Amy Hunt, the British sprinter who holds two European titles in the individual sprint events, publicly rebuked the new betting advertisement featuring American actress Sydney Sweeney, asserting that the commercial misrepresents the reality of women who compete in sport. The advertisement, produced for the U.S. betting firm Novig, showcases Sweeney in a highly stylised, scantily‑clad tableau where she drapes herself in sports equipment while barely covering her body. The visual approach sparked an immediate wave of condemnation from athletes, particularly women, who argued that the portrayal reduces athleticism to a sexual spectacle rather than celebrating the dedication and effort required to excel.
In an interview with the BBC, Hunt directly addressed Sweeney, stating, "Sydney Sweeney, this is what women in sport look like." She then enumerated the concrete metrics of her own performance, noting the winning time of 21.4 seconds recorded by Melissa Jefferson‑Wooden, and emphasizing the physical attributes that underpin that achievement – "muscles, hard work, sweat, blood, tears." Hunt described the moment of her own competition at the inaugural World Athletics Ultimate Championship in Budapest as a "beautiful evening," underscoring the authenticity of the experience compared with the glossy, objectifying image presented in the advert. Hunt went on to elaborate on the everyday challenges faced by female athletes, pointing out that the last 24 hours had been dominated by discussion of the Sweeney spot and that, for women in sport, the reality is far from the glamorous, constantly sexy narrative that the commercial tries to sell. "It's not pretty," she said. "It's not glamorous.
It's not sexy all the time, definitely." She offered a candid glimpse into the less‑publicised aspects of an athlete's life, mentioning that she began her championship race while dealing with the onset of her menstrual period – an inconvenient and often uncomfortable circumstance that athletes must manage alongside rigorous training and competition schedules. "That's not ideal, and it's not something you plan for," Hunt explained, highlighting how the commercial's focus on sexual appeal ignores the very real, bodily realities that athletes navigate. Hunt's remarks were echoed by several other prominent sports figures.
Former U.S. Olympic gymnast Gracie Kramer posted a video of herself training, captioned, "Idk what Sydney Sweeney was doing but this is what a woman in sport looks like," drawing a direct contrast between the raw, disciplined effort of gymnastics and the superficial sexualisation of the ad. Australian boxing champion Skye Nicolson added her voice on Instagram, writing, "There's a big difference between looking 'sexy' because you do sport compared to using sex to sell 'sport'." Nicolson's comment underscores a broader conversation about agency: athletes may feel confident and attractive as a natural by‑product of their training, yet they should not be compelled to use that attractiveness as a marketing tool for unrelated products. The backlash prompted Sweeney to respond indirectly by sharing a series of images from ESPN Magazine's BODY Issue on her Instagram stories.
The BODY Issue is known for its artistic, often nude portraits of athletes, featuring icons such as Serena Williams and Megan Rapinoe. By highlighting these images, Sweeney seemed to suggest that the human form can be celebrated in a tasteful, athletic context, but many critics argued that the juxtaposition did little to address the core complaint: the original advert commodifies women's bodies without acknowledging the sweat, discipline, and sacrifice that define their sporting lives.
The controversy raises larger questions about how the sports and advertising industries intersect. On one hand, brands seek eye‑catching imagery to capture consumer attention in a crowded market; on the other hand, athletes—especially women—have long fought for representation that honours their skill rather than reducing them to objects of desire. The debate also touches on the historical tendency to sexualise female athletes in media coverage, a pattern that persists despite growing awareness and advocacy for more equitable portrayals.
In the weeks following the advert's release, numerous sports organisations and advocacy groups issued statements supporting Hunt and her fellow athletes. They called for advertising standards that respect the integrity of sport and for campaigns that highlight achievement over appearance. Some commentators suggested that betting firms and other sponsors should collaborate directly with athletes to co‑create content that reflects authentic experiences, thereby avoiding the pitfalls of misrepresentation. As the conversation continues, the incident serves as a reminder that the language of sport—its metrics, its moments of triumph, its inevitable setbacks—cannot be distilled into a single, provocative image without losing the nuance that gives it meaning.
Amy Hunt's pointed response, bolstered by the solidarity of other women in sport, underscores the demand for a shift toward more respectful, accurate depictions that celebrate the full spectrum of what it means to be a female athlete.