Was Wimbledon promoting Coco Gauff and Aryna Sabalenka's olive branch an unforced error?
Aryna Sabalenka's immediate reaction to losing the French Open final to Coco Gauff was to vent.
The world No. 1 spoke about how 'terribly' she'd played, bemoaned the conditions, and gave her opponent precious little credit. Sabalenka even implied that Gauff would have lost the final had it been Iga Świątek on the other side of the net.
Advertisement
Sabalenka has since issued an apology, both in an interview with Eurosport and directly to Gauff. Things went up a notch at Wimbledon on Friday, though, when the pair practiced together and did a dance for TikTok on court, a Sabalenka hallmark. Gauff posted on TikTok: 'The olive branch was extended and accepted! We're good, so you guys should be too.'
Then Wimbledon itself endorsed that message, and things got weird.
Caoimhe O'Neill and Charlie Eccleshare, both on site at the All England Club for Wimbledon, discuss what it says about tennis, rivalry and social media.
You heard them ❤️#Wimbledon pic.twitter.com/JkuppdWU1b
— Wimbledon (@Wimbledon) June 27, 2025
Caoimhe O'Neill: The year is 2025 and TikTok dancing is a fluent language for many. Sabalenka and Gauff choosing to dance together on Centre Court ahead of their practice session on Friday was a modern way of telling the world that what happened at Roland Garros is behind them.
I'm all for women athletes using social media to express their personalities, write their own narratives and, in turn, grow their audiences and, with that, endorsement deals. For too long, women in sport have been overlooked and underfunded. Social media gives them a space to present themselves in a way they want to beyond press conferences and headlines.
My bugbear with the dance is that we all want feuds in sport and this feels like it has stolen one from us that was building up nicely.
Charlie Eccleshare: It's so self-defeating. Needle in sport is compelling. Which isn't to say that we should confect it, but when there are so few tennis rivalries with edge at the moment, it seems odd to be dancing to the players' tune, almost literally, in this kind of way.
Maybe this is overthinking it. From Wimbledon's perspective, this was a newsworthy moment, so they wanted to amplify it. Engagement is engagement, after all, though official accounts are generally less forthcoming about more controversial moments. Still, this remains part of a wider trend, where tournament-sanctioned highlights packages often edit out the more controversial moments, sending out a message that everyone should behave as impeccably as Carlos Alcaraz and Jannik Sinner generally do.
Advertisement
O'Neill: I don't see Jannik Sinner and Carlos Alcaraz posting a dance to social media anytime soon. Maybe the beauty of the dance itself is that women athletes are sometimes more willing to choose friendship over feud. More willing to laugh it off. But should they have to? This taps into a wider societal issue whereby women are expected to be nice. Women being confrontational or unhappy can be treated as much more of a problem than when men act in the same way.
Both players were asked about the dance and what it meant for their relationship and rivalry during their pre-tournament news conferences at Wimbledon. Gauff admitted that she thought Sabalenka's apology would have arrived quicker than it did, and acknowledged that she had been tempted to post something addressing the comments before the world No. 1 said sorry.
But Gauff also said they are both tired of talking about what happened and hoped the video would show people they are 'on good terms.'
'We are good, we are friends. I hope the U.S. media can be easy on me right now,' Sabalenka said on Saturday. There is something that feels off about two athletes having to dance in order to prove to the world everything is OK. Should we not just listen to them instead?
Another consideration is that this was posted to stop the noise online.
Eccleshare: The bigger issue feels like players needing some room to vent and to be human after a sickening defeat. The volume of social media abuse individuals receive after making a misstep like Sabalenka did will only add to the pressure they feel about never saying the wrong thing. Sabalenka said in a news conference on Saturday that: 'I did what I did. I got what I deserved,' which felt like a sad lesson to have learned given how badly she was abused in the aftermath of the Roland Garros final.
Advertisement
She really didn't deserve that, and while doing a dance is something Sabalenka likes doing to bond with other players — she did one with Świątek towards the end of last year as well — one hopes that players know it's OK if they want to be honest in a difficult moment.
Frances Tiafoe, the American world No. 12, acknowledged this on Saturday when he praised Sabalenka and Gauff for their move, but added: 'It wouldn't be too bad if they were also back and forth (at one another). That would be kind of cool if they kind of didn't like each other.'
Just look at a quote like this:
'To lose against someone like that, it's very disappointing, because you feel like he was mentally out of it already. Just gets the lucky shot at the end, and off you go…
'Confidence? Are you kidding me? I mean, please. I remember losing junior matches. Just being down 5-2 in the third, and they all just start slapping shots. It all goes in for some reason.'
So said Roger Federer to explain how he had just lost the 2011 U.S. Open semifinal to Novak Djokovic, having held two match points. Pretty graceless, right? The sort of thing that nowadays would probably have led to so much condemnation online that Federer would have had to issue an apology on social media and stage manage some sort of reconciliation. A handshake, perhaps, or a practice session together.
Because in 2025, it's seemingly no longer OK to have a bit of needle in a rivalry, or to vent after a painful defeat.
O'Neill: Does this completely end the rivalry? No, it just takes the edge off it, which is perhaps what's strange about a tournament engaging in that process. Why defuse something that tennis fans want to be exciting? If Sabalenka and Gauff meet in the final on July 12, do you think they will be dancing then?
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
15 minutes ago
- Yahoo
Box Office: ‘F1' Revs to $144 Million Globally, ‘Lilo & Stitch' Nears $950 Million Milestone
Brad Pitt's original racing drama 'F1' drove to the top of the box office charts, collecting a sizable $88.4 million internationally and $144 million globally in its opening weekend. The film, from director Joseph Kosinski and producers Jerry Bruckheimer and Formula One champ Lewis Hamilton, follows a retired driver (Pitt) who returns to the popular motorsport to coach a cocksure rookie (Damson Idris) and save a failing team. Outside of the U.S. and Canada, where 'F1' zoomed to $55.6 million, the top-earning territories were the United Kingdom with $9.2 million, China with $9 million and Mexico with $6.7 million. More from Variety 'M3GAN 2.0' Star Allison Williams on Making The Android an 'Action Star' and Crafting Another Unforgettable Musical Moment Brad Pitt's 'F1' Delivers Apple's First Box Office Hit With $55.6 Million Debut, 'M3GAN 2.0' Fizzles With $10 Million 'M3GAN 2.0' Costume Designer on How Farrah Fawcett and Judy Jetson Inspired M3GAN's Armor 'F1' marks the first commercial win for Apple, which has previously backed underperforming big screen offerings like 'Killers of the Flower Moon,' 'Napoleon' and 'Argylle.' Against a nearly $250 million production budget and massive marketing spend, 'F1' will need significantly more ticket sales to break even and turn a theatrical profit. But this is Apple's closest attempt to all-audience blockbuster status and will soon overtake 'Napoleon' ($221 million globally) as the company's highest-grossing release. And 'F1' is expected to benefit in the coming weeks from solid reviews, positive word-of-mouth and Imax screens before landing on the company's streamer, Apple TV+. Since Apple doesn't have a distribution arm, the tech giant is paying Warner Bros. to put the film in theaters; the Burbank-based studio will also receive a percentage of theatrical revenues that increases with certain box office benchmarks. 'F1' also represents a victory for Imax, whose cameras were used to film the ultra-immersive, high-speed racing sequences. Imax screens accounted for $11.1 million overseas and $27.7 million globally, representing 19% of overall revenues — the fourth-highest percentage in Imax's history. ''F1' has inspired audiences around the globe with its underdog story and perfect blend of high-octane racing and human-centered storytelling,' says Apple's head of worldwide video Zack Van Amburg. 'The film's outstanding debut reflects both the excitement of Formula 1 and the deeply emotional and entertaining story crafted by the entire cast and creative team. Their dedication and innovation have fueled an unforgettable cinematic experience.' In terms of other newcomers, Universal and Blumhouse's A.I. thriller 'M3GAN 2.0' flatlined with $7 million from 80 international markets. Mexico earned a leading $1.2 million, followed by the U.K. and Ireland with $700,000 and Brazil with $400,000. Along with $10.2 million domestically, 'M3GAN 2.0' has grossed a soft $17 million in its first weekend of release. With weak reviews and seemingly diminished audience interest, the campy horror sequel failed to achieve the box office heights of 2023's 'M3GAN,' which ignited to $15 million overseas and $45 million globally. The original became a sleeper hit with $180 million worldwide, which explains the studio's justification for the follow-up film set around the scream queen who became a meme queen. Fortunately for the studio, 'M3GAN 2.0' cost a modest $25 million, so potential theatrical losses won't be too painful. Plus, Universal is flying high with 'How to Train Your Dragon,' which added $32 million internationally in its third frame. The live-action remake has earned $254 million overseas and $454 million worldwide to date, underscoring the enduring appeal of the fantastical property. Universal has the live-action sequel set for 2027. PG films have been dominating at the box office with 'Lilo & Stitch' adding $13.1 million from 52 markets for a massive overseas tally of $545 million. After six weekends on the big screen, the live-action 'Lilo & Stitch' is about to cross the $950 million milestone (with $946 million globally so far) and has $1 billion on the horizon. A live-action sequel to 'Lilo & Stitch' is also in the works. Not every movie with a family friendly rating is electrifying the box office. Disney's original Pixar adventure 'Elio' brought in just $11.4 million from 48 territories in its sophomore outing. After notching the worst start in Pixar history, 'Elio' has grossed $30 million overseas and $73 million worldwide. Though positive word-of-mouth should help the film endure throughout the summer, 'Elio' is nowhere near on track to earn enough to justify its $150 million production budget.
Yahoo
16 minutes ago
- Yahoo
In pictures: Saturday at Glastonbury Festival
Day four of Glastonbury Festival began with Kaiser Chiefs opening the Pyramid Stage and continued with performances from an array of huge stars. Neil Young and the Chrome Hearts headlined the Pyramid Stage, with Charli XCX, Doechii and Scissor Sisters also drawing big crowds on other stages. Kneecap's set on The Other Stage was not screened live, but will be made available on demand later, the BBC has confirmed. Elsewhere, people finally found out who the mystery band listed under Patchwork were - Britpop icons Pulp. Glastonbury's mystery band Patchwork were Pulp, after all In pictures: Glastonbury Festival day three Why there will be no Glastonbury Festival in 2026 'We want to give you best seat in house for Glasto' Fashion show: People continue to put in their best effort when it comes to their outfits - even on day four. In the air: Kaiser Chiefs opened the Pyramid Stage on Saturday All in pink: British singer-songwriter Alessi Rose performed on The Other Stage earlier. Exploring Glastonbury: While everyone else is running around in T-shirts and shorts, one person was spotted dressed like an Arctic explorer. Tune: Even early on day four, the crowd was ready to party. You Without Me: Many in the crowd were emotional as US country star Brandi Carlile performed You Without Me, a song about the experience of a parent watching their child grow up and assert their independence. Crowd surfing: Bob Vylan performed on the West Holts stage. Protective parasol: It is due to stay warm with temperatures of up to 25C. Kneecap: Moglai Bap and Mo Chara of Kneecap perform to a huge crowd on the West Holts stage. Colour and glitter: Carnival performers put on a show on the festival site. Raye in a box: There was a huge cheer from the crowd when singer Raye emerged from a black box at the start of her sunset slot on the Pyramid Stage. A surprise appearance: Haim performed to a packed-out Park Stage. However, shouts of "louder, louder" could be heard from the crowd as they competed with music from a neighbouring stage, with some fans leaving the set early. Keep on Rockin' in The Free World: Neil Young took to the Pyramid Stage in a headline set that did not disappoint. "The section of the crowd I'm in actually swooned as Neil Young plucked the opening chords to The Needle and The Damage Done," wrote the BBC's Mark Savage. Brat is forever: Despite a brat background going up on flames at the start of Charli XCX's set, it ended with the words "I think you all have proven to me that brat is forever." During Blame It On Your Love the singer crawled along the stage - and licked it - before launching into 2012 hit I Love It. A hip-hop masterclass: Doechii delivered a high-energy set, schooling the crowd on hip hop. Her set was only 45 minutes long, but the Swamp Princess (a nod to her Floridian roots) made her Glastonbury debut count. Follow BBC Somerset on Facebook and X. Send your story ideas to us on email or via WhatsApp on 0800 313 4630. Politics at Glastonbury a 'festival within a festival' Kaiser Chiefs kick off Pyramid Stage as BBC says Neil Young set will be aired after all Glastonbury: The 1975 deliver a polished, but safe headline slot
Yahoo
18 minutes ago
- Yahoo
Manchester United Are Locked In A Three-Way Battle For This Roma Defender: Should Amorim Move In For Him?
Manchester United Are Locked In A Three-Way Battle For This Roma Defender: Should Amorim Move In For Him? In a recent report, Gazzetta dello Sport (via Sport Witness) stated that Manchester United are locked in a three-way battle for Roma defender Evan N'Dicka. It has been stated that the Red Devils would have to compete with Arsenal and Newcastle United in the race to land the Ivory Coast talent this summer. N'Dicka's Impressive Rise In Italian Football N'Dicka put in a series of impressive displays for the Italian club on the defensive end of the field in the previous campaign. The 25-year-old participated in 54 matches for Roma last season, netting one goal and grabbing two assists in multiple competitions. Advertisement The Ivory Coast international was a rock at the back and deserves credit for making 32 tackles, 46 blocks and 33 interceptions in Serie A football. He was even accurate when distributing possession from inside his half, as evidenced by his pass completion rate of 92.1% in league football (stats via N'Dicka is under contract at the Italian club until the summer of 2028. Thus, Man United would have to make a big offer if they are serious about recruiting him this off-season. PARMA, ITALY – FEBRUARY 16: Evan Ndicka of AS Roma during the Serie A match between Parma and AS Roma at Stadio Ennio Tardini on February 16, 2025 in Parma, Italy. (Photo by) Should Manchester United Boss Ruben Amorim Move In For N'Dicka? N'Dicka is a good tackler of the ball and can time his challenges well to earn possession back for his team inside his half. He doesn't mind putting his foot through the ball when needed and excels at playing his way out from the back. Advertisement Standing at 1.92m, N'Dicka is a strong presence in the air as well. However, he might need some time to adapt to the high intensity of the Premier League if Man United manage to get him on board this summer. We can expect N'Dicka to add more bite and steel to Man United boss Ruben Amorim's defence. He might even help the Mancunian club challenge across all fronts in the coming seasons. At 25, N'Dicka has his peak years ahead of him which makes him a decent choice for the Red Devils to pursue in this transfer period. However, Amorim would have to give him some time to adjust to life in English football. With all things considered, the pros outweigh the cons of signing a centre-back of N'Dicka's quality, so Man United should focus on moving in for him soon.
