Amy Hunt, a two‑time European champion in the individual sprint events, publicly rebuked actress Sydney Sweeney over a controversial betting advertisement that many in the female athletic community have described as tone‑deaf and exploitative. The commercial, produced for the American wagering firm Novig, features the 29‑year‑old star of the Netflix series "Euphoria" scantily clad and draped in various pieces of sports equipment, a visual concept that has sparked a wave of criticism from women who compete at the highest levels of sport.
During a post‑race interview on the BBC after finishing fourth in the 200‑metre final at the inaugural World Athletics Ultimate Championships in Budapest, Hunt seized the moment to address the ad directly. "Sydney Sweeney, this is what women in sport look like," she declared, emphasizing the stark contrast between the glossy, sexualized imagery of the commercial and the reality of an elite athlete’s daily grind. She continued, "21.4 seconds – that’s the winning time of Melissa Jefferson‑Wooden – muscles, hard work, sweat, blood, tears. This is a beautiful evening," underscoring that performance, not appearance, defines a sportsperson’s worth.
Hunt went on to elaborate on the broader implications of the advertisement for female athletes. "Obviously we’ve seen in the last 24 hours everything about the Sydney Sweeney ad, and when you’re a woman in sport, it’s not pretty. It’s not glamorous. It’s not sexy all the time, definitely," she said, highlighting that the lived experience of a woman in sport often includes moments of discomfort and vulnerability.
She gave a candid example from her own competition: "Even turning up to this championship, my period started yesterday, so that’s not really ideal, and that’s not ever what you try to really plan for." By sharing this personal detail, Hunt illustrated how athletes must contend with physiological realities that have nothing to do with marketing narratives. She was not the only high‑profile athlete to voice disapproval. Former U.S.
Olympic gymnast Gracie Kramer posted a short video of herself training, captioned, "Idk what Sydney Sweeney was doing but this is what a woman in sport looks like," echoing Hunt’s sentiment that the commercial misrepresents the true nature of athletic dedication. Australian professional boxer Skye Nicolson added her perspective 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 draws a clear line between confidence that comes from physical achievement and the objectification that reduces sport to a sexual spectacle.
The backlash also prompted Sweeney to respond indirectly. She shared a series of images from ESPN Magazine’s celebrated BODY Issue on her Instagram stories, a publication known for featuring athletes such as Serena Williams and Megan Rapinoe in artistic, nude portraits that celebrate the human form in the context of athletic performance. By highlighting these images, Sweeney may have been attempting to align herself with a more respectful representation of athletes, though the timing of the post suggests it could be read as a defensive move amid the growing criticism.
The controversy raises several broader questions about how women’s sport is marketed and the ethical responsibilities of advertisers. On one hand, advertisers argue that using a popular actress and a provocative aesthetic can attract attention and drive engagement for betting platforms. On the other hand, athletes like Hunt, Kramer, and Nicolson argue that such strategies perpetuate harmful stereotypes, reduce women to visual objects, and ignore the hard‑earned achievements that define their careers. For many female athletes, the pressure to appear marketable often conflicts with the desire to be recognized for performance.
Sponsorship deals frequently hinge on an athlete’s public image, and the line between empowerment and exploitation can become blurred. While some athletes embrace sex‑positive branding as a form of personal agency, the consensus among the critics in this instance is that the Novig advert crossed a line by presenting a disjointed, hyper‑sexualized version of sport that bears little resemblance to the reality of training, competition, and personal sacrifice. In addition to the immediate reactions, the incident may have longer‑term implications for how betting companies and other brands approach the representation of women in sport. The public outcry demonstrates that audiences, especially those within the athletic community, are increasingly unwilling to accept reductive or sensationalist portrayals.
Brands may need to engage more directly with athletes, incorporate authentic narratives, and prioritize respectful, performance‑focused storytelling if they wish to avoid similar backlash in the future. Overall, the episode serves as a reminder that the image of a woman in sport is far more complex than a single, stylized photograph. It encompasses rigorous training regimens, the management of bodily functions, the psychological toll of competition, and the everyday challenges that athletes face both on and off the field. As the dialogue continues, it is likely that athletes will continue to assert their own definitions of what it means to be a woman in sport, demanding representation that honors their dedication rather than exploiting their bodies for commercial gain.