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Why Nomadar Bought Fox Soccer Academy

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While money is tight in other sectors, investors are pouring dollars into sports and the businesses that support teams and players.

Sports technology provider Nomadar is going so far as to bet on the next-generation of growth for soccer in America by buying Fox Soccer Academy, which trains young players hoping for college and professional careers.

The theory is that the growing popularity of soccer will get more youngsters to play the game. Better young players will make the American teams stronger and make the game even more popular potentially minting future stars.

But the big story in finance was Paramount settling the antitrust lawsuit that had stalled its $110 billion acquisition of Warner Bros. Discovery, with many in Hollywood shocked that California Attorney General Rob Bonta struck an agreement that didn’t include any significant divestitures. The deal is now set to clear in the next few weeks but the drama is unlikely to end as the company deals with debt and cuts staff.

Thanks for reading and please send tips to jon.lafayette@thewrap.com

P.S. Hollywood’s latest round of consolidation is still playing out, and there are plenty of questions about what comes after it. The people who price, finance and navigate these deals take the stage at TheGrill on Sept. 30. Subscribers get 30% off with code WRAPPROVIP

THE DEEP DIVE

Young players training at the Fox Soccer Academy (Photo courtesy of Fox Soccer Academy)

Investing in Soccer by Betting on Youth Sports

The World Cup raised U.S. interest in soccer, and many investors looked for ways to cash in.

Nomadar last week made a bet on more youngsters playing the game, agreeing to acquire Fox Soccer Academy, which started its training business in New York 11 years ago, and now has facilities in North Carolina, the United Kingdom and Australia.

NASDAQ-traded Nomadar is now majority owned by the Cadiz soccer team, which plays in the second division of Spain’s professional La Liga. Nomadar has been billed as the team’s sports-technology business. To give you a sense of its imporance, Cadiz Club de Futbol shareholders will vote on Sept. 30 on a reverse spinoff that will make Nomadar the majority shareholder of the team.

  • Nomadar is buying Fox Soccer Academy for an upfront payment of $2 million. Fox has facilities in the U.S., the U.K. and Austria that have 2,100 boys and girls enrolled.
  • The Spanish soccer team Cadiz FC controls Nomadar, but the companies have approved a reverse-spin transaction that will make Nomadar the majority owner of the team. 
  • Nomadar is building a multi-use facility in Cadiz that will host the team and other businesses. 

Nomadar’s CEO of Americas & Executive Vice Chairman Joaquin Martin told The Ledger that the company’s tech-oriented sports platform is built around the team, with businesses in training young players, real estate development and digital products. “We are building a very unique model,” Martin said. “It’s a global connected ecosystem. The center of the ecosystem is the professional soccer club.”

Joaqin Martin, Raluca Gold-Fuchs and Christian Fuchs  

Since going public last year, Nomadar hasn’t posted a profitable quarter. In the second quarter, the company reported a net loss of $459,941, or 3 cents per share, as revenue doubled to $669,571.

Martin said its early days have been spent readying the company to set its operating units up and running while preparing for the reverse spin. 

“It has been an intense 10 months because we have been achieving different milestones,” Martin said.

Those milestones include acquiring land in Spain for the multi-purpose event center it is developing and preparing for the reverse spinoff. The next step is building its training division by acquiring Fox Soccer Academy.

“At the end of the day, we will have all the standards of a publicly traded company, access and possibilities to grow,” he said.

Nomadar is paying $2 million upfront for Fox plus a delayed payment of $2.6 million and up to a $1.5 million earnout. Fox was founded by Raluca Gold-Fuchs, a Goldman Sachs veteran, and her husband, Christian Fuchs, who played for Leicester City when it won the Premier League in 2016 and is now the assistant coach for Charlotte FC of the MLS. Nomadar has an option to buy the remaining interest in Fox for $4.4 million.

Fox has produced players that have been called for national teams. The Fuchs’ sons graduated from the program and have played in the professional in the MLS and in the U.K. Its revenue comes from tuition paid by their young players’ families.

Gold-Fuchs said they got to know Nomadar through a friend. Fuchs said the combination of the science-based techniques Fox uses at its academy, plus the high-performance training program Cardiz employees in Europe will help young players advance to college and professional teams. Being connected to an historic professional team will also give Fox a boost, particularly in international markets.

Gold-Fuchs said Fox has expanded carefully so far and now has 2,100 players in its multiple locations. “We want to continue what we’ve been doing well so far. Nomadar is adding this international aspect that we can provide to our players that other academies cannot,” she said. “We will grow the same careful way we’ve been growing until now. We definitely want to grow, but not in an aggressive way.”

Fox has seen interest in soccer grow in the U.S. with Lionel Messi joining the MLS and the World Cup showing America’s enthusiasm for the game, that growth is bound to continue, Gold-Fuchs said.

“The popularity will pick up, and the more money that goes into the sport, and the more good players you get into the sport, the more it’s going to grow,” she said. 

Sports investors are looking at modern multi-use facilities as an opportunity for teams to generate revenues beyond ticket sales and media rights. 

The complex Nomadar is building in Cadiz will include a 35,000-seat venue for sports, cultural and music events, plus a convention center, hotel and shopping. It is expected to be completed at the end of 2030.

At the same time, Nomadar is getting set to launch several products that combine the in-person experience it offers with digital experiences, Martin said. It has a subscription product for people who want to work for professional soccer teams, and it plans to launch a program for people who want to get some of the benefits of the Cadiz training regime without attending facilities in person.

Nomadar is also looking at additional facilities it can build and, in the future, could expand by buying other professional teams.

“Connectivity  inside the ecosystem is a natural trigger for growth. Martin said.

Nomadar, which traded at $21 after it went public in a direct offering last October,  closed Thursday at $1.53.

FINANCIAL ROUNDUP

The Paramount-WBD Saga (Concluded?) 

The billionaire Ellison family got its way and CEO David Ellison expects Paramount Skydance will close the $110 billion acquisition of Warner Bros. Discovery in two weeks after reaching a settlement with a dozen state attorneys general, avoid a costly delays which were riddled with potential fees. The judge overseeing the case wants Paramout to address “certain outstanding questions” and concerns raised by Sen. Corey Booker by Mondoay. 

Before the close, Paramount was still looking for financing and considered asking one-time trillionaire Elon Musk to be an equity investor, according to Semafor. On Thursday, it launched a syndication to raise $7.5 billion in debt to help fund the deal.

The legal settlement came after Paramount was seemingly ready to make good on its threat to move out of California, applying tremendous pressure on Attorney General Rob Bonta. After the deal was reached, Ellison said the company’s headquarters would remain in Los Angeles.

What shocked many in Hollywood was not just the speed of the proceedings but how Paramount came out of this unscathed. The settlement did not require any significant “structural remedies,” such as the sale of cable channels, that Bonta contended were needed to address competitive concerns.

In the 32-page consent decree, Paramount agreed to produce 30 films a year for two years, and 32 films the following three years. The company agreed to spend $1.5 billion over three years on domestic production and keep its studio lots open, and treat its cable channels as different entities when negotiating with distributors.

To answer concerns that the Trump-friendly Ellisons would now control CBS News and CNN, Paramount agreed to form an independent oversight board for the news operations, although press advocate groups expressed doubt the entity would have any influence on operations. Connecticut AG William Tong had demanded that Paramount divest CNN and CBS and The Freedom of the Press Foundation already slammed the agreement as worthless. 

The settlement was also denounced by the Block the Merger coalition. It got a better review from theater owners, which had already thrown their support behind a settlement a few weeks ago. The Writers Guild of America also settled its suit against Paramount, largely because it lacked the financial footing to mount a long-term battle. 

Barclay’s analyst Kannan Venkateshwar called the terms of the settlement “relatively benign” for the company, although it limits its ability to make some near-term asset sales. The pledge not to sell studio lots “could be seen as an additional constraint limiting synergies but given the commitment to make 30 movies, the company will likely need this capacity in any case,” Venkateshwar said. “The focus will now turn to integration.”

Venkateshwar also pointed out that as part of the WBD deal, the company would issue warrants attached to Class B shares. The warrants will be separately traded.

“While the warrants don’t necessarily change the equity value today, they will result in incremental dilution when exercised but will also bring in cash when exercised of about $5.7 billion,” he said. “However, the warrants have a long duration and will trade independently which means that this part of the capital structure will be valued on factors beyond just the immediate stock price.”

Worth reading:

DEAL SHEET

  • Barry Diller’s People Inc. withdrew its bid for MGM Resorts that valued the company at $18 billion. People Inc. owns 27% of MGM shares and offered to buy enough to give it a controlling interest. “We didn’t feel the mix was coming together in the way we had hoped and have decided not to pursue taking the company private at this time,” Diller said. On Thursday, reports surfaced that MGM was considering  a bid for People.
  • A24 and The New York Times joined the list of companies reportedly interested in acquiring Letterboxd for more than $300 million. Sony, Netflix, Paramount and private-equity firms RedBird and TPG had previously been listed as potential bidders for the company, controlled by Tiny since 2023.
  • Podium Entertainment, a publisher focused on independent authors and audiobooks, was acquired by private-equity firms Shamrock Capital and Flexpoint Ford. No price was disclosed, but sources familiar with the situation valued the deal at $400 million. Podium, which has been controlled by Presidio Investors since 2019, was advised by LionTree. Podium’s existing management will stay in place.
  • Unit1 Studio, which produces avatar concerts, raised $20 million in a round of financing led by Balderton. An avatar concert is a production that features a digitally constructed replica of a music artist performing live on a stage inside a real venue. Unit1 plans to offer young fans a concert experience featuring bands from the 1970s, 1980s and 1990s. 
  • Sister Group, the entertainment company run by Elisabeth Murdoch and Jane Featherstone, bought a minority stake in Common Interest, an advertising company founded by Anthony Freedman. The two companies are working together on projects backed by brands as part of a strategic partnership. 

WRAP 20 INDEX

Here’s how the companies in our Wrap 20 Index performed this week. 

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Prime Video Nordics Plans “More Feminine Point Of View” In Originals

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Prime Video‘s push into Danish originals began this year with Pilou Asbæk-starring Snake Killer, which is now serving as a milestone in a charge across the Scandinavian region, according to Amazon MGM Studios Nordics originals chief Emilia Widstrand.

“We’re really trying to build on that psychological thriller and crime vibe, doing it with strong creators and within established Nordic genres,” she told Deadline in an interview. Looking further ahead, Widstrand will be seeking to more directly target women and younger viewers too, as the service expands.

Snake Killer launched in January, with the four-parter followings a notorious Copenhagen narcotics police unit, Uropatruljen, a heavy-handed force that operated with relative autonomy between 1965 and 2001. The story sees Brian “Smiley” Petersen (Asbæk) leading his unit in a desperate war against a brutal heroin baron. Anders Ølholm is the writer and director.

Over in Norway, drama series Rinnan, about the infamous Norwegian traitor and Gestapo agent Henry Rinnan, is also set to launch. A co-production with Norwegian broadcaster TV2, the Miso Film show points to how Amazon is willing to share rights and window originals to bolster budgets.

Both series appeal to men, who have formed the backbone of viewing on Prime Video in the Nordics, but recent successes with unscripted shows will see the content mix changing in the future.

“Moving forward, we’ll have a more feminine point of view,” said Widstrand. “When we started out, we had a very broad audience, and we’ve really seen the appeal of female-led stories through global hits like The Idea of You and Pretty Little Liars, as well as unscripted shows like LOL: Last One Laughing. We’re really building on that, alongside our crime audience.”

As such, new original out of Denmark, Murder in the Dark, a four-part series from SAM Productions and Amazon MGM Studio based upon influential Danish literary icon Dan Turèll’s book series, is designed to appeal to a broad audience. It follows a retired and hard-bitten “nameless journalist” played by Michael Falch and his daughter Sophie (Katinka Lærke Petersen), who is an ambitious police detective.

Michael Falch in 'Murder In The Dark' for Prime Video

The first shot from production of ‘Murder In the Dark’

Prime Video

Widstrand became Prime Video and Amazon MGM Studios Head of Nordic Originals in August last year, as we revealed at the time, to replace Karin Lindström, who later joined HBO Max. The two are credited internally with building Prime Video’s local originals team from scratch, making her the natural choice for the top post when it came available.

In May, this year, she added acquisitions duties following a restructure that saw the departure of Prime Video Nordics head Andreas Hjertø, and recently ordered a Swedish original, Sarek, a four-part psychological thriller based Ulf Kvensler’s debut novel about a group of friends on a hiking tripe that takes a dangerous turn.

That, Widstrand said, talks to a desire to age down the audience, with a cast led by Felix Sandman, Kitt Walker Johansson, Alva Bratt and Nora Rios, and to focus on well-known IP. “It really speaks to that strategy,” she added.

We sat down with Widstrand to pick her brains on the future for Prime Video Nordics and its originals slate.

DEADLINE: Emilia, you spoke at the Copenhagen TV Festival in August. What was your message to producers and the industry about what Amazon needs and is looking for from the Nordics?

Emilia Widstrand: We’ve been expanding our drama slate. It takes a long time to develop, and we wanted to take that time. Our first Danish original was Snake Killer, which was very successful, so we’re really trying to build on that psychological thriller and crime vibe, doing it with strong creators and within established Nordic genres.

Moving forward, we’ll have a more feminine point of view. When we started out, we had a very broad audience, and we’ve really seen the appeal of female-led stories through global hits like The Idea of You and Pretty Little Liars, as well as unscripted shows like LOL: Last One Laughing. We’re building on that, alongside our crime audience.

DEADLINE: Can you give us an example?

EW: We have Murder in the Dark, which is based on 1980s cult movies and books that we’re bringing back for Christmas Day. That has a much more female point of view than previous drama series. We’re leaning into both the female young-adult genre, looking for local versions of the kinds of stories that have found an audience globally, as well as Nordic crime, suspense and psychological thrillers. We’re trying to find strong local IP. Sometimes, we do co-productions where we sell international rights, but the focus is very much local right now.

DEADLINE: What kinds of international co-productions are you looking at and how flexible can you be?

EW: We’re very flexible. It’s a case-by-case decision about how we can get something done, but IP is important. We’re building on existing IP or true stories, which also helps us connect locally. Obviously you work with the best local talent, and the Nordics is such an amazing place to do that – It’s really special.

DEADLINE: Sarek is based on IP and with big producers. That feels like an example of what you’re talking about.

EW: Definitely, it really speaks to that strategy. I was just back on set on the show. It’s spectacular because it’s so Nordic. We’re shooting it up in Kiruna, and the environment is really a character in the story. There, we also decided to go a bit younger with the cast.

DEADLINE: In terms of your own role, Emilia, you’ve added some responsibilities, taking on unscripted along with scripted. How has that changed what you’re doing and has it impacted the overall shape of Prime Video Nordics?

EW: Strategy and programming are still separate, but I took on the overall responsibility for our Nordic local originals. I’ve found looking after the unscripted slate, which I wasn’t familiar with before, very intriguing. We work with very talented people across both unscripted and scripted, so we can really see synergies in both the talent and the content. It’s a big responsibility, but you get a fantastic overview.

DEADLINE: What would you say you’ve learned so far? It’s been a few months since you’ve taken on the expanded role.

EW: There are differences between the territories, both in Norway and Denmark, and there are different focuses in scripted and unscripted. Denmark, for example, is very strong in comedy, and it’s very easy to find strong unscripted comedy formats there.

Norway has really surprised me with the amount of great talent. We’ve found so many strong and interesting projects that we’re developing with local talent. That’s been overwhelming in a good way, with some really good projects coming out of Norway.

‘Snake Killer’

Prime Video

DEADLINE: With that in mind, what’s a realistic number of shows that will make it onto the screen?

EW: We have a slate of around 20 to 25 local originals per year, scripted and unscripted. It’s big, but we’re still trying to grow sustainably and not take on too much, while making sure we compensate the audience for the production.

DEADLINE: When we’re looking at LOL, which has been popular in the Nordics and pretty popular all over the place, is there any difference in how it’s received across the territories you’re overseeing?

EW: LOL works really well across territories. It’s a format that’s worked in so many countries across the world, huge in Mexico and Germany. It kind of works everywhere. The local versions are very different. We have local creatives on each project, because comedy is so local – it’s very hard for someone from another territory to develop it. We have other examples of programs that work better in one territory than another, but LOL is really delivering across the region, which I’m happy to see.

DEADLINE: When you’re looking at the Nordic region at the moment, what’s the biggest challenge for you as a commissioner? Obviously, you have the Amazon machine behind you, which means there is money, but it’s not an endless pot. Is it a case of funding, or talent identification?

EW: I would say both. Talent has had a few tough years, and I think it’s hard for talent to navigate what commissioners want to commission and what their creative vision is. I’m really interested in working with creators who have a strong vision and fight for that – they don’t just deliver everything you ask for. I really value creators who want to tell you something, because that delivers the best projects.

The other thing is, of course, funding. Budgets have been kind of the same, even though there’s been inflation, so it’s really hard to adapt to that. It’s also been a challenge with the tax rebates locally, and a lot of production is shooting abroad.

‘Rinnan’

Prime Vide

DEADLINE: Where are people shooting?

EW: Eastern Europe. It’s tougher to finance locally. That’s why we try to be open. If we’re going to get something big made, we need to be collaborative with local broadcasters and find synergies.

We’ve had a fantastic collaboration with TV2 in Norway with Rinnan, a project we’re launching this fall. It’s a World War II series we’re doing with Kenneth Karlstad, and it is a fantastic example of what we can do with a local broadcaster.

They benefit from their deep understanding of the local audience, while we bring the Amazon package and the premium feeling of doing high-end drama. We do it together. We’re in the room together and we’re reacting together.

DEADLINE: It comes to you first and then TV2?

EW: Yes.

DEADLINE: Is that always the case when you do those partnership shows? I see this in lots of different territories – it tends to be the streamer goes first with an exclusive window, and then the broadcaster takes it however many months later.

EW: Yes, that’s always how we do it, because we’re also much smaller than a TV2, so it makes sense for us to go first.

DEADLINE: Broadcasters and distributors have become more and more open to these types of collaborations. That probably wasn’t the case a few years ago.

Amelia: I think we’re moving into a much more collaborative space with financing.

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