SVG All-Stars: Dana Rubin, VP of Media, United Soccer League

A foundation in baseball set the stage for a pioneering career in televising women’s soccer

In an era when sports production is evolving faster than ever, a new generation of leaders is beginning to make its mark on the industry. Our new SVG All-Stars series explores the journey of the industry’s rising executives, showcasing their experiences and career highlights in the business, overarching philosophy and leadership strategy, technological and creative innovation, and where they see the industry headed. Join us as we uncover the story behind their ascent and the impact they are having in an ever-evolving industry.

Many people deserve applause for the unprecedented growth of women’s sports in the U.S. As it pertains to broadcast, put Dana Rubin on that list.

The rise of women’s professional club soccer in the U.S. can be traced through many twists and turns, but, very often, Rubin has been a familiar face at the front bench of the production truck. Pushing women’s soccer and giving it the top-level coverage it deserves has been her driving force.

After cutting her teeth as a producer for Major League Baseball for 12 years at the start of her career, Rubin shifted to soccer, sitting in the producer’s chair for National Women’s Soccer League games on Lifetime beginning in 2017 and subsequently becoming league director of broadcast and content in early 2020.

Dana Rubin, a 20-year veteran of the industry, designs and oversees the broadcasts of all United Soccer League matches.

In March 2022, she changed leagues and became VP of Media at the growing United Soccer League. Shortly thereafter, she helped launch the USL W League, a pre-professional women’s league, and, this past summer, played a key role in the founding of USL Super League, a Division I professional women’s soccer league whose matches stream on Peacock.

In this week’s edition of SVG All-Stars, learn Rubin’s story, discover what industry innovations she has her eye on, and get her advice on how to break in and thrive in live sports production.

What are the key responsibilities of your current role?
We have a small media team at the USL, and, with that team, I design and oversee the broadcasts of all of our soccer games.

All USL professional league games — Championship and League One for the men and the Super League for the women — are available domestically and internationally. The men’s games are on the CBS family of networks and ESPN’s linear and streaming platforms, while the women’s matches are all on Peacock and a number of these broadcasts are also simulcast in local markets on linear platforms.

Over the past two years, I have been especially focused on creating the broadcast plan and infrastructure for the launch of the USL Super League.

As a media executive, I am able to use my experience as a documentary producer and a live-sports producer to best showcase new venues and star-build rising talent in engaging and innovative broadcasts.

Rubin with current USL EVP, Media, Michael Cohen in the broadcast truck prior to the NWSL Championship Game in 2018

What is one key industry trend that you believe has a major impact on your organization right now?
REMI production allows the USL to produce our games at cost-efficient prices, which means we can bring all the tiers of our ecosystem to more homes and markets every season. We were on the forefront of this technology, and it has helped us create a reliable infrastructure to broadcast games out of venues across the country. We are also able to adjust very quickly whenever necessary, since so much of our production is done offsite.

REMI productions, housed in one home-base facility, let us showcase and develop consistent voices of our leagues, who have been and are continuing to become fan-favorites in their own right.

This technology also allowed us to be the first league back playing in our venues during the COVID pandemic in 2020.

What core philosophy do you try to live by when managing your team/operation?
Treat people how you want to be treated. A wise mentor once asked me, “Are you going to work harder for someone who disrespects you?” and that stuck with me.

It is a small sports world, and you usually end up working with people again, so it is important to treat people well. This includes those looking to learn and grow. We have all been in those shoes, and helping to mold the next great minds of our business is as important as anything else we do in our career.

Rubin in a control room during a COVID-era broadcast

What is your favorite event(s) you’ve ever worked?
The firsts are always the best. It is the rush and the excitement of the buildup, all the work and creativity that goes into the design and development of something new, and then the idea that you will set the starting point for how things will be done moving forward.

This summer, I was part of the launch of a new D1 professional women’s soccer league at the USL: the Super League. After many months of work, collaborating with some of the best in the business to design the unique look and sound of the league, the league kicked off in front of a sold-out crowd in Charlotte, NC, with an exclusive broadcast on Peacock. We debuted our newly created theme music along with our graphics package, coupled with hand-picked talent throughout our control room and announce booth and a sideline reporter.

The energy from every person in the venue penetrated the screen in a historic and memorable broadcast.

Not to be outdone by another first just a few years ago, when I helped the NWSL become the first league back during the COVID pandemic. As the league’s media executive, I was onsite as we broadcast our games in a unique format that became known as the Challenge Cup, with teams and minimal league and broadcast personnel moving into the first-ever sports bubble to bring live sports back to television.

Rubin in the camera well at Fenway Park during her time as a producer at Major League Baseball

How did you get started in sports production? What was your first real job in the business?
I always wanted to work in sports production. It is what I went to college for at Boston University, and I was given the chance to keep score in the truck of [ESPN] Sunday Night Baseball when they were in town. Technically, that was my first job in the industry. But my first real job was logging tape for Major League Baseball. I started late in the summer of 2002, but it is my first postseason there that stands out: the repetitive cutaways and various angles of coverage of catcher AJ Pierzynski and manager Mike Scioscia were enough to ensure that I will forever know how to spell their names.

I was able to use that opportunity as a launch pad for my career. I was able to field-produce at some of the biggest sporting events held in this country, edit long and short feature segments, and produce TV shows, series, and documentaries. I later translated what I learned there to broadcast live sports.

Every one of the experiences I have had — good and bad — has shaped who I am as an executive and a leader and has made me the well-rounded, creative problem-solver I am today.

What one piece of advice do you have for someone just starting their career in this industry?
Always check in with yourself. Sports production does not have one path. As you grow and progress in your career, it is okay to change directions as you, your life, and your priorities and passions change and evolve. Of course, don’t forget to have fun; you are working in sports for a living!