Compared to five years ago, the management of athletes’ careers has changed. According to industry voices, lucrative player contracts remain a factor in representation, but business now frequently extends into off-the-field ventures, including media production studios and brand partnerships.
Some agents have contributed to this shift by helping clients become involved in film, television, and streaming platforms. Reed Bergman explained that he “kind of wrote the manual” on launching athletes onto media platforms, referencing his history with Dan Patrick’s roles in Adam Sandler films and Jesse Palmer’s transition to media work. Bergman described a key trend: “The explosion of private equity investment in sports ownership. Sophisticated capital is now treating franchises like global assets, not just local teams, with a focus on media rights, technology, real estate and long-term brand value. We’re just seeing the start of the evolution.”
Athlete-driven production companies have also gained traction. Maverick Carter and client-partner LeBron James established SpringHill as an example of athlete-led entertainment businesses; Carter discussed how they sold a minority stake valuing the company at $725 million before merging with Fulwell 73.
Content creation through new outlets such as podcasts continues to shape athlete branding. Aaron Eanes noted how Name, Image and Likeness rules “sparked creativity and ingenuity” among young athletes: “They’ve been given this opportunity to own their brand.” Jacquelyn Dahl added that social media enables athletes “to be in control of building their own brand outside of their field of play,” describing them as capable of being both “the brand and the media company.”
Women’s sports representation has also advanced. Dahl called attention to “record-breaking attendance at games” and more sponsorships for women athletes. Lindsay Colas praised Alex Morgan for building “a brand that resonates as a champion, mother, advocate and entrepreneur,” while Sandy Montag observed: “Most athletes, post-career, are now assuming or wanting to get into media and broadcasting. I don’t think that existed years ago.”
Entertainment agencies continue entering sports management spaces through mergers or expansion into content representation; Steve Gersh compared modern players to actors and musicians: “They are brands in and of themselves.” This crossover includes documentaries—David Gross said: “Documentary series and films have turned athletes into cultural icons… Platforms like Netflix, Amazon and Apple invest in binge-worthy series; as a result, sports documentaries are sometimes even more compelling than the game itself.”
Representation structures can blur between digital upstarts and traditional broadcasters. Ryan Hayden from UTA noted increased crossover between creators and sports figures amid competition driven by streaming services.
Other agencies assist high-profile clients such as Serena Williams or Tom Brady in various off-the-field ventures ranging from film features to branded content on streaming platforms.
Entrepreneurial ambitions among professional athletes remain strong according to Peter Raskin: “We’re seeing more entrepreneurial spirit among our clients,” referencing side projects like podcasts or training programs for fellow players.
However, there is skepticism about all athletes pursuing off-field opportunities without proper preparation. Rich Paul said: “I push back on it somewhat … if you’re not great at something… it can be very challenging trying to experiment within that,” advising those interested find effective teams when moving beyond athletic careers.
Athletes’ increasing presence across digital channels continues across generations; Michael Klein manages podcast growth efforts for personalities seeking new audiences outside traditional broadcast environments.
In summary, today’s landscape finds top agents fostering opportunities for clients well beyond playing fields—helping them establish brands as entrepreneurs, producers or influencers while navigating shifts brought about by new technologies and changing audience expectations.
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