Push Gaming has expanded its presence in the Baltic market by entering a significant distribution agreement with OlyBet, the region’s top gaming and entertainment provider. This partnership introduces Push Gaming’s complete library of slot games to players in both Latvia and Estonia , furthering its commitment to growth in regulated territories.

This latest collaboration follows a string of recent launches across Europe, including Bulgaria, Spain, and Serbia, and aligns with the company’s broader strategy of increasing visibility in well-regulated gaming environments.

High-Performing Slots and New Releases Join OlyBet’s Lobby

As part of the deal, OlyBet Casino now features Push Gaming’s full slot portfolio. Popular titles such as those from the Razor Shark and Retro series are available, alongside upcoming releases like Wild Swarm Triple Hive and Bamboo Ways, which are expected to attract a strong following once launched.

“Having our content live with market leaders such as Olybet is a key pillar of our commercial strategy. OlyBet provides us with a fantastic partnership and a shared ambition to grow in both regions,” stated Andy Bentley, Chief Operating Officer at Push Gaming.

He added, “We’re scaling our collaborations globally to meet player demand, and our thriving relationship with the leading brand in Latvia and Estonia is another important milestone in our progress.”

Push Gaming’s content has already demonstrated strong performance in other regulated markets, and its integration with OlyBet marks a logical step in the supplier’s European expansion plan.

OlyBet Strengthens Its Offering with Push Gaming Titles

For OlyBet, the addition of Push Gaming’s portfolio reinforces its mission to remain the entertainment leader in the Baltic region. With an emphasis on delivering premium experiences, the integration helps ensure the operator continues offering top-tier content to its players.

“The added strength of Push Gaming’s slots in our lobby is considerable, and we’re delighted to have them available for our players,” said Tomas Graham, Chief Operations Officer at OlyBet “It is essential for us to offer the best games available to ensure OlyBet provides the best experience possible and remains the first choice in entertainment across each market.”

The partnership allows OlyBet to not only retain its competitive edge but also deepen its appeal to slot enthusiasts by offering engaging, well-crafted titles from one of the industry’s most innovative developers.

Continued Momentum in Europe’s Regulated Markets

With its Baltic expansion now underway through OlyBet, Push Gaming continues to accelerate its international strategy. Its consistent focus on entering tightly regulated markets and partnering with regional leaders reflects its long-term vision of building a sustainable and global presence.

As Push Gaming’s footprint grows across Europe, partnerships like this one play a central role in reaching new audiences and providing high-quality entertainment that aligns with local regulatory standards.

Source:

“Push Gaming levels up in Latvia and Estonia with OlyBet”, pushgaming.com, Jul 21, 2025

The Peach Belt Conference has released the 2025-26 championships schedule.  The conference will host 18 championship events along with two Esports events, starting with the cross country championships on Oct. 25. 

Men & Women’s soccer has moved to a Saturday-Wednesday-Saturday schedule with all games hosted by the highest seed. Volleyball has moved all games to be hosted by the #1 seed over the course of three days. All other tournament formats have remained relatively unchanged. 

The PBC will also continue pay-per-view for select championship events.  All PPV plans will only affect conference championships, regular-season games will still be free to stream.  All streaming, both PPV and free, will continue to be carried by Hudl through the PBC Sports Network. 

See the complete championship schedule here.

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🔹 SEGMENT ONE 
Topic: Opening of MTSU’s New Applied Engineering Building
Guests: Dr. Ken Currie & Julie Powers
MTSU is preparing to open a $74.8 million, 90,000-square-foot Applied Engineering Building on August 6. The facility will house the Mechatronics Engineering and other Engineering Technology programs, offering advanced space and equipment for hands-on learning. It is located next to the School of Concrete and Construction Management and is part of the College of Basic and Applied Sciences. The facility replaces shared space in the Voorhies Building and was constructed by Denark Construction and designed by Wold Architects.

🔹 SEGMENT TWO (Starts at 16-Min. Into Podcast)
Topic: Launch of Two New Esports Concentrations at MTSU
Guest: Richard Lewis
MTSU is launching two new esports concentrations: Esports and Gaming Content Creation (College of Media and Entertainment) and Esports Coaching (College of Behavioral and Health Sciences). These programs prepare students for careers in competitive gaming, content creation, and management. The initiative responds to the booming esports industry, which includes roles like social media manager, coach, content creator, and team analyst, with average salaries exceeding $150K according to ZipRecruiter.

🔹 SEGMENT THREE (Final 10-Min. of Podcast)
Topic: MTSU Center for Health and Human Services Projects
Guests: Dr. Cynthia Chafin & Sarah Gwinn
The MTSU Center for Health and Human Services (CHHS) addresses public health through grants and partnerships. With over $25 million in external funding since 2001, CHHS works on issues like rural health, mental illness, chronic disease, and opioid abuse. Dr. Chafin leads mobile treatment unit projects in rural counties and a major grant in Wilson County. Sarah Gwinn leads the Office of Prevention Science and Recovery (OPSR), which administers opioid settlement funds and supports statewide efforts through technical assistance and research-based strategies.

From Emily in Paris and Squid Game to Wednesday and Stranger Things, the millions of eyeballs paying attention to Netflix’s streaming output are increasingly matched by brand interest.  

For Jordan Peters, senior director of marketing partnerships for EMEA, brand partnerships work for companies who “are looking to cut through in culture” in a way that’s “super authentic” and creates excitement from fans. But it is not just beneficial for the brand, it helps Netflix increase the profile of its shows as well.

Take Squid Game. One partnership for series two saw it collaborate with KFC, which led to around 750 million impressions and more than 400,000 menus sold in the week it ran. Those eyeballs don’t just go one way. 

“It was huge on social, but it also had a material business impact,” Peters tells Marketing Week. “Which is why they’re now back.” 

From Emily in Paris and Squid Game to Wednesday and Stranger Things, the millions of eyeballs paying attention to Netflix’s streaming output are increasingly matched by brand interest.  

For Jordan Peters, senior director of marketing partnerships for EMEA, brand partnerships work for companies who “are looking to cut through in culture” in a way that’s “super authentic” and creates excitement from fans. But it is not just beneficial for the brand, it helps Netflix increase the profile of its shows as well.

Take Squid Game. One partnership for series two saw it collaborate with KFC, which led to around 750 million impressions across social media and more than 400,000 menus sold in one week. Those eyeballs don’t just go one way. 

“It was huge on social, but it also had a material business impact,” Peters tells Marketing Week. “Which is why they’re now back.” 

Effective brand collaborations may look off-the-cuff and reactive, but they’re typically planned many months in advance.

“It’s not work we try and turn around overnight. To do it well, you need to produce something that ideally looks like something that came from Netflix in the show itself. That takes a lot more thinking and planning,” he says.  

Netflix launched its third – and final – season of Squid Game last month with a range of brand partnerships, from merchandise to gaming integrations. Partners ranged from clothing brands Puma, Pull&Bear and Primark to Diageo’s Johnnie Walker and toy brand Mattel. Helping Netflix hit audiences it might not naturally cater for.

‘Experts in their field’: Netflix on embracing a culture of ‘context not control’ 

Netflix didn’t expect the show’s first season to be as successful as it was, notes Peters, however its popularity quickly became obvious. “The product figured it out,” he says, referring to Netflix’s data ability. “And that’s what you create franchises from.”  

However, sometimes a moment takes off with a life of its own.

For Wednesday – Netflix’s Addams Family comedy – the show had “a lot of campaign beats that were very well thought through and planned a long way in advance”. However, “then something happened” out of Netflix’s control – a fan put a Lady Gaga track over a dance scene, which then went viral.  

“The dance in the show became an iconic moment,” says Peters, which Netflix capitalised on by partnering with Gaga herself.  

It was a combination of effective planning, and effective reactivity, that helped the dance itself garner more than a billion impressions and create “noise”, says Peters, helping propel the show to be one of the streamer’s biggest hits of that year.  

It also highlights the importance of “empowering teams to move fast” when they see something taking off, he says.  

While brands can create strong “cultural” moments with Netflix, fans of its properties are aware of when something works – and when it doesn’t.  

“For us, it’s super important that whatever we do, a fan looks at it and is glad it exists, because it’s very easy to do something that’s overly commercial and makes people feel like they’re not really sure why these two brands have partnered,” says Peters. “But if you can create something that can only exist because you came together, then that’s something fans respond to.” 

Creating effective partnerships

For some brands, a Netflix tie-up may be high on the agenda, but it’s not necessarily going to work for everyone. Explaining what Netflix looks for in its collaborations, Peters says it “admires brands” who have “a voice”.  

For it to work, brands need “something about their personality which is bold, playful or risk-taking”, or as Peters puts its, “often, to be honest, funny”. 

And, of course, money talks. “There is that truth to it. We look for partners who have the ambition in terms of investment, production quality and are willing to sit around the table with us quite a long way out and plan something,” adds Peters.  

Netflix beefs up team and tech to push ad service

It’s “returning seasons” that make the most effective brand partnerships, because of their “established fan base” with a number of consistent shows “big enough to start something magical”.  

Wednesday returns in August and the finale of Stranger Things comes out in November. All hot properties for Netflix to market. The latter will be the “biggest entertainment event of the year”, claims Peters.  

Foreseeing big cultural moments is Netflix’s “superpower,” he believes, and it’s clearly paying off for the platform. It posted second quarter revenue growth of 16% last week, raising its full-year guidance and recording “healthy” member growth and ad sales.Netflix wants to create ‘buzzier’ marketing as the streaming giant ramps up ad-supported tier

CMOs want their brands to be part of cultural moments, but it’s “harder and harder to do” because of media fragmentation and each person having their “own personal algorithm”. 

“Moments are becoming more and more fragmented and more and more niche,” says Peters. This sums up Netflix’s pitch to brands. “I feel like that superpower is something super valuable we can bring to brands in advance when they’re just looking at their calendar thinking, ‘am I going to react to culture in the moment?’” 

Social media is the hub for the majority of Netflix’s standout brand partnership moments. “Some brands do it brilliantly,” says Peters, noting marketers’ favourite, Duolingo, in empowering its social team to be creative.  

“But not every team can do that, some of them are more risk averse,” he says. His team, working closely with Netflix’s core marketing team, “pick up on signals” when a show is rising in popularity, and work with brands to tap into this.