Culture
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.
LIBERTY LEVELS UP 🗽
The #WNBAFinals presented by @YouTubeTV is now tied at 1-1! Game 3 is set for Wednesday at 8pm/ET in Minneapolis 🔥 pic.twitter.com/sZOjIZSZZW
— WNBA (@WNBA) October 13, 2024
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.
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.
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.
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.
“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.
SOLD OUT DATES 🤩
Huge shoutout to our Libs Fam for showing up and out for a Game 2 win @barclayscenter 🗽 pic.twitter.com/KjNlFBzCWN
— New York Liberty (@nyliberty) October 13, 2024
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.
“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.”
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.
GO DEEPER
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.
“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.
“This is the new baseline,” Rawlinson said.
(Illustration: Dan Goldfarb / The Athletic; photo: Bruce Bennett/ Getty Images)
Culture
6 Poems You Should Know by Heart
Literature
‘Prayer’ (1985) by Galway Kinnell
Whatever happens. Whatever
what is is is what
I want. Only that. But that.
“I typically say Kinnell’s words at the start of my day, as I’m pedaling a traffic-laden path to my office,” says Major Jackson, 57, the author of six books of poetry, including “Razzle Dazzle” (2023). “The poem encourages a calm acceptance of the day’s events but also wants us to embrace the misapprehension and oblivion of life, to avoid probing too deeply for answers to inscrutable questions. I admire what Kinnell does with only 14 words; the repetition of ‘what,’ ‘that’ and ‘is’ would seem to limit the poem’s sentiment but, paradoxically, the poem opens widely to contain all manner of human experience. The three ‘is’es in the middle line give it a symmetry that makes its message feel part of a natural order, and even more convincing. Thanks to the skillful punctuation, pauses and staccato rhythm, a tonal quality of interior reflection emerges. Much like a haiku, it continues after its last words, lingering like the last note played on a piano that slowly fades.”
“Just as I was entering young adulthood, probably slow to claim romantic feelings, a girlfriend copied out a poem by Pablo Neruda and slipped it into an envelope with red lipstick kisses all over it. In turn, I recited this poem. It took me the remainder of that winter to memorize its lines,” says Jackson. “The poem captures the pitch of longing that defines love at its most intense. The speaker in Shakespeare’s most famous sonnet believes the poem creates the beloved, ‘So long as men can breathe or eyes can see, / So long lives this, and this gives life to thee.’ (Sonnet 18). In Rilke’s expressive declarations of yearning, the beloved remains elusive. Wherever the speaker looks or travels, she marks his world by her absence. I find this deeply moving.”
“Clifton faced many obstacles, including cancer, a kidney transplant and the loss of her husband and two of her children. Through it all, she crafted a long career as a pre-eminent American poet,” says Jackson. “Her poem ‘won’t you celebrate with me’ is a war cry, an invitation to share in her victories against life’s persistent challenges. The poem is meaningful to all who have had to stare down death in a hospital or had to bereave the passing of close relations. But, even for those who have yet to mourn life’s vicissitudes, the poem is instructive in cultivating resilience and a persevering attitude. I keep coming back to the image of the speaker’s hands and the spirit of steadying oneself in the face of unspeakable storms. She asks in a perfectly attuned gorgeously metrical line, ‘what did i see to be except myself?’”
‘Sonnet 94’ (1609) by William Shakespeare
They that have power to hurt and will do none,
That do not do the thing they most do show,
Who, moving others, are themselves as stone,
Unmovèd, cold, and to temptation slow,
They rightly do inherit heaven’s graces
And husband nature’s riches from expense;
They are the lords and owners of their faces,
Others but stewards of their excellence.
The summer’s flower is to the summer sweet,
Though to itself it only live and die;
But if that flower with base infection meet,
The basest weed outbraves his dignity.
For sweetest things turn sourest by their deeds;
Lilies that fester smell far worse than weeds.
“It’s one of the moments of Western consciousness,” says Frederick Seidel, 90, the author of more than a dozen collections of poetry, including “So What” (2024). “Shakespeare knows and says what he knows.”
“It trombones magnificent, unbearable sorrow,” says Seidel.
“It’s smartass and bitter and bright,” says Seidel.
These interviews have been edited and condensed.
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Culture
Classic and Contemporary Literature From France, Japan, India, the U.K. and Brazil
Literature
FRANCE
According to the writer Leïla Slimani, 44, the author of ‘The Country of Others’ (2020).
Classic
‘Essais de Montaigne’ (‘Essays of Montaigne,’ 1580)
“France is a country of nuance with a love of conversation and freedom and an aversion to fanaticism. It’s also a country built on reflexive subjectivity. Montaigne reveals all that, writing, ‘I am myself the matter of my book.’”
Contemporary
‘La Carte et le Territoire’ (‘The Map and the Territory,’ 2010) by Michel Houellebecq
“Houellebecq describes France as a museum, where landscape turns into décor and where rural areas are emptying out. He shows the gap between the Parisian elite and the rest of the population, which he paints as aging and disoriented by modernity. It’s a melancholic and yet ironic novel about a disenchanted nation.”
JAPAN
According to the writer Yoko Ogawa, 64, the author of ‘The Memory Police’ (1994).
Classic
‘Man’yoshu’ (late eighth century)
“‘Man’yoshu,’ the oldest extant collection of Japanese poetry, reflects a diversity of voices — from emperors to commoners. They bow their heads to the majesty of nature, weep at the loss of loved ones and find pathos in death. The pages pulse with the vitality of successive generations.”
Contemporary
‘Tenohira no Shosetsu’ (‘Palm-of-the-Hand Stories,’ 1923-72) by Yasunari Kawabata
“The essence of Japanese literature might lie in brevity: waka [a classical 31-syllable poetry form], haiku and short stories. There’s a tradition of cherishing words that seem to well up from the depths of the heart, imbued with warmth. Kawabata, too, exudes more charm in his short stories — especially these very short ‘palm-of-the-hand’ stories — than in his full-length novels. Good and evil, beauty and ugliness, love and hate — everything is contained in these modest worlds.”
INDIA
According to Aatish Taseer, 45, a T contributing writer and the author of ‘Stranger to History: A Son’s Journey Through Islamic Lands’ (2009).
Classic
‘The Kumarasambhava’ (‘The Birth of Kumara,’ circa fifth century) by Kalidasa
“This is an epic poem by the greatest of the classical Sanskrit poets and dramatists. The gods are in a pickle. They’re being tormented by a monster, but Shiva, their natural protector, is deep in meditation and cannot be disturbed. Kama, the god of love, armed with his flower bow, is sent down from the heavens to waken Shiva. Never a wise idea! The great god, in his fury, opens his third eye and incinerates Kama. But then, paradoxically, the death of the god of love engenders one of the greatest love stories ever told. In the final canto, Shiva and his wife, the goddess Parvati, have the most electrifying sex for days on end — and, 15 centuries on, in our now censorious time, it still leaves one agog at the sensual wonder that was India.”
Contemporary
‘The Complex’ (2026) by Karan Mahajan
“This state-of-the-nation novel, which was published just last month, captures the squalor and malice of Indian family life. Delhi is both my and Mahajan’s hometown and, in this sprawling homage to India’s capital, we see it on the eve of the economic liberalization of the 1990s, as the old socialist city gives way to a megalopolis of ambition, greed and political cynicism.”
THE UNITED KINGDOM
According to the writer Tessa Hadley, 70, the author of ‘The London Train’ (2011).
Classic
‘Jane Eyre’ (1847) by Charlotte Brontë
“Written almost 200 years ago, it remains an insight into our collective soul — or at least its female part. Somewhere at the heart of us there’s a small girl in a wintry room, curled up in the window seat with a book, watching the lashing rain on the window glass: ‘There was no possibility of taking a walk that day. …’ Jane’s solemnity, her outraged sense of justice, her trials to come, the wild weather outside, her longing for something better, for love in her future: All this speaks, perhaps problematically, to something buried in the foundations of our idea of ourselves.”
Contemporary
‘All That Man Is’ (2016) by David Szalay
“Though he isn’t quite completely British (he’s part Canadian, part Hungarian), Szalay is brilliant at catching certain aspects of British men — aspects that haven’t been written about for a while, now updated for a new era. Funny, exquisitely observed and terrifying, this novel reminds us, too, how absolutely our fate and our identity as a nation belong with the rest of Europe.”
BRAZIL
According to the writer and critic Noemi Jaffe, 64, the author of ‘What Are the Blind Men Dreaming?’ (2016).
Classic
‘Memórias Póstumas de Brás Cubas’ (‘The Posthumous Memoirs of Brás Cubas,’ 1881) by Machado de Assis
“Not only is it experimental in style — very short chapters mixed with long ones; different points of view; narrated by a corpse; metalinguistic — but it also introduces an extremely ironic view of the rising bourgeoisie in Rio de Janeiro at the time, revealing the hypocrisy of slave owners, the falsehood of love affairs and the only true reason for all social relationships: convenience and personal interest. After almost 150 years, it’s still modern, both formally and, unfortunately, also in content.”
Contemporary
‘Onde Pastam os Minotauros’ (‘Where Minotaurs Graze,’ 2023) by Joca Reiners Terron
“The two main characters — Cão and Crente — along with some of their colleagues, plan to escape and set fire to the slaughterhouse where they work under exploitative conditions. The men develop sympathy for the animals they kill, and one of them becomes a sort of philosopher, revealing the sheer nonsense of existence and the injustices of society in the deepest parts of Brazil.”
These interviews have been edited and condensed.
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Culture
6 Myths That Endure
Literature
The Myth of Meeting Oneself
“This is evident in Virgil’s ‘Aeneid’ (circa 30-19 B.C.) when Aeneas witnesses his own heroic actions depicted in murals of the Trojan War in Juno’s temple, and again in Miguel de Cervantes’s ‘Don Quixote’ (1605-15) when Quixote enters a printer’s shop and finds a book that has been published with fake details about his quest even as he’s living it,” says Ben Okri, 67, the author of “The Famished Road” (1991) and “Madame Sosostris and the Festival for the Brokenhearted” (2025). “In both stories, individuals throw themselves into the world and think they encounter objects, personae, obstacles and antagonists, but what they actually encounter is themselves. In our time, where our actions meet us in the echo chamber of social media, the process is magnified and swifter. Now a deed doesn’t even have to take place for it to enter the realm of reality.”
The Myth of Utopia
“I’ve always had trouble with the idea of utopia, feeling it derives its energy more from what it wishes to dismantle than what it wishes to enact,” says the T writer at large Aatish Taseer, 45, the author of “Stranger to History: A Son’s Journey Through Islamic Lands” (2009). “Ram Rajya, or the mythical rule of the hero Ram in the Hindu epic ‘Ramayana’ (seventh century B.C.-third century A.D.), like all visions of perfection, contains a built-in violence.”
The Myth of Invisibility
“Invisibility bears power and powerlessness at the same time,” says Okri. “In ancient cultures, it was a gift of the gods. Jesus, for example, walks unrecognized among his disciples, and in Greek myths, Scandinavian legends and ancient African tales, heroes are gifted invisibility in the form of cloaks, sandals or spells. Modern works like the two ‘Invisible Man’ novels, by H.G. Wells (1897) and Ralph Ellison (1952), and the ‘Harry Potter’ novels (1997-2007) by J.K. Rowling reach back to those ideas. But today, people talk about visibility as the highest form of social agency, while invisibility can render a whole class, race, caste or gender unseen.”
The Myth of Steadiness vs. Speed
“‘The Tortoise and the Hare,’ one of Aesop’s fables (sixth century B.C.), doesn’t necessarily strike a younger person as promising — possibly it has a whiff of morality in it,” says Yiyun Li, 53, the author of “A Thousand Years of Good Prayers” (2005) and “Dear Friend, From My Life I Write to You in Your Life” (2017). “But the longer I live and work, the more I understand that it’s the tortoiseness in a person that carries one along, not the swiftness of the mind and body of the hare.”
The Myth of Magic
“Ancient magical tales like Homer’s ‘Odyssey’ (late eighth to early seventh century B.C.) were allegories of transformation, of secret teachings,” says Okri, “whereas modern forms of magic are narrative devices and tropes of storytelling that continue the child’s wonder of life. I think of F. Scott Fitzgerald’s ‘The Great Gatsby’ (1925), Gabriel García Márquez’s ‘One Hundred Years of Solitude’ (1967) and, again, the ‘Harry Potter’ books. The intuition of magic persists even in these atheistic and science-infested times, where nothing is to be believed if it can’t be subjected to analysis. This is perhaps because the ultimate magic confronts us every day in the mystery of consciousness. That we can see anything is magical; that we experience love is magical; and perhaps the most magical thing of all is the imagination’s unending power to alter the contents and coordinates of reality. It hides tenaciously in the act of reading, which is the most generative act of magic.”
The Myth of the Immortal Soul
“ ‘The soul is birthless and eternal, imperishable and timeless and is not destroyed when the body is destroyed,’ says Krishna in the ‘Bhagavad Gita’ (second century-first century B.C.). This belief in the immortality of the soul — what used to be called Pythagoreanism in ancient Greece — is still the most pervasive myth in India,” says Taseer, “and has more influence over behavior and how one lives one’s life than any other.”
These interviews have been edited and condensed.
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