Culture
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.
— Caitlin Clark (@CaitlinClark22) February 29, 2024
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.”
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.
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.”
“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.
“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.)
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.
The Nike spot marking Caitlin Clark passing Pete Maravich’s NCAA career scoring record: pic.twitter.com/hRyb0sLrsZ
— Rachel Bachman (@Bachscore) March 3, 2024
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.
“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.
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)
Culture
What Happens When We Die? This Wallace Stevens Poem Has Thoughts.
Whatever you do, don’t think of a bird.
Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?
Before you answer, read this poem, which is quite literally about not thinking of a bird.
Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.
Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.
As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.
Are those worlds real?
Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.
Until then, we find consolation in fangles.
Culture
Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook
When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.
Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.
Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.
A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.
But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”
The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.
Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
Wheaton on channeling a co-star’s performance.
There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”
It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.
That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, and He said:
This is what we got for you, kid.
Try not to lose it.
But kids lose everything
unless somebody looks out for them and if your folks
are too fucked up to do it
then maybe I ought to.”
I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?
So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.
I could hear and feel it. It was the weirdest thing. It’s like I was right back there.
I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.
“Rob gave me a gift. Rob gave me a career.”
Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.
Rob really encouraged us to be kids.
Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.
We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”
The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, and hauled ass out of there,
giving them the finger over my shoulder as I went.
I never had any friends later on
like the ones I had when I was twelve.
Jesus, did you?
When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”
And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.
“I was really really really excited — like jumping up and down.”
The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.
I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.
I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity.
That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “So anyway.
It’s Pioneer Days,
and on the last night
they have these three big events.
There’s an egg-roll for the little kids and a sack-race for kids that are like eight or nine,
and then there’s the pie-eating contest.
And the main guy of the story
is this fat kid nobody likes
named Davie Hogan.”
When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.
I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.
“I feel the loss.”
Wheaton remembers River Phoenix.
The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.
I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.
What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.
And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.
Near the end
of 1971,
Chris
went into a Chicken Delight in Portland
to get a three-piece Snack Bucket.
Just ahead of him,
two men started arguing
about which one had been first in line. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them and was stabbed in the throat.
The man with the knife had spent time in four different institutions;
he had been released from Shawshank State Prison
only the week before.
Chris died almost instantly.
It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.
Culture
Do You Know the Comics That Inspired These TV Adventures?
Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.
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