Connect with us

Culture

Carlos Alcaraz hasn't won a title since Wimbledon. So what's going wrong?

Published

on

Carlos Alcaraz hasn't won a title since Wimbledon. So what's going wrong?

Let’s start with a big qualifier: Carlos Alcaraz is probably going to be just fine.

He’s 20 years old. He’s already won two Grand Slam titles, with neither of them coming on clay, which may be his best surface and is certainly the one he is most familiar with. At 19, he became the youngest man to achieve the No 1 ranking.

Even his top rivals, including contemporaries such as Jannik Sinner, expect Alcaraz to be the greatest player of his era. He is going to win a lot of tournaments, many of them Grand Slams. It’s just that he hasn’t won a tournament since he beat Novak Djokovic in five sets in the Wimbledon final eight months ago. 

That is his longest stretch without an ATP Tour-level title since he started winning them in 2021.

And that is, well, a bit weird.  

Advertisement

Remember those heady days after Wimbledon? 

After he came back to beat Djokovic, the best grass court player in the world, on Centre Court, there was a sense that he had wrestled the torch out of the hands of the Serbian champion, a player who had won more Grand Slam titles and just about everything else than just about everyone. This was supposed to be the start of Alcaraz winning just about everything for a very long time. 


Alcaraz celebrates with the Wimbledon trophy last year (Julian Finney/Getty Images)

That might still happen. It just hasn’t happened yet. 

He’s a respectable 24-11 since winning Wimbledon. Then again, Sinner won his first title at the Australian Open in January, took two weeks off, then went to Rotterdam and won another title. He’s undefeated this year and hasn’t lost a match since mid-November. Both begin play at the BNP Paribas Open in Indian Wells, California, the so-called “fifth major”, later this week.  

“I have to improve a lot of things on the court and off the court, as well,” Alcaraz said earlier in the year. 

Advertisement

He has lamented his dips in focus in the middle of matches. He has been at a loss to explain nights when he struggles to find the court with his usually lethal groundstrokes. He said when he practices occasionally with Djokovic, he studies how he concentrates, aspiring to one day be able to approach every match and every practice session with the intensity of the man who has set the standard for the sport the past decade and bested the two players, Roger Federer and Rafael Nadal, once considered untouchable. 

go-deeper

Like every player, Alcaraz knows his weaknesses, such as they are, are some mystical combination of the physical, technical and mental.    

Alcaraz has resisted getting too specific about just what he needs to do to improve, leaving everyone else to figure out the answer to a question that feels a little silly given he has already won $27.5million in prize money and tens of millions more in sponsorships. He is 71-15 since the start of 2023. 

But here it goes anyway: what’s wrong with King Carlos?


The short answer is, not too much, except when it’s a lot.

Djokovic, Sinner, Daniil Medvedev and Alexander Zverev, four of the best players alive, are responsible for six of Alcaraz’s 11 losses since July, which includes his retirement with an ankle injury in Rio in February. There’s not a terrible amount of shame in that, except that he had been beating everyone on that list except Djokovic fairly comfortably the past year. 

Advertisement

Alcaraz retired with an injury in Rio (Buda Mendes/Getty Images,)

To figure out what, if anything, has changed from the version of Alcaraz that won 11 tournaments in 17 months during 2022 and 2023, we enlisted the help of the wizards at TennisViz and Tennis Data Innovations, who collect ball and player tracking data with high-speed cameras and analyze them in real-time to understand the effectiveness of every shot.

The numbers show that Alcaraz has hardly become a shadow of his former self since Wimbledon, compared with an aggregate measurement of his play over the past year, but he has fallen off just enough to make himself more regularly vulnerable. That is especially true against the best of the best, when the slightest drop can result in a loss. 

Yet, his drop-offs have been dramatic in four surprising losses since last summer, to Nicolas Jarry and Roman Safiullin, and less surprising ones to Grigor Dimitrov and Tommy Paul (who has been a sneakily hard match-up for Alcaraz).

Tom Corrie, a former coach who is the head of performance for Tennis Viz and has spent more time than most studying Alcaraz, has a theory about this, which involves the Spaniard being almost too talented for his own good.

“The guy has endless tactical options,” Corrie said. “He’s unbelievably skilful, he hits with so much power, but sometimes he doesn’t play with a tactical framework that is as defined as some of the other players. Therefore, he goes missing in matches and plays at a bad level. When he drops off, he drops off quite big.” 

Advertisement

Also worth noting – men’s tennis is crazy deep at the moment. Even the second half of the top 100 has some serious quality. Have fun with an early-round match-up against Tomas Machac (No 63) of the Czech Republic. Freebies can be few and far between. Alcaraz’s opponents, who are almost always extra motivated, have to get some credit for making him play poorly.   

go-deeper

Still, some top-line numbers for Alcaraz stand out.

One measure is how often Alcaraz is ‘on the attack’ — defined by Tennis Viz as when a player has received a low-quality incoming shot, has a positive court positioning (up the court), or has a comfortable contact point with the ball (not on the stretch). A player will be ‘in defense’ if they have received a high-quality shot, have bad court positioning (particularly deep or wide in the court), or are playing the ball on the stretch.

The tour average for shots played in attack is 25 per cent. On average, Alcaraz is on the attack 24 per cent of the time, but since Wimbledon, that figure has dropped to 22 per cent. That might not sound like a lot, but tennis is a game of small margins. A few points can make a big difference and it’s harder to win them while defending.


(Marcelo Endelli/Getty Images)

The other numbers that show relatively dramatic changes are the effectiveness of his service return, his forehand and his backhand. The high-speed cameras and computers generate a score for each of those shots based on their speed and placement — extra credit for painting the lines or getting very close very often. 

On average over the past year, Alcaraz was near the top of the game in each of those categories. 

Advertisement

On a scale of one to 10, Alcaraz’s service return averaged a 7.6, a full point better than the tour average and fifth overall. Since Wimbledon, his return rating has dropped to 7.0, still better than most but just 13th overall.

His backhand, an 8.0 on average over the past year, good for sixth overall, has fallen to 7.6 since Wimbledon— 15th place. And his deadly forehand, the shot that makes players shudder, has had one of the most dramatic drop-offs, from 8.8 to 8.1, tumbling from second best to 15th.

Alcaraz essentially magnified these trends during the surprising losses to Paul, Dimitrov, Safiullin and Jarry. 

Against Paul at the National Bank Open in Canada in August, he was on the attack during just 19 per cent of the match. Against Dimitrov in Shanghai and Jarry in Buenos Aires, the attack rate was just 20 per cent.

Advertisement

That might not be such a problem if Alcaraz had continued to do the thing that has made him such a fan favorite — his ability to magically win a point from a defensive position when everything seems lost and he rockets a ridiculous forehand down the line on the run. That is known as his ‘steal score’. 

His steal score has averaged 37 per cent since the Wimbledon title — but in those four surprising losses, it was 30 per cent. Playing more defensively and less miraculously pretty much guarantees a loss. Add in sub-par execution on the most basic shots and there was no way Alcaraz was going to win those matches. 

His forehand quality was 7.3 against Paul and 6.8 against Jarry, both well below the tour average. Same for his backhand against Jarry and Safiullin. 

His performance against Jarry wasn’t just below his standards but way below pro tennis standards. As can be seen from the next two charts, his numbers were below the tour averages in 10 statistical categories, everything from the speed of his forehand to the percentage of points won when the rally lasted more than eight shots.

Advertisement

Against Safiullin, he converted just 50 per cent of the points when he had established control and been on the attack. The tour average is 66 per cent. 

The effect of all this can be stunning to the eye. Since Alcaraz has established a reputation for the spectacular, it makes the bad performances look terrible. 

“When it goes wrong, it goes really wrong,” Corrie said. “If you beat Medvedev, he’s still putting thousands of balls in the court. He’s not disappearing so aggressively like Carlos is.”

(Top photo: Marcelo Endelli/Getty Images)

Advertisement

Culture

What Kind of Lover Are You? This William Blake Poem Might Have the Answer.

Published

on

What Kind of Lover Are You? This William Blake Poem Might Have the Answer.

Advertisement

Not every poem about love is a love poem. This one, from William Blake’s “Songs of Innocence and of Experience,” first published in 1794, is more analytical than romantic. Instead of roses and violets, it offers us dirt and rocks.

William Blake (1757-1827), obscure in his own time and a hero to later generations of poets and spiritual seekers, made his living as an engraver and illustrator. He conceived and executed many of his poetic projects as works of visual as well as literary art, etching his verses and images onto copper plates and printing them in vivid color — a style designed to blur the boundary between word and picture.

Advertisement

From a 1795 copy of William Blake’s “Songs of Innocence and of Experience.”

The Trustees of the British Museum

Advertisement

“The Clod & the Pebble” is set in a rustic tableau populated by wild and domesticated animals. In the print, we can’t quite see the main characters, who are presumably somewhere beneath the hooves and the ripples. But the cows and sheep, the frogs and the duck, are nonetheless connected to the poem’s meaning.

The two sections of “Songs of Innocence and of Experience” are meant to illustrate “the contrary states of the human soul” — the purity and wonder associated with early childhood and the harder knowledge that inevitably follows.

Advertisement

“The Clod & the Pebble” recapitulates this fall from sweetness into disillusionment, and the plate suggests it in contrasting ways. The wild animals down below symbolize a natural condition of innocence, while the livestock above live in confinement, bound to another’s use. At the same time, though, the cows and sheep are peaceful ruminants, while the frogs and the duck are predators.

In the poem, the Clod is an avatar of innocence. As it happens, this is a recurring character in the Blakean poetic universe. In “The Book of Thel,” a fantastical meditation composed a few years before the publication of “Songs of Innocence and of Experience,” the Clod appears as a maternal figure selflessly nursing a baby worm:

Advertisement

The Clod of Clay heard the Worms voice, & raisd her pitying head; 

She bowd over the weeping infant, and her life exhald 

In milky fondness 

Advertisement

“We live not for ourselves,” she tells the poem’s heroine, a young girl named Thel. But in Blake’s system self-sacrifice can never be the last word. There is no innocence without the fall into experience, and no experience without the memory of innocence. Giving gives way to wanting.

Want to learn this poem by heart? We’ll help.

Get to know the poem better by filling in the missing words below.

Advertisement

Question 1/6

First, the Clod’s perspective.

Advertisement

Love seeketh not Itself to please, 

Nor for itself hath any care; 

Advertisement

Tap a word above to fill in the highlighted blank.

Advertisement

Continue Reading

Culture

Try This Quiz on Myths and Stories That Inspired Recent Books

Published

on

Try This Quiz on Myths and Stories That Inspired Recent Books

Welcome to Lit Trivia, the Book Review’s regular quiz about books, authors and literary culture. This week’s challenge tests your memory of 21st-century books that were inspired by ancient myths, legends and folk tales. In the five multiple-choice questions below, tap or click on the answer you think is correct. After the last question, you’ll find links to the books if you’d like to do further reading.

Continue Reading

Culture

Video: Read These 3 Books Before Watching the Movie

Published

on

Video: Read These 3 Books Before Watching the Movie

new video loaded: Read These 3 Books Before Watching the Movie

Jennifer Harlan, an editor at The New York Times Book Review, recommends three books to read before their film adaptation releases this year.

By Jennifer Harlan, Edward Vega and June Kim

January 9, 2026

Continue Reading

Trending