Connect with us

Culture

After years of American growth, has F1's U.S. fandom plateaued?

Published

on

After years of American growth, has F1's U.S. fandom plateaued?

As Donny Osmond sang the opening notes of “Star-Spangled Banner,” wearing a Las Vegas Grand Prix letterman jacket, the Sphere illuminated red, white and blue against the night sky.

Formula One was minutes away from its third race of the year in the United States, following Miami and Austin. As Osmond’s voice built to a crescendo, the sport’s powerbrokers stood proudly at the front of the starting grid, the 20 cars and hundreds of VIP guests behind them.

Not long ago, the sport’s future in the United States had looked bleak; even one race a year seemed a stretch for a market that F1 had tried repeatedly and failed to crack. Now it was about to race down the Las Vegas Strip.

“I couldn’t fully understand when I went to NFL and NBA games, seeing how passionate the Americans are about sport, how they hadn’t yet caught the bug,” Lewis Hamilton, the seven-time world champion, said.

“It’s been really, really amazing to see a large portion of the country is now speaking about it.”

Advertisement

F1 has rocketed in the United States over the last five years. It has three American races, an American driver and an American team. For the city of Las Vegas to invest so heavily — and tolerate so much disruption — to host a grand prix is indicative of F1’s heightened relevance.

But as F1 bet big on America for 2023 and beyond, there were signs that growth has plateaued.


Prior to Liberty Media’s acquisition of F1 in 2017, the sport’s history in the United States had not been an especially happy one. It made repeated attempts to capture the sports-mad market, establishing races in Watkins Glen, N.Y., Phoenix, Long Beach, Calif., and even the parking lot of Caesars Palace in Las Vegas. Each time, it failed to take hold. Fans were passionate but small in number, never reaching heights that could be sustained. Even races at the heart of American motorsport, the Indianapolis Motor Speedway between 2000-07, couldn’t offer the long-term home F1 craved.

And when F1 appeared to secure that footing from 2012, with its first permanent U.S. facility at the Circuit of The Americas (COTA) in Austin, Texas, uncertainty grew with funding cuts and dropping attendance. By the mid-2010s, an America-free F1 calendar was a very real prospect.

From 2017, things quickly changed. Liberty, an American company that also owns MLB’s Atlanta Braves, placed a fresh focus on growth. Netflix’s “Drive to Survive” fueled a renewed hunger for F1 in the United States. When the Austin race returned in 2021 after two years away due to Covid-19, COTA drew a record crowd of 400,000 amid the height of Hamilton’s title fight against Max Verstappen. That grew to 440,000 in 2022.

Advertisement

The three U.S. races now have solid foundations and their own identities and are locked in for the long term. (Mark Thompson / Getty Images)

“Even just going to your son’s football practice or your nephew’s baseball game, people are actually talking about F1 now in the stands, as if it’s another American sport,” said Renee Wilm, the CEO of the Las Vegas Grand Prix.

“Five or 10 years ago, I don’t know that your average sports fan in America could have named three drivers in F1,” added Tom Garfinkel, the CEO of the Miami Dolphins and managing partner of the Miami Grand Prix.

“What’s most exciting about it to me is there are a lot of young people in the United States falling in love with the sport. That’s very positive for the future of the sport in America.”

But Wilm said F1 had to maintain a balance, “creating that newfound loyalty between our new fans while also continuing to embrace our legacy fans. Because I don’t want our legacy fans to get lost in this new narrative that we’re building around North America.”

Las Vegas in particular, the first race to be promoted and organized by F1 itself, drew criticism for high ticket prices that effectively limited access to the wealthy. Fans who attended Thursday night’s sessions were left with a sour taste when they were forced to leave before the delayed second practice had begun, in some cases spending over $1,000 on a ticket to see only eight minutes of action. They received a $200 merchandise voucher as compensation.

Advertisement

While attendance at live events stayed relatively strong in 2023, American TV ratings tumbled a bit. According to ESPN, which broadcasts the races, 2023 ended as the second most-watched F1 season on U.S. TV, drawing in an average of 1.1 million viewers over the 22 races. While that’s almost double the 554,000 average recorded in 2018, the final season before “Drive to Survive” debuted in spring 2019, it marked a 9.1 percent drop from 2022.

The US Grand Prix at COTA also recorded a small fall in the attendance, from 440,000 to 432,000. Miami reported an increase from 240,000 to 270,000 over its weekend after increasing its capacity, claiming both races sold out. It plans another small rise for the 2024 race as a result. Las Vegas reported a crowd of 315,000 over four days, including the opening ceremony.

A plausible explanation for that apparent drop in interest was the lack of competition at the front of the grid. Verstappen’s record-breaking domination, winning 19 out of 22 races, while spectacular, was an understandable source of frustration for fans. Those who fell in love with F1 through 2021, a championship that went down to the final lap of the final race, haven’t experienced anything close to that since.

By emphasizing driver personalities over the details of what happened on the track, “Drive to Survive” helped American fans connect with a European-heavy sport in a way that doesn’t rely on fantastic racing action. It has also led to more diverse F1 fan demographics, far younger and more female than ever before. A 2021 global survey of F1 fans reported that more than 18 percent of respondents were women, up from 10 percent in 2017.

Advertisement

“We have, more than ever, fans of the drivers themselves and the personalities, all the way down the grid,” said Bobby Epstein, COTA’s chairman.

But no matter how invested fans are in the people, they still want a good sporting show. “We have to continue to work on making sure we’re having close racing,” said Hamilton, once Verstappen’s title rival. “Because I think you’ve seen the social engagement drop a huge amount this year. It’s obviously heavily impacted (by) competition. People want to see that.”

LAS VEGAS, NEVADA - NOVEMBER 18: A general view of the national anthem prior to the F1 Grand Prix of Las Vegas at Las Vegas Strip Circuit on November 18, 2023 in Las Vegas, Nevada. (Photo by Alex Bierens de Haan/Getty Images for Heineken)

The Las Vegas Grand Prix capped off a banner year for F1 in the U.S. (Alex Bierens de Haan / Getty Images for Heineken)

Domination is commonplace in F1. Between 2014-20, Hamilton won six titles in seven years for Mercedes. Before that, Sebastian Vettel won four straight championships for Red Bull. In the early 2000s, Michael Schumacher and Ferrari swept five straight years.

But what sets Verstappen’s domination apart (along with the record-breaking numbers) is that it was not supposed to be possible.

F1 has made big changes to its rulebook in recent years to create closer competition between teams, including the $145 million cost cap introduced in 2021 and the car design changes for 2022. While there was intense competition through the rest of the grid — six teams finished a race in the top three last year, and Mercedes and Ferrari’s battle for second went down to the final race — Verstappen’s strength gave each weekend an air of inevitability.

Advertisement

Toto Wolff, Mercedes’ team principal, thought F1’s viewership numbers were still “strong” and pointed to most races being sold out. But he acknowledged the importance of competition at the front to stop fans turning away, and said the onus was on Red Bull’s rivals to make it happen.

“If the spectacle is not good, our fans are going to follow us less,” Wolff said. “Of course, there is the risk that people are going to say, ‘Well, I know the result anyway,’ like it happened to us with Lewis. We’ve just got to do a better job.”

Red Bull doesn’t expect to have a clear run for too long. Its chief, Christian Horner, warned the team already has “diminishing returns” with its car design going into 2024, and said its 2023 success will not be repeated in our lifetimes.

“History dictates that with stable regulations, there will be convergence,” Horner said. “And we’re acutely aware of that.”


Even if Mercedes, Ferrari and others make the gains to create an open, compelling championship fight, replicating the staggering rise in interest since Liberty’s takeover will be difficult. It was growth borne of a unique set of conditions: “Drive to Survive” was new and novel. Covid-19 kept everyone indoors, allowing curious fans to binge the show and get hungry for the real thing. When fans could finally return to the races, F1 delivered one of the closest title battles in its history.

Advertisement

“We’re already at a good point, so a plateau would be great,” said Epstein. “A rise above (each) year would be even better. But I don’t think you’re going to see the meteoric growth continue until you have a couple more ingredients. I think one would be, certainly, a track battle with an American driver vying for first.”

Americans love a winner. And while there is now an American driver on the grid in Williams Racing’s Logan Sargeant, he scored just one point last year and finished 21st in the championship. An American has not won an F1 grand prix since Mario Andretti at the 1978 Dutch Grand Prix.

To have a leading American fighting for podiums, wins and championships could be a big evolutionary moment for F1. While the personality-led fandom has worked so far, marrying that with success on the track could be a major breakthrough.

MIAMI GARDENS, FL - MAY 08: Fans occupy the track near the podium after the first running of the Crypto.com Miami Grand Prix on May 8, 2022 at the Miami International Autodrome in Miami Gardens, Florida. (Photo by David J. Griffin/Icon Sportswire via Getty Images)

The Miami GP in May marked the start of Max Verstappen’s record streak of 10 straight victories. (David J. Griffin / Icon Sportswire via Getty Images)

“Americans — and maybe it’s like that anywhere, but more so in this sport — you’re going to root for your guy to win,” said Epstein. “You don’t build the same excitement and passion around not being competitive, simply because he’s from this country.”

Garfinkel was less certain what a winning American would do for F1. “It would certainly be a great thing, (but) I don’t know that it’s paramount to the success or the fandom,” he said. “The fandom has grown substantially without that, and there’s a lot of compelling stories.”

Advertisement

One thing he thought could spike interest in the U.S. would be a greater manufacturer presence. In 2026, Ford will return to F1 in a new partnership with Red Bull, whose power units will carry the blue oval badge. GM’s Cadillac also plans to build its own engine starting in 2028. “It’s certainly great that those companies are investing in F1 and see the value,” Garfinkel said.

Cadillac’s F1 plan hinges on another legendary name in American motorsports. Michael Andretti — Mario’s son — plans to form an all-American F1 team, joining the grid in either 2025 or 2026 with at least one American driver. Andretti’s entry bid has already been approved by the FIA, but requires a green light from F1 to go ahead. Thus far, the reception from F1 and the existing 10 teams has been lukewarm. They claim expansion could destabilize the current grid, and also question whether Andretti would boost F1 in America, given Haas already races under the American flag.


The buzz of the Las Vegas race, even after a rough start, gave F1 the mainstream reach it has long coveted with coverage in Vogue, a skit on Jimmy Kimmel, and even a story in The New York Times’ wedding section. The race itself drew an average of 1.3 million viewers on ESPN — 130,000 more than Austin — despite the 1 a.m. Eastern start time.

Zak Brown, McLaren’s CEO, said F1 has “a lot of room for growth” in the United States. He believes Las Vegas works globally and said the upcoming Apple film starring Brad Pitt, which is being filmed at grand prix weekends, should “have a big impact” in North America.

“I don’t see any reasons why the sport can’t just go from strength to strength,” Brown said. “If you look at the size of our TV ratings compared to the major sports in North America, there’s a lot of room for growth. So I’m quite bullish on Formula One globally, and specifically in North America.”

Advertisement

Hamilton is heavily involved in the writing and production of the Pitt movie, and F1 helped by setting up an 11th garage for the fictional team while allowing the car to complete laps during the race weekend.

“We do have to continue to grow, and I think the movie particularly is going to help do that,” Hamilton said.

A dip in TV ratings and a leveling off of grand prix attendance is far removed from F1’s previous boom-and-bust relationship with the United States. All three races have solid foundations and their own identities and are locked in for the long term: COTA until 2026, Miami until 2031, and Las Vegas for the next decade.

“If F1 wants to grow in the United States, you have to invest in it, which (Liberty is) doing,” Garfinkel said. “I would expect that investment to continue, which means I would expect (the growth) to continue.”

(Lead image: Getty; Dan Istitene-F1, Mark Thompson, Clive Rose / Getty Images; Design: John Bradford / The Athletic)

Advertisement

Culture

What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

Published

on

What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

Advertisement

Whatever you do, don’t think of a bird.

Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?

Before you answer, read this poem, which is quite literally about not thinking of a bird.

Advertisement

Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.

Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.

Advertisement

Wallace Stevens in 1950.

Advertisement

Walter Sanders/The LIFE Picture Collection, via Shutterstock

As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.

Are those worlds real?

Advertisement

Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.

Until then, we find consolation in fangles.

Advertisement

Continue Reading

Culture

Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

Published

on

Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

Advertisement
Advertisement
Advertisement
Advertisement

When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.

Advertisement

Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.

Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.

Advertisement

“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.

Advertisement

But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”

The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.

Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.

Advertisement

This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

Advertisement

Wheaton on channeling a co-star’s performance.

There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”

Advertisement

It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.

That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.

“The Body” Read by Wil Wheaton

Advertisement

“You’re just a kid,

Gordie–”

Advertisement

“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

Advertisement

if I was!

It’s like

God gave you something,

all those stories

you can make up,

Advertisement

and He said:

This is what we got for you, kid.

Try not to lose it.

But kids lose everything

unless somebody looks out for them

Advertisement

and if your folks

are too fucked up to do it

then maybe I ought to.”

I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?

Advertisement

So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.

I could hear and feel it. It was the weirdest thing. It’s like I was right back there.

Advertisement

I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.

“Rob gave me a gift. Rob gave me a career.”

Advertisement

Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.

Rob really encouraged us to be kids.

Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.

Advertisement

We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”

The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”

Advertisement

Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

Advertisement

The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.

“The Body” Read by Wil Wheaton

Advertisement

They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

Advertisement

I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

Advertisement

and hauled ass out of there,

giving them the finger over my shoulder as I went.

I never had any friends later on

like the ones I had when I was twelve.

Jesus,

Advertisement

did you?

When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”

Advertisement

Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.

Advertisement

“I was really really really excited — like jumping up and down.”

The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.

Advertisement

I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.

I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity. ​​

That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.

Advertisement

“The Body” Read by Wil Wheaton

“Will you shut up

Advertisement

and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

Advertisement

Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

Advertisement

“It’s not really much—”

“Naw,

we don’t expect much

Advertisement

from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

Advertisement

“So anyway.

It’s Pioneer Days,

and on the last night

they have these three big events.

There’s an egg-roll for the little kids

Advertisement

and a sack-race for kids that are like eight or nine,

and then there’s the pie-eating contest.

And the main guy of the story

is this fat kid nobody likes

named Davie Hogan.”

Advertisement

When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.

I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.

Advertisement

“I feel the loss.”

Wheaton remembers River Phoenix.

Advertisement

The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.

I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.

What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.

Advertisement

And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.

“The Body” Read by Wil Wheaton

Advertisement

Near the end

of 1971,

Chris

went into a Chicken Delight

Advertisement

in Portland

to get a three-piece Snack Bucket.

Just ahead of him,

two men started arguing

about which one had been first in line.

Advertisement

One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

Advertisement

and was stabbed in the throat.

The man with the knife had spent time in four different institutions;

he had been released from Shawshank State Prison

only the week before.

Chris died almost instantly.

Advertisement

It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.

Continue Reading

Culture

Do You Know the Comics That Inspired These TV Adventures?

Published

on

Do You Know the Comics That Inspired These TV Adventures?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.

Continue Reading

Trending