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For Glory CEO Marshall, the creators are not only ambassadors – they are the driving force of his company’s development strategy.
“Kai Cenats in the world have this amazing machine that generates interest and viewership,” he says. “These are new linear television networks for growing fans.”
As the most significant kickboxing organization in the world, Glory covers this evolution, borrowing from a cultural textbook that made games, box box box and fair explode, while anchored it in elite competition and high -class production.
The result is a fresh format that mixes combat sport with the highest level with a platform story, all the time the content of content and energy based on the community of favorite creative events on the Internet.
“We are the first group that took our basic products for these platforms,” says Ilaznik.
One of the biggest works of the latest Push Glory is the partnership with Bet, sports media and a game company, co -founded by Jake Paul. The background of the Żelaznik inspired the contract in Esports, where he once conducted business development and content in Blizzard.
“Players, streamers and creators are always looking for content that will actually matter to their fans,” he says. “Our Better pitch was quite simple: we have fascinating things.”
Experience of the creators with their communities
His goal is to facilitate the creators that the creators hook up with experience and share them with their communities-which they call “feeding a spoon” of content.
“While others can invite the Creator to check what they are doing, we attract everything to them,” he says. “We really accept the creators’ community in a way that no one else.”
This idea manifests itself in Praise UndergroundA brand new series of fighting for the creator of Forward began in Miami on May 1. The first event was only an invitation, and the Chico -Rasi welterweight master defended his belt in a rematch against the light master Tyjani “The Wonderboy” Beztati.
“It will be very exclusive,” says Ilaznik. “How Fight Club meets a real club.”
To make it clear, you won’t see how the creators enter the ring in the fashion of Paul Brothers. While the iron is open to the use of the creators’ economy to develop this sport, he is involved in maintaining the integrity of the basic product-getting high-quality struggle with the participation of world-class skilled athletes.
“Between the bells at the beginning and at the end of the fight it will be a real fight. There will be no shenanigans,” he says. “During the strike a decision or between rounds – we will definitely have entertainment – but everything in the ropes will be clean.”
This balance will probably be visible in the atmosphere of the Night Club and Modern Production, designed more for mobile viewers than a traditional television audience.
It is a brave movement of a company that wishes to develop recipients to launch an exclusive series of events, especially in Sports, where tickets are selling. Giving this event for free is much more daring. There was a time when a company like Glory would take the opportunity to distribute media rights on a network resembling ABC or ESPN – possibly even paid for antenna.
But Zelanzik puts on a different model. It is entirely in democratized distribution. The principal platform of Glory will probably be YouTube, and the creators are not only welcome, but encouraged to fight with your intention-Tactics pulled straight from the Esports textbook.
“Instead of saying” Here is a meeting, watch it at ESPN, “we make sure that everyone can watch with the phone,” he says.
Although this strategy will help in the development of the audience, it leaves money on the table because the iron is aware.
“After this event we will not run with our pockets,” he admits.
But given the time, he believes that the series cultivates the dedicated fandom, will create a platform for fighters to boost its profile, and ultimately generating revenues.
“We are now investing in a product,” says Zelaznik, “but with time sponsorship will develop and make up for it.”
Glory also uses a strong international foundation, which gives the company greater flexibility in taking financial risk.
“The success we have in France, Belgium, the Netherlands, Japan – revenues that we generate there from tickets, sponsorship, media rights – all this gives us a runway to make this type of investment,” says Zelaznik.
Basically, this is the opposite of his stay in the UFC, where the company dominated in the US, but faced the challenges expanding abroad. While UFC is now a global power, the Ilason has this experience – and scars – since it wasn’t.
“Success in the US gave trust in investing all over the world and start building international offices,” he says. “So while the UFC moved from the US to international, we’re going from Europe to the USA”
Glory has just entered the American arena after a break, but the iron is some of the company’s modern approach.
“The key for us on the business side – apart from building fans – is that we are doing something special, combining traditional sport with new media and influential,” he says. “We embrace the creators’ community in a way that no one else.”
For Glory CEO Marshall, the creators are not only ambassadors – they are the driving force of his company’s development strategy.
“Kai Cenats in the world have this amazing machine that generates interest and viewership,” he says. “These are new linear television networks for growing fans.”
As the most significant kickboxing organization in the world, Glory covers this evolution, borrowing from a cultural textbook that made games, box box box and fair explode, while anchored it in elite competition and high -class production.
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