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Ideas · Essay

Sydney Sweeney’s betting ad set off a culture fight. The real story is who it was for.

Caitlin Flanagan says the Novig spot does not 'bury' or 'praise' women’s athletics; it simply ignores them. The backlash, she argues, says more about the ad’s audience and the press reaction than about any attack on women athletes.
Wednesday, September 16, 2026

Caitlin Flanagan fired up the 60-second Novig ad because of the backlash, not because she needed another celebrity betting spot. What she found, she writes, was a sleek commercial featuring Sydney Sweeney saying the word 'sports' over and over again.

Her point is blunt: the ad, in her view, does not concern women athletes 'in any remote way.' It is aimed instead at the 'average online sports bettor,' whom she describes as 'overwhelmingly young and male.'

That distinction matters. The outrage has been framed around female athletics, but Flanagan says the commercial itself does not engage that subject at all. The ad, she writes, 'neither buries nor praises women’s athletics' — it 'ignores them.'

The press, meanwhile, amplified the controversy with its own language. Variety called the ad 'risqué.' ESPN said Sweeney wore 'little or no clothing.' Many other outlets described her as 'nearly nude.' Flanagan treats that response as part of the story: a moralized reaction to a betting ad that was never really about sportswomen in the first place.

There is a larger incentive at work here. The record shows how quickly a simple commercial can be turned into a cultural signal, with journalists and activists assigning meaning that the ad itself does not appear to carry. Follow the incentive, not the press release. In this case, the incentive is outrage — and outrage is a profitable language for attention, especially when sex, celebrity, and sports betting sit in the same frame.

Say it plainly: the ad is not a manifesto. It is a commercial for a gambling company, and by Flanagan’s account it is designed to catch the eye of men who already bet online. The culture war arrived after the spot did.

The consequence is familiar. When every charged image is treated as an ideological statement, we stop asking the first-principles question: what is this thing actually for? Here, the answer appears to be straightforward. It is for selling betting.

What is true does not need an adjective. If the ad offended some viewers, that is one fact. If it ignored women’s athletics, that is another. The danger is in pretending those are the same thing. The record, as Flanagan presents it, suggests they are not.

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