses of the money. After playing multiple exhibition games in Canada, a Toronto expansion team will begin play in 2026. Engelbert said the league would like to play games on various continents. Last week, she singled out Mexico City for its interest in hosting competition. The WNBA has also undergone a digital transformation after the raise, revamping its app and website. That change also helped with its marketing efforts, as did increases in promotional and paid media campaigns.

Human capital was another area where the money was allocated. When Engelbert took over as commissioner, the WNBA had roughly 12 employees, she said. It still works out of the NBA’s midtown Manhattan offices, but now it has more than 60. It has gone from what Engelbert said was a one-person marketing department to around two dozen employees there. The league hired its first chief marketing officer in December 2020.

“If we weren’t already making incremental progress in our business, then the moment that we’re experiencing right now would not be as big as it is,” Dallas Wings CEO and president Greg Bibb said.


WNBA commissioner Cathy Engelbert took a “go big or go home” approach to running the league. (David L. Nemec / NBAE via Getty Images)

Engelbert believed the capital raise also showed the WNBA could be a growth property. That wasn’t always the case for teams around the league.

When Wu Tsai and her husband, Joe Tsai, bought the Liberty in January 2019, they purchased an organization she said was a distressed asset. James Dolan, the franchise’s first and then-only owner, put the Liberty for sale in November 2017, and moved it out of Madison Square Garden a season later and into Westchester County Center, where they played for two seasons.

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“Nobody wanted to touch it,” Wu Tsai said.

Nevertheless, the Tsais found the franchise attractive. They recognized the power of New York as a media market and knew how much the city loved basketball. They believed there was a fan base just waiting to be reinvigorated.

Entering the finals, New York has been re-energized and is viewed around the league as one of the franchises responsible for raising the bar. (Before the WNBA implemented full charter travel this season, the Liberty were fined a league-record $500,000 for chartering their players during the second half of 2021.)

They reshaped the roster and the business, too. In New York’s opener against the Indiana Fever, it recorded $175,000 in merchandise sales, a single-game record for the Liberty and the Nets. Attendance is up to an average of nearly 13,000 fans per Liberty home game, up 64 percent from last year. They have 53 sponsors, up nearly 61 percent year over year, with revenue generated from such partnerships up 68 percent. Wu Tsai said the franchise is heading in the direction of profitability.

“I couldn’t be happier about the demand for tickets for our games, the interest from sponsors and the viewership,” Wu Tsai said.

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They aren’t alone, of course. Clark has served as an accelerant in a record-setting year for the Fever (and league more broadly). The Wings rebudgeted their ticket revenue three times this season as a reflection of exploding interest, with signs pointing to another record year next season, Bibb said. They set merchandise records and added more partners, ones who aren’t just local but also national and international brands. They sold two half-percent ownership stakes this summer at a record $208 million valuation.

Transformations in the business also are part of what set the Wings up for a forthcoming move from Arlington to downtown Dallas. They are targeting to begin working in a new practice facility by the start of the 2026 season. The Dallas Memorial Auditorium is undergoing a renovation and will serve as their home arena. “It just changes the game for us,” Bibb said.

The Chicago Sky, led by rookie Angel Reese, have experienced a similar upswing.

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“We now have breathing room. Revenue is good. Growing the top line is good. People coming to games and selling out arenas, that’s fantastic,” co-owner and operating chairperson Nadia Rawlinson said. “What has happened over the last 18 months has been nothing short of extraordinary.”

A franchise-specific 40,000-square-foot practice facility is on the way in Chicago. The Sky broke ground on their new facility Oct. 9 with plans to open before the 2026 season. They join Phoenix, Seattle and Las Vegas as franchises that have all recently unveiled new facilities.

“Practice facilities are going to just quickly become table stakes,” Rawlinson said. “I think it will be something most franchises, if not all, will have over the next five years.”

She’s not alone in that belief. Storm co-owner Ginny Gilder said she believes that in five years every franchise will have its own practice facility. If that comes to fruition, it will be one more example of how far the league has come.

“This was a leap (from) many years where people thought, is this going to be sustainable?” said Joe Soper, the governor for the Connecticut Sun. “Are there going to be teams choosing to fold or sell or relocate and just trying to get out because they don’t know if financially it’s going to have the support, even though the talent is there on the court. Now you’re getting this visibility, and everybody gets to see the talent and the growth.”

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The WNBA has seen franchise valuations jump, and Engelbert said she thinks they will continue to rise “considerably.” It is a stark difference from a half-decade ago when franchises were sold at values in the single-digit millions. Mark Davis, The Athletic reported in 2022, bought the Las Vegas Aces for a little more than $2 million.

This year, the league drew an all-in fee of $125 million for the expansion franchise in Portland, more than doubling not only what the league sought in expansion fees when it started but also what it cost the Golden State Warriors ownership group to buy in with the Valkyries.

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How the Golden State Valkyries marketing themselves as the new WNBA expansion franchise

This past season, WNBA games averaged a record 1.19 million viewers on ESPN platforms compared with an average of 1.56 million viewers tuning in to watch NBA regular-season games across ABC, ESPN and TNT. And heading into the finals, the playoffs had been the most viewed in 25 years. The league’s new media deal — worth $2.2 billion over 11 years, and potentially more if it lands additional media partners, as it expects — could help lift valuations even higher. There has been so much positive momentum, Engelbert said, that the league decided to pause the search for its 16th team to reassess where it stands and hire an investment banker to run it. She said 10 to 12 cities are viable options.

It is one of several ways the WNBA has had to reorient itself on the fly.

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“It’s interesting to talk today about where we are, but I think it’s changing so rapidly, and everything’s changing in the W,” Engelbert said. “I tell my team, everything’s changed, so don’t base this on last year because everything changed this year and how we should be thinking about what’s next for us.”

The next few years will continue to mold the league. The WNBPA is widely expected to opt out of the current collective bargaining agreement, and there could be a new one in place in 2026, the same year the new media deals kick in. The new CBA will determine what proportion of revenue players and teams get.

Players have pushed for higher salaries at a time when the WNBA has had to deal with criticism that they aren’t being paid enough. Teams, after decades of losing money, are hoping to soon crawl into the black. Valkyries president Jess Smith didn’t dismiss profitability in the franchise’s first season.

Though the WNBA’s new media deal is relatively flush, it won’t all trickle down to the teams in the same way it would in the NBA or NFL, which don’t have outside investors. The income the league distributes will hit teams through a waterfall process, though team owners will get the largest share.

But there is a belief across the league that the WNBA is entering a different stage. Its recent prosperity, its stakeholders say, should become normal.

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“This is the new baseline,” Rawlinson said.

(Illustration: Dan Goldfarb / The Athletic; photo: Bruce Bennett/ Getty Images)

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The Most Anticipated Book Adaptations of 2025: Movies and TV Shows

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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.

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.

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.

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“Watson” premieres on CBS and Paramount+ on Jan. 26.

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.

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.

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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.

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.

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.)

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“Mickey17” premieres in theaters on March 7.

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.

“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.

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Unrivaled’s an instant hit, but can the new women’s basketball 3×3 league sustain?

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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.

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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.”

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.

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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.

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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.

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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.”

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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.

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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.

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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.


Fans flocked to buy merchandise before Unrivaled’s inaugural games in Florida. (Carmen Mandato / Getty Images)

How Unrivaled engages and grows its audience is paramount to its future.

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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.

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Can Unrivaled’s 3×3 style benefit WNBA players?

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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.

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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)

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Book Review: ‘Mona Acts Out,’ by Mischa Berlinski

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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.

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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.

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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.

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“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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