Aryna Sabalenka vs Nick Kyrgios ‘Battle of the Sexes’ sparks fierce backlash
The upcoming exhibition match between Aryna Sabalenka and Nick Kyrgios has sparked intense debate, not because of what it represents for tennis, but because of what many feel it fails to represent. Marketed as a modern-day “Battle of the Sexes,” the event has drawn criticism for being hollow, unserious, and disconnected from the historic meaning of the original showdown between Billie Jean King and Bobby Riggs in 1973.
Sabalenka herself has tried to downplay the controversy. Speaking on Piers Morgan Uncensored, the world No. 1 said she and Kyrgios share a good relationship and laughed off some of the outrage. Still, she acknowledged that the reaction has exposed uncomfortable undercurrents, including lingering misogyny and misplaced comparisons. “It’s quite funny to see how some people say that,” she remarked, noting that negativity is inevitable in today’s hyper-opinionated sports culture.
But for critics, the issue goes far deeper than social media noise. The original Battle of the Sexes was never meant to be entertainment for entertainment’s sake. When Billie Jean King defeated Bobby Riggs on September 20, 1973, it was a defining cultural moment. Set against the backdrop of the women’s liberation movement, Title IX, and the early days of the WTA Tour, King’s straight-sets win validated women’s tennis as a serious, commercially viable sport. Nearly 90 million people watched worldwide, and the impact rippled far beyond the court.
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By contrast, the Sabalenka–Kyrgios exhibition feels to many like a carefully packaged spectacle designed primarily to generate clicks, controversy, and a hefty payday. The modified rules—one serve per player and a smaller court for Sabalenka—further dilute the competitive integrity. Even if Sabalenka wins, the built-in caveats ensure an asterisk that undermines the result.
Former players and commentators have been vocal. Garbiñe Muguruza recently dismissed the comparison outright, saying the event has “nothing to do” with what King versus Riggs represented. Legendary commentator Mary Carillo was even more blunt, describing the matchup as “hollow and unserious,” arguing that it reduces a sacred chapter of women’s sports history to empty theatrics.
Aryna Sabalenka vs Nick Kyrgios is being criticized as a hollow spectacle that falls far short of the meaning behind the original ‘Battle of the Sexes’
The criticism is amplified by Kyrgios’ polarizing public image. While undeniably talented, his career has been marked by on-court meltdowns, off-court controversies, and long absences from competitive tennis. To some observers, this exhibition feels less like a celebration of the sport and more like a last, attention-grabbing cash-in—one that leans on Sabalenka’s status rather than genuine sporting merit.
There is also the uncomfortable question of context. Hosting the event in Dubai has raised eyebrows, given ongoing concerns raised by human rights groups about women’s protections and equality in parts of the Middle East. While organizers frame the match as progressive and global, critics argue that invoking the legacy of Billie Jean King in such a setting feels tone-deaf at best.
Perhaps the most telling argument against the exhibition is this: women’s tennis no longer needs gimmicks. Thanks to the groundwork laid by King and her peers, today’s stars thrive on their own terms. Sabalenka alone has earned around $15 million this year in prize money, competes on equal footing at Grand Slams, and commands global respect as a four-time major champion.
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That was the entire point of 1973—to build a future where women never had to fight for legitimacy again through stunts or spectacle. In that sense, the Sabalenka–Kyrgios match doesn’t advance the sport. It commodifies its history.
Even if the match draws millions of viewers, critics argue it will achieve little beyond reinforcing our modern appetite for controversy and dopamine-fueled entertainment. The legacy of Billie Jean King was about progress, permanence, and respect. Reducing that legacy to a flashy exhibition, many believe, is not just unnecessary—it’s deeply disappointing.
