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The Caitlin Clark business is booming. Here’s how her WNBA sponsorships are lining up

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The Caitlin Clark business is booming. Here’s how her WNBA sponsorships are lining up

Last fall, representatives from Gainbridge, an Indiana-based annuities seller, reached out to Caitlin Clark’s marketing agents at Excel Sports Management to discuss a sponsorship deal. The company was launching a new product line and its executives believed Clark could help them reach younger customers.

Minji Ro, Gainbridge’s chief strategy officer, is also a longtime WNBA fan, and she knew that the Indiana Fever had a 44.2 percent chance of winning the WNBA lottery in December. Gainbridge holds the naming rights to the Fever’s arena, and Clark would be the presumptive No. 1 pick if she declared for the draft.

But Ro said that the company didn’t even discuss the decision with Clark during the months of negotiations that finally ended in February with a signed contract. Ultimately, Ro said, she didn’t care where Clark would play, whether it was in the WNBA or at the University of Iowa for one more season. She just wanted to be in the Caitlin Clark business.

“We were in no matter what,” Ro said. “Because that’s the power of Caitlin Clark. So she plays in Indiana, that’s great, but it doesn’t actually matter where she plays because she’s gonna sell out everywhere.”

When Clark finally declared for the draft last week, as had long been expected, she set an end date to her record-setting college career. The WNBA awaits, and the Fever won the No. 1 pick in December, putting them in prime position to land a player who is rising and who has shown herself to be a marketing powerhouse, with a sponsorship portfolio of blue chip companies and more than 1 million Instagram followers.

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Laced throughout that lively conversation about what Clark can do for the league, there has also been fretful, speculative discussion of what the decision would mean for Clark financially, and if being in the WNBA would amount to a pay cut.

The consensus among a coterie of people involved in women’s basketball and involved with her directly is that Clark’s income, and her marketing potential, would not suffer once she jumps to the WNBA this summer. Instead, they say, she seems likely to surpass what she earned this season at Iowa.

“It’s a bad narrative,” WNBA commissioner Cathy Engelbert said of the idea that Clark would be sacrificing by playing professionally.

“Pre-Caitlin Clark, I’ve been trying to correct the media that NIL deals, when they’re national sponsors like Caitlin and Angel Reese and Cameron Brink, those are just called endorsements in the pros. I just find it funny that nobody ever said this about LeBron James, or Michael Jordan who made a lot more money with their endorsements than they did in their salary in the NBA. Nobody ever said that. Now, all of a sudden, because it’s women’s sports, people are saying that. That’s absolutely untrue when you have these national brands.”

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The dilemma is one that male college basketball players rarely have to reckon with. A job in the NBA usually comes with a multi-million dollar salary, and lucrative marketing deals for the top picks. But it has followed Clark, and other top women in college basketball, for the last three years as college athletes have been able to profit off their name, image and likeness rights. Today, the choice to head to the WNBA comes with a head-to-head comparison: a rookie pro salary and endorsement prospects versus the NIL income from local collectives and businesses associated with college sports.

While top NBA prospects often leave for the league as soon as possible, the choice for top women’s players lingers. Paige Bueckers, a projected top-3 pick, recently said she would return for a senior season at the University of Connecticut.

Clark, however, is in a class of her own. At a time when women’s sports is ascending, she is the rising tide lifting those boats even higher. She added two new national sponsors just this week and is expected to sign a new sneaker deal that will be one of the biggest in the WNBA, according to two people briefed on the situation.

Her marketing infrastructure has expanded in kind. This fall, she signed with Excel for marketing representation, sharing an agent with Peyton Manning, helping to pile up the endorsements.

Gainbridge rolled out her arrangement on Tuesday. She joins Billie Jean King and Annika Sörenstam in promoting the company’s latest annuities product for women. Panini said Wednesday that Clark is the first woman it has signed to an exclusive trading card deal.

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Panini engaged Clark’s camp in October. Jason Howarth, Panini’s senior VP of marketing, said the two sides completed the contract more than a month ago but waited until the right time to announce it. It will take effect on April 1. Clark had previously had a deal with Topps.

“Caitlin is a transcendent athlete, and we think that she is going to be special whether she stayed at Iowa or whether she decided to go to the W,” Howarth said. “We were willing to commit to that. We knew exactly whatever her decision was, we’d be comfortable with it and we’d lean in on it and figure out what we’re going to do and how we’re going to present it.”

The most high-profile of her endorsements will keep her under contract past her Iowa days and into the start of her WNBA career. Her contracts with Gatorade and State Farm extend into her WNBA career, one person with knowledge of her marketing deals said.

Jeff Kearney, Gatorade’s head of sports marketing, said the company has a multi-year deal with Clark. A sponsorship deal with Hy-Vee, the grocery chain, will run past 2024, Tina Pothoff, Hy-Vee’s vice president of communications, said. State Farm did not respond to a message seeking comment. A spokesperson for Buick replied after initial publication to note that it does not currently have a sponsorship deal with Clark, though it did previously feature her social media campaign.

“It’s gonna be harder,” Kearney said. “You know the competition is going to be tougher. Players are faster. The players are better. But again, I think she has an it-factor and is driven to succeed. So it certainly doesn’t change the approach that we have of trying to celebrate this phenomenal athlete and tell her story. It doesn’t matter what jersey she has on.”

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“It doesn’t matter what jersey she has on.” Clark’s worth is expected to see more gains in the WNBA. (David Berding / Getty Images)

Though many of her deals will continue to run, she is on the precipice of making even more money than she did this season at Iowa. Clark did not take any money from Iowa’s main collective, according to the Wall Street Journal.

She will make a salary in the WNBA — the No. 1 pick is guaranteed $76,535 in her first season — unlike at Iowa. She can also avail herself of up to $250,000 in a league marketing deal and up to $100,000 in a team marketing contract if she eschews playing abroad next offseason, or she can sign what is likely to be a high-paying contract to play for a team in Europe or China.

She has a deal with Nike, which is one of the WNBA’s financial partners as part of its Changemakers program. The league often pushes those companies to use its stars in marketing campaigns, especially those who have a league marketing deal. Some have signed individual endorsement deals after the league’s run out, and Engelbert said other companies could soon get financially involved.

“I suspect we’ll have some of our huge partners step up here too as huge players come in with the followership,” she said.

One WNBA agent was strident that Clark, or any top player entering the league, would make more as a professional.

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“If you’re the right type of talent, it doesn’t matter if you’re in college, the pros, in Indiana, L.A.” the agent said. “All these things help, of course. It’s not that you have to take a pay cut to go pro.”

Engelbert pointed out that several WNBA players, like A’ja Wilson, Jewell Lloyd and Arike Ogunbowale already have sizable endorsement deals.

Clark will still retain her large Instagram following, and her fan base from Iowa will likely continue to root for her. A new city — Indianapolis — will adopt her. Clark has also become such a nationally beloved brand that her marketing potential is not constrained by one market.

The most significant new business opportunity is likely to be her upcoming sneaker and apparel free agency. Clark’s deal with Nike will end after the conclusion of this college basketball season, a person briefed on the deal confirmed, a detail first reported by The Wall Street Journal.

Though Clark was with Nike in college, her market was likely muted compared to what she could draw as a pro, industry insiders said. Iowa already had an apparel deal with Nike, so Clark was going to wear those sneakers on the court regardless of any individual deal she signed. And she would have been unable to wear the sneakers of another company for her record-setting feats if she signed with a company other than Nike. (LSU’s Flau’jae Johnson has a Puma endorsement even though the school wears Nike, but she cannot wear them when she plays for the Tigers.)

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Clark will be unconstrained in the WNBA and she is expected to draw a significant contract for the upcoming WNBA season. Nike, Adidas and others are expected to pursue her. Multiple sources with knowledge of the sneaker industry said Clark is set to sign a deal for more than $1 million annually, which would be one of the richest among WNBA players.

“She’ll be regarded as one of the greatest gets of all time for the brand that gets her,” one sneaker company executive said.

Sara Gotfredson, who was once a marketing and sales executive at ESPN and Disney, said that brands have been shy to deploy money on NIL deals compared with what they spend in endorsements for professionals.

But some women’s college basketball players may see their popularity, and earning power, peak during those years, with a dedicated collective and local businesses ready to engage them in a market where they are one of its top athletes, then lower profiles when they reach the WNBA. That will not be true for Clark, said Gotfredson, who is now a co-founder of Trailblazing Sports Group.

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“The NCAA is a great springboard for these athletes, and especially for such a superstar like Caitlin Clark,” she said. “But I don’t subscribe to the theory that the NCAA is sort of the pinnacle of these women’s careers. I think if anything she’s going to get more visibility, more brand deals, gain more popularity in the W.”

There has been little concern among her sponsors that Clark will become less marketable when she gets to the WNBA. Instead, there is intrigue and optimism that she may be able to help the league.

While ratings have improved in the WNBA over the last few seasons, they have gone up even higher in college basketball. Last year’s NCAA Tournament championship game between Iowa and LSU averaged 9.9 million viewers and was the most watched women’s college basketball game ever. The Iowa–South Carolina semifinal game drew 5.5 million viewers. WNBA Finals games last season averaged 728,000 viewers.

Attendance at her games has regularly trumped WNBA games as well. The league averaged 6,615 fans per game last season — a five-year high — while Iowa averaged 100.7 percent capacity at home with 14,998 fans per game, according to NCAA data, the second-highest in women’s college basketball. The Hawkeyes drew 55,651 fans to the school’s football stadium in October for an exhibition game — the largest attendance for a college basketball game this season — and three of the other eight most well-attended women’s college basketball games this season were at road arenas when Iowa visited Big Ten opponents.

Clark, and Iowa, have been a ratings machine this season as she chased college scoring records. Three Iowa games have been among the top 10 most-watched college basketball games this season, men’s or women’s. Sunday’s regular-season finale drew 3.39 million viewers — the sixth-highest viewership for a basketball game this season, including the NBA. A Fox executive tweeted Tuesday that women’s college basketball games have averaged more viewers than men’s games on the network this season.

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Kearney said in his discussions with Engelbert, there is already interest in how often and when Clark’s games will air on nationally televised broadcasts. When she joins the WNBA, Clark will be just one of three WNBA players with a Gatorade endorsement. Engelbert has stressed to its marketing and broadcast partners that the league is trying to create household names and asks for their help, but with Clark they are getting a ready-made star.

“It’s one of those things where you get an athlete like this who is doing things that are maybe extraordinary isn’t the right word, but the people are paying attention — male, female, old young,” Kearney said. “That’s gonna carry over if she keeps doing what she’s doing. People are gonna tune in and you’re gonna see the numbers rise.”

(Top photo of Caitlin Clark: Matthew Holst / 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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GO DEEPER

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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