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    June's real sporting magic

    Forget soccer: From the longest match to the Queen to Maria Sharapova, you'remissing an epic Wimbledon

    Joseph Campana
    Jun 27, 2010 | 9:34 am
    • Maria Sharapova is through to the fourth round, setting up an epic match with...
    • Serena Williams.
    • Roger Federer may not be as done as everyone thinks he is.
      Photo courtesy of Roger Federer
    • John Isner went from winning the longest match in tennis history to losing theshortest one of this year's Wimbledon.

    Nothing beats Wimbledon in June. The first day of summer, strawberry season, and even my birthday all pale in comparison.

    Every Wimbledon is a Wimbledon to watch (and maybe now that the U.S. is out of the World Cup, people will start paying attention to the tourney they've been missing).

    Wimbledon makes good players great, great players legendary. It’s hard to forget the recent dominance of the Williams sisters, the epics between Roger Federer and Rafael Nadal (who said no thanks to meeting the Queen this week to focus on his game), and last year’s marathon between Federer and Andy Roddick.

    Even better, Wimbledon is a huge relief from the French Open. To be charitable, the French Open is fickle.

    The relief of Federer’s win last year and the supremacy of Rafael Nadal put a spring in one’s step at Roland Garros. But how many one-hit wonders, who should have been no-hit wonders, has the French Open produced? On the men’s side Gaston Gaudio and on the women’s side Anastasia Myskina, Ana Ivanovic, and this year’s surprise winner Francesca Schiavone.

    Don’t believe me? Schiavone dive-bombed out of Wimbledon with a loss to Vera Dushevina on the very first day of the tournament. Schiavone is a real scrapper — deeply dedicated, very athletic, and willing to fight for every point. But you can’t expect an opponent on grass, especially a superior opponent, to sink into the fickle red clay.

    Even six-time winner Federer very nearly lost on the first day to unranked Alejandro Falla in five hard-fought sets. Too many spectators and commentators see the death knell of a career in the slightest wobble in Federer’s game.

    Federer may be rusty, waning, distracted, or disturbed by the prospect of a resurgent Nadal. But if Federer, the wizard of Wimbledon, nearly tumbled out in round one, chalk it up to the rigor of this tournament: Tennis’s greatest testing ground.

    If that isn't evidence enough, America's serving sensation John Isner and opponent Nichloas Mahut of France completed an 11-hour-and-five-minute match with a mind boggling score of 6-4, 3-6, 6-7, 7-6, 70-68. That's right, readers: 70-68. The match stretched over two days. The players outlasted the light one day tied at 59-59 in a truly epic fifth set that took over eight hours.

    That final set taken by itself would rank high on the list of the longest matches in tennis history. The statistics are just shocking but here's my favorite. Isner served 112 aces while Mahut served 103. And that was still the first round. Just imagine what's next. (Isner can't, he promptly lost his next match, which turned out to be the shortest match at this year's Wimbledon.)

    Wimbledon's clearly for warriors, and what’s special about this year is the kind of uncertainty that surrounds it — a swimmer stuck in shark tank with blood in the water could relate.

    This is not a question of red clay or green grass. Rather, there's a “Twilight of the Gods” feel about the court. The old guard is fading, perhaps done in by persistent over scheduling that leads to exhaustion and injury. Change is on the way, but a new order has yet to emerge. This is as true of the players as of the sport.

    Over this next week, many storylines will emerge. On the women’s side, emergent challengers of the last years Jelena Jankovic and even Maria Sharapova, seemed to be in various states of disrepair. But both are through to the fourth round with Sharapova set to met Serena Williams in an epic Monday match. Belgians and major winners Kim Clijsters and Justine Henin have returned to good form after brief retirements, but now they have to play each other in the fourth round.

    So it seems we should all be grateful for last year’s champion Serena Williams and her sister five-time champion Venus Williams. Maybe not too grateful: It can certainly go to their heads. But these two may represent the last great swan song of American tennis. Watching them work at Wimbledon is a privilege.

    Venus more than anyone of late has been queen of this court. She’s designed for grass — lanky, swift, and decisive with a booming serve. Her statistics here are just plan sick. It may be greedy to want her to win a sixth title because she’s been the best player this whole year.

    In both the Australian and French Open, Venus was clearly the one to beat. In both tournaments, her will or concentration or energy lapsed at just the wrong moment. So, my vote’s for Venus and my hope is that the women’s side of the sport straightens itself out, and new stars, with some lasting power, arrive.

    As for the men? It’s hard not to root for a Federer-Nadal final again, but many are predicting this is Federer’s year to be knocked out early.

    Americans are rooting for Andy Roddick to repeat his trip to the final, even if he has to go through Federer. But as healthy as the men’s game seems to be — with hungry challengers everywhere — it’s hard to see who will emerge to seize the crown from Federer and Nadal. One or the other seems odds on favorite this year.

    When I started watching tennis, Pete Sampras, Andre Agassi, Steffi Graf, and Monica Seles were still dominant. Federer and the Williams were waiting in the wings. I’m excited to watch yet another Wimbledon unfold with favorite players I’ve watched for years.

    But, in spite of Isner's inhuman display of stamina, I’m left wondering who’s waiting in the wings now. And I’m wondering even more what the United States Tennis Association is doing about it.

    unspecified
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    Movie Review

    Over-the-top acting and incoherent plot drag down Her Private Hell

    Alex Bentley
    Jul 23, 2026 | 3:00 pm
    Sophie Thatcher in Her Private Hell
    Photo courtesy of Neon
    Sophie Thatcher in Her Private Hell.

    Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

    Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

    After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

    It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

    Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

    In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

    Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

    If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

    ---

    Her Private Hell opens in theaters on July 24.

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