Culture
Man City 1 Man Utd 2 – Amad’s genius, Nunes’ errors and Amorim’s set-piece problem
Amad scored a brilliant late winner in the Manchester derby shortly after earning the penalty that had put Ruben Amorim’s team level as Manchester City crumbled in the closing stages at the Etihad Stadium.
The main story before the game was Marcus Rashford and Alejandro Garnacho being left out of the United squad, with United head coach Amorim saying he made the decision after evaluating “everything”.
In their absence, United fell behind when Josko Gvardiol headed in from a short corner in the 36th minute, worsening United’s awful record for set-piece goals conceded this season.
Bruno Fernandes had a good chance to equalise in the second half when he clipped a shot wide, but it was Amad who intercepted a poor Matheus Nunes backpass and drew a foul from the same player, with Fernandes scoring the penalty.
And 54 seconds after the restart, Amad collected a through ball, lobbed it over Ederson and then steered it into the goal from a tight angle to win it. According to Opta, it was the latest into a game that the reigning Premier League champions had led and lost. City have now won just one of their last 11 games.
88 – Manchester City were leading until the 88th minute against Manchester United, but ended up losing 2-1 – the latest into a game that a reigning champion has led in the Premier League and lost. Astonishing. pic.twitter.com/9vwTcocgLw
— OptaJoe (@OptaJoe) December 15, 2024
Here Carl Anka, Mark Critchley and Mark Carey analyse the key talking points.
How did Amad do that?
“I just want to improve the team so I cannot treat it like a normal derby,” said Amorim on Thursday evening. It was a pre-match press conference that saw the head coach try to downplay the traditional emotional narratives that go into a game. Neither City or United are on an upward ascent at the moment, so bragging rights fell behind “earning three points” in the hierarchy of needs.
Still, Sunday’s trip to the Eithad will have made clear many things that Amorim has already made good assessments on. His team will likely have to “suffer” in the immediacy, with some players better suited to the “idea” he is trying to communicate to this squad, compared to others. Amad once again looked to be United’s most dangerous attacker but ran offside three times in the first half.
His eagerness to fashion chances in a team lacking creators saw him set off a fraction too early in crucial moments. Yet the 22-year-old’s bravery where many others were timid eventually paid off. His driving runs are illustrated in his player dashboard below.
It was Amad who sensed Kyle Walker’s backpass to Ederson was slack and wouldn’t make its intended target. It was Amad who rounded the City goalkeeper to open up a goalscoring opportunity. It was Amad who opted to pause, and wait for Matheus Nunes to foul him. And Amad who won the penalty.
Fernandes converted and it looked to end 1-1.
But there was Amad again. Latching onto a hopeful pass from Lisandro Martinez in the 90th minute before tipping it over Ederson and into the far post.
Amorim’s first derby will have taught him — again — that his team’s physicality needs to be worked on. He will have understood — again — that there is much to improve on with set pieces.
But he will have also learned that, in a derby, some of these players can find another level. Amad’s genius yes, but also Harry Maguire battling as the middle centre-back. Manuel Ugarte breaking up play, and more.
The road is long, but many United players are willing to walk and run it.
Carl Anka
Where did Nunes go wrong?
With a long line outside the treatment room and those fit enough to play fatigued, City find themselves in a position where they have to do things differently. See: Matheus Nunes at left-back.
Pep Guardiola did not have much other option — unless he fancied a switch of system or dropping youngster Jahmai Simpson-Pusey into a Manchester derby.
And in fairness, Nunes initially acquitted himself adequately enough, as he has when playing further up the left flank in recent weeks.
But lapses have pockmarked the 26-year-old’s Etihad career to date and that career may well be defined by the two errors that led to United’s equaliser from the penalty spot.
The backpass to play Amad through on goal could be considered an unfortunate error — but to charge back and slice through the United winger and concede a spot kick was simply reckless in the extreme.
Nunes collapsed to the turf, barely being able to lift his head from the ground, and City subsequently collapsed to defeat.
Mark Critchley
What’s Man United’s set-piece problem?
Two goals conceded against Arsenal. One against Nottingham Forest, and another conceded to Manchester City. Manchester United have picked up a concerning weakness on corners this season.
United have the second-worst defensive record on set pieces in this season’s Premier League. Eight of United’s 19 goals conceded have been from set-piece situations — at 42 per cent, that is the highest in the league. Conceding 6.8 goals per 100 corners is the second-highest rate behind Wolves, who are 19th and sacked head coach Gary O’Neil today.
Amorim’s side appear to have tweaked their coaching approach to dead balls, with new assistant Carlos Fernandes taking over set-piece duties from Andreas Georgson but the frailties remain. The team appear to be defending in a hybrid style, where the majority of players mark zonally, and a handful are tasked with man-marking duties.
So long as a United player gets first contact on the initial cross, they can defend the set piece well enough. But if they are faced with a team that opts for a layered approach to their attacking play, things can get complicated.
City’s opening goal came from a short corner-kick routine where Ilkay Gundogan ventured over from the edge of the box to take a touch and tee it up for Kevin De Bruyne.
The Belgian’s cross might have taken a touch from oncoming United defenders, but it still managed to loop towards the back post where it was headed in by Josko Gvardiol.
It was a straightforward goal to concede. United were too slow to close down City when the corner was taken short, and not aggressive enough to stop Gvardiol in the air. It was a goal that spoke to something Amorim brought up earlier in the week, before facing FC Viktoria Plzen.
“We have to be very good in second phases,” said the United head coach on Wednesday. “Such as after crosses, the next cross we have to improve on. We have to improve on these details. We have to be so much better in set pieces and we have to win it.”
The saying says the devil is in the details. United haven’t quite mastered their new routines yet.
Carl Anka and Mark Carey
How important are Gvardiol’s goals?
In the season before Erling Haaland’s arrival, seven City players hit double figures in all competitions. Since then, only two have scored 10 or more goals in a campaign: Phil Foden twice, Julian Alvarez once.
Repurposing a team of false nines to serve the best centre-forward of his generation has had its benefits and its side-effects, making Guardiola’s side look blunt in those occasional spells when Haaland struggles for goals.
Step forward Josko Gvardiol. This derby’s breakthrough was his fourth of the season, moving him clear behind Haaland as City’s top-scorer. No defender has scored more Premier League goals (eight) in 2024.
Gvardiol has become a semi-reliable goal source, not only aerially like today or at Bournemouth, but also with deft finishes and screamers like at Newcastle and Wolves respectively.
OK, so four goals is hardly a glut and City need others to start chipping in too, but at times when City look bereft of ideas to break down opponents, Gvardiol is increasingly becoming the plan B.
Mark Critchley
It is a sight that no football fan likes to see, no matter your allegiance.
Manchester United’s Mason Mount fell to Etihad turf after just 12 minutes in what was only his ninth league start since the beginning of last season.
It was clear that he was unable to carry on minutes before his substitution, after signalling to Amorim that he needed to come off. It is yet another blow for the 25-year-old after calf and hamstring injuries have plagued him since his move from Chelsea.
Mount was consoled by team-mates Fernandes, Martinez and Amad — even engaging in a short exchange with international team-mate Phil Foden — before rallying those around him as he trudged off.
It is a cruel outcome for Mount, especially given his return to fitness under new manager Amorim and an impressive 30-minute display in the Europa League against Viktoria Plzen on Thursday night.
Prior to Sunday’s game, Mount had not managed to play more than 20 per cent of the available domestic minutes in a Manchester United shirt. You have to go back to the 2020-21 season when he last played more than 75 per cent of the possible games in the Premier League.
A fully fit Mount offers so much to his team in and out of possession. His intelligent positioning and relentless running are infectious to team-mates, with Mount often viewed as a manager’s dream in his ability to execute the tactical instructions laid out to him.
Starting as the left-sided No 10 on Sunday afternoon, Mount would have hoped to have punished Manchester City with neat interplay alongside left wing-back Diogo Dalot, making underlapping runs that appeared to be a key part of Amorim’s early training session as Mount was nearing full fitness.
It is too early for a prognosis, but Mount could do with a dollop of luck in hoping that his injury is not too serious.
Mark Carey
How ‘embarrassing’ was Hojlund vs Walker?
Shortly after Manchester City took the lead, Kyle Walker was lying on the ground and there was a scrum of players around him. Walker was holding his face and as the officials waited on a VAR check, there was a sense Rasmus Hojlund could be in trouble after squaring up to the City defender.
What the replays showed though was that both players put their foreheads together, and while Hojlund leaned forward slightly it did not constitute violent conduct and certainly did not appear to have generated enough force to send Walker to the floor.
“Walker must be embarrassed,” former United captain Roy Keane said on Sky Sports.
Referee Taylor’s decision was to book both players.
In the second half, it was Hojlund who went down, this time under a challenge from Ruben Dias, with Taylor not awarding a penalty and the VAR deciding it was “normal contact”.
The United striker was determined to have the last laugh, posting a photo of his clash with Walker on Instagram (second image below) after the game.
What did Pep Guardiola say?
“I’m the boss, I’m the manager and I’m not good enough. it’s as simple as that. I need to talk to them about the way we have to play and press and build up and I’m not good enough. It’s always the same problem you can fix, but it’s not. Matheus made an incredible effort playing left back really good with and without the ball but it’s happened, it’s football and we move forward.”
What did Ruben Amorim say?
“I think we deserved it. It was a very tough match but we believe until the end. We managed to score, we needed that win, it was important for us and for our fans. We were in the game for 90 minutes and that is very good. We talk about the Arsenal game, we played well in the first half, but they were not believing that we could win.
“Today was so much more different. I also believe. Then we have Fergie time and we put the things together and something magic happened. It was a good day for us.”
On leaving Rashford and Garnacho out of the squad: “For me it’s important; the performance in training, the performance in games, the way you dress, the way you eat, the way you engage with your team-mates, the way you push your team-mates.
“Everything is important. In our context, in the beginning of something, when we want to change a lot of things, when people in our clubs are losing their jobs, we have to make the standards really high.
“Today the team proved we can leave anyone out of the squad and manage to win if you play together.”
What next for City?
Saturday, December 21: Aston Villa (A), Premier League, 12.30pm GMT, 7.30am ET
What next for United?
Thursday, December 19: Tottenham (A), Carabao Cup quarter-final, 8pm GMT, 3pm ET
Recommended reading
(Top image: by Alex Livesey – Danehouse/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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