British sprinter Amy Hunt responded forcefully to the controversial betting commercial featuring actress Sydney Sweeney, asserting that the advertisement does not reflect the reality of women who compete in sport. In the ad, which was produced for the U.S. betting firm Novig, Sweeney appears in a scantily‑clad state, draped only in sports equipment and posing in a manner that many observers described as sexualised rather than athletic. The campaign quickly sparked an outcry among female athletes, who argued that it reduces their hard‑earned achievements to a visual gimmick.
Hunt, who is a double European champion in the individual sprint events, took the microphone during a post‑race interview on the BBC after she finished fourth in the 200‑metre final at the inaugural World Athletics Ultimate Championships in Budapest. She addressed Sweeney directly, saying, "Sydney Sweeney, this is what women in sport look like." Hunt then listed the measurable elements of elite performance: "21.4 seconds – the winning time of Melissa Jefferson‑Wooden – muscles, hard work, sweat, blood, tears.
This is a beautiful evening." By juxtaposing the precise statistics of a world‑class race with the actress’s stylised imagery, Hunt underscored the stark contrast between genuine athletic effort and the commercial’s superficial portrayal. She continued, "Obviously we’ve seen everything about the Sydney Sweeney ad over the last 24 hours, and when you’re a woman in sport, it’s not pretty.
It’s not glamorous. It’s not sexy all the time, definitely. There are low moments.
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." Hunt’s candid remarks highlighted the everyday challenges that female athletes face – from physiological cycles to injuries – elements that are rarely, if ever, highlighted in marketing material that seeks to sexualise rather than celebrate the sport. Hunt was not the only 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." The post resonated with many followers, who praised Kramer for showcasing the strength, discipline, and focus required to excel at gymnastics.
Similarly, Australian professional boxer Skye Nicolson wrote on Instagram, "There’s a big difference between looking ‘sexy’ because you do sport compared to using sex to sell ‘sport.’" Nicolson’s comment drew attention to the broader issue of how media often co‑opts the image of female athletes for commercial gain, sometimes at the expense of authenticity. The backlash forced Sweeney to respond indirectly.
She shared 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 posting these images, Sweeney seemed to align herself with a publication that celebrates the athletic form in a more respectful, sport‑centric context, perhaps attempting to defuse criticism by showing solidarity with athletes who have been featured in tasteful, empowering ways. The controversy raises several important questions about the intersection of sport, gender, and advertising.
First, it underscores the persistent tension between commercial interests and the authentic representation of female athletes. While male athletes have long been featured in advertisements that emphasize performance and skill, women are frequently reduced to aesthetic objects, even when the product being promoted is unrelated to sport. Second, it highlights the need for advertisers to engage with athletes and advocacy groups before launching campaigns that could be perceived as exploitative.
In this case, the lack of consultation appears to have contributed to the swift and widespread criticism. From a broader cultural perspective, the incident reflects ongoing debates about body autonomy and the portrayal of women in media. Some argue that any form of sexualised imagery can be empowering if the subject consents, while others maintain that context matters, especially when the imagery is used to sell a product unrelated to the individual's profession.
In the realm of sport, where female athletes already battle stereotypes about femininity and strength, the stakes are particularly high. The response from the athletic community also demonstrates the power of social media as a platform for collective voice. Within hours of the ad’s release, dozens of athletes, coaches, and fans used Twitter, Instagram, and TikTok to share their perspectives, creating a ripple effect that forced the brand and the actress to address the issue publicly.
This rapid mobilization illustrates how modern athletes are no longer just competitors on the track or field; they are also influential cultural figures who can shape public discourse. Looking ahead, the incident may encourage betting companies and other brands to reconsider how they depict women in sport. Companies could benefit from collaborating directly with athletes to produce content that celebrates performance, dedication, and the real-life stories behind the medals.
By doing so, they would not only avoid backlash but also tap into a more authentic narrative that resonates with both sports fans and broader audiences. In summary, Amy Hunt’s pointed rebuke of Sydney Sweeney’s Novig advert sparked a wider conversation about the representation of women athletes in advertising. Hunt’s remarks, supported by fellow athletes like Gracie Kramer and Skye Nicolson, emphasized that the lived experience of training, competing, and dealing with everyday bodily realities is far removed from the glossy, sexualised imagery presented in the commercial.
Sweeney’s subsequent sharing of ESPN’s BODY Issue images suggested an attempt to re‑frame the discussion, but the core issue remains: advertisers must respect the integrity of sport and the athletes who embody it, rather than exploiting their bodies for commercial gain.