Amy Hunt, the British sprinter who recently claimed the double European title in the individual sprints, responded sharply to the new betting advertisement featuring actress Sydney Sweeney. In a brief interview with the BBC, Hunt told the 29‑year‑old star that the commercial did not reflect the reality of women who compete in sport. "Sydney Sweeney, this is what women in sport look like," she said, before listing the metrics that define her own performance: "21.4 seconds – the winning time of Melissa Jefferson‑Wooden – muscles, hard work, sweat, blood, tears. This is a beautiful evening." The advert in question was produced for the American gambling firm Novig and shows Sweeney, best known for her role in the series Euphoria, draped in minimal clothing and surrounded by sports equipment in a highly stylised, sexualised tableau.
The image was intended to promote betting on upcoming events, but it quickly sparked a wave of criticism from athletes, particularly women, who argued that it reduced their dedication and effort to a visual gimmick. Hunt’s comments were not an isolated outburst. After finishing fourth in the 200‑metre final at the inaugural World Athletics Ultimate Championships in Budapest, she took the platform to highlight the contrast between the polished, glamorous image presented in the commercial and the gritty, often uncomfortable reality of elite competition.
"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 explained. She went on to describe a particularly low moment: "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." Other high‑profile athletes joined the conversation.
Former U.S. Olympic gymnast Gracie Kramer posted a short video of herself executing a routine, captioning it, "Idk what Sydney Sweeney was doing but this is what a woman in sport looks like." The post quickly amassed thousands of likes and comments, many of which echoed Hunt’s sentiment that the advertisement misrepresented the physical and emotional labor involved in training and competition. 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 remark underscored a growing frustration among female athletes that their bodies are often commodified for marketing purposes rather than celebrated for athletic achievement.
In what appeared to be a defensive move, Sweeney later shared a series of images from ESPN Magazine’s BODY Issue on her Instagram Stories. The BODY Issue is known for featuring athletes such as Serena Williams and Megan Rapinoe in artistic, often nude, portraits that aim to showcase the human form in a sporting context. By posting these images, Sweeney seemed to suggest that the commercial was part of a broader conversation about the representation of athletes' bodies. However, many critics argued that the comparison fell short, noting that the BODY Issue celebrates the athletes’ own agency and achievements, whereas the Novig advert used a Hollywood actress with no athletic credentials to sell a product.
The controversy raises larger questions about how women in sport are portrayed in media and advertising. Historically, female athletes have struggled for visibility that respects their skill rather than reducing them to aesthetic objects. Studies have shown that when women’s sports are covered, the focus often shifts to appearance, personal life, or emotional narratives rather than performance statistics.
This pattern can influence public perception, sponsorship opportunities, and even the self‑image of young girls who look up to these role models. In response to the backlash, several advocacy groups for gender equality in sport issued statements calling for more authentic representation. They urged brands to collaborate directly with athletes when creating campaigns, emphasizing that genuine storytelling—featuring the athletes’ training routines, challenges, and triumphs—resonates more powerfully with audiences than a superficial, sexualised approach. The debate also highlighted the tension between artistic expression and commercial exploitation.
While some argue that provocative imagery can draw attention to sporting events and increase viewership, others contend that such tactics undermine the credibility of women’s sport and perpetuate harmful stereotypes. As the conversation continues, many athletes, including Hunt, are using their platforms to demand change, advocating for advertising that honors the dedication, resilience, and true spirit of women who compete at the highest levels.
Ultimately, the incident serves as a reminder that the portrayal of athletes—especially women—carries weight beyond a single advertisement. It influences how society values their contributions, how sponsors allocate funding, and how future generations perceive what it means to be a female athlete. The hope expressed by Hunt and her peers is that the industry will listen, evolve, and create narratives that reflect the real, powerful, and diverse experiences of women in sport.