Culture
Jannik Sinner is a tennis star. In Italy, his celebrity transcends his sport
TURIN, Italy — Olé, olé olé olé, Sinner, Sinner.
Olé, olé olé olé, Sinner, Sinner.
Jannik Sinner is trying to speak, but his own name is resounding too loudly across the Inalpi Arena in Turin. Lit up on billboards, written on placards, chanted across the aisles. Sinner, the first Italian to achieve the men’s world No. 1 ranking, isn’t just the featured attraction of the ATP Tour Finals tournament in his home country: He is the tournament, on the court and off it.
There he is on billboards in the train station. There he is on banners hanging from light poles. There he is — well, not him, a character of him — on GialappaShow, a satirical comedy programme in the vein of Saturday Night Live, which does skits playing off Sinner’s poodle of red hair and his meticulously even manner of speaking.
And there he is on the court, blowing away basically everyone who isn’t Carlos Alcaraz as he has done most of the year, slaloming into the semifinals with three wins from three and the noise of around 12,000 fans about his ears on every point.
Three years ago, despite flashes of brilliance, Sinner had kind of stagnated in tennis no man’s land.
Two years ago, he was a work in progress who fell short of making the season-ending Tour Finals here in Turin, the city that was supposed to be his northern Italian playground.
A year ago he lost in the final to Novak Djokovic but beat him along the way, hinting loudly at what might be coming. Alcaraz said he was the next No. 1.
This year, he fulfilled that prophecy: he is world No. 1 and maybe the most popular athlete in Italy — a country that doesn’t have a lot of sport oxygen left once soccer sucks on the hose.
“It’s different,” Sinner said on Tuesday of competing on home soil for the first time in nearly a year.
“I never take these chances for granted.”
Jannik Sinner does not really have to ask an Italian crowd for more noise. (Clive Brunskill / Getty Images)
Italy has a long and illustrious conveyor belt of soccer stars. Major figures in other sports, especially ones who can penetrate the consciousness of people who barely pay attention to sports, are far more rare. But the country does have a way of rallying mightily around its Olympic champions and standouts in other sports.
For years, motorcyclist Valentino Rossi and then swimmer Federica Pellegrini were all the rage. People who have never clicked into a ski binding know all about Sofia Goggia, the Olympic downhill champion in 2018. Sinner is the latest of their number, and perhaps the most adored. Inter Milan played Napoli Sunday in a showdown of two of Italy’s biggest soccer clubs. The match drew 1.7million television viewers in Italy. Sinner’s match against Alex de Minaur of Australia, hardly a glamor matchup, drew 2.27million.
Tennis stars in their homeland are always a featured attraction, but maybe because he is the first Italian No. 1, or maybe because of that unmistakable mop of red hair, Sinner in Italy seems a different order of magnitude. As his steady, subdued demeanor anchors his game of grace and fury, one of those oddball alchemical pairings of a star and a nation catalyzes match after match.
Young and old alike are on board for the ride. He is what the Italians refer to as “fuoriclasse”, which roughly translates as out of this world, or world-class. He is one of the “predestinato”, predestined, as it were, for greatness.
“He’s young, but he’s not young in the way he plays,” said Turin native Federico Vangha, who was sipping on Aperol spritzes on Tuesday evening with his girlfriend, another mad Sinner fan named Monica Merlo.
Sinner walks duck-footed and does not appear to own a comb nor a hair dryer. His transformation from no-one’s idea of a Gucci model into, well, a Gucci model also makes him different. When he isn’t playing tennis, he’s now pitching: Gucci, Head, Nike, Rolex, La Roche-Posay, the pharmaceutical company, internet service provider Fastweb, Enervit, a nutrition company, and Pigna, a paper products company. The deal with Nike is $158million (£125.2million) over ten years; the annual value of his off-court deals is around $15m (£11.9m).
He also has a deal with pasta company De Cecco, and Italian coffee magnate Lavazza. During changeovers, his opponents don’t even get a break. Video screens play commercial after commercial, Sinner drinking an espresso or pushing Intesa Sanpaolo, the financial giant.
The madness started with the “Carota Boys”, the group of young men who seemingly will spare no expense to travel to a Sinner match wearing a carrot costume in honor of that flaming red hair. At his matches this week, the crowd has been littered with fans wearing fluorescent orange. Their shirts glow in the blue light of the Inalpi Arena, as the carrot and fox emojis — his other symbol — burn orange across every social media platform.
Jannik Sinner with his trophy for being year-end world No. 1. (Valerio Pennicino / Getty Images)
Italian players who aren’t even in the tournament show up to watch is matches. Lorenzo Sonego, Sinner’s Davis Cup teammate, was courtside the other night.
Everyone else, including the other seven competitors, are the supporting cast, even Alcaraz.
“Exactly what I expected here in Turin,” De Minaur said in a news conference after Sinner beat him 6-3, 6-4 on Sunday. “Great atmosphere.”
Taylor Fritz said the Italian faithful were a lot to deal with, but not too much. He’s had some run-ins with some raucous crowds pulling for their own, especially facing Frenchmen at the French Open. That wasn’t this.
“Fun match to play,” he said, even though he lost in straight sets.
Ubiquity carries a cost, especially at home. Sinner has given up hope of going out for a cup of coffee or a meal this week. There’s always a horde of fans outside the players’ hotel in the middle of the city. He wouldn’t get very far. Better to stay in and rest. At least that’s what he tells himself, as fans queue up to get a glimpse of a man who is a hero to them for his person as much as his tennis.
“It’s important that he’s No. 1 but it’s who he is,” said Francesco Baccarani, a 12-year-old player who arrived at the Sinner-Fritz match wearing a red, white and green headdress. “He’s the example for all of us kids for how we want to play.”
GO DEEPER
Sinner confirmed as year-end world No. 1 after Alcaraz’s Shanghai loss
Sinner is only 23. This could go on for a long time, especially with the ATP close to another five-year deal with Italy’s tennis federation that would keep the tour’s richest event in the country through 2029.
Angelo Binaghi, the president of Italy’s tennis federation, the FITP, said in an interview in Turin that Sinner took something that was already happening — a growth in interest in tennis — and made it explode. His rise has coincided with expansion of a free-to-air tennis channel in Italy, SuperTennis, which has even begun carrying the U.S. Open. Conveniently enough, Sinner won that, and lots of less advantaged Italians who might not have been able to pay for television were able to see it.
Now Binaghi has another problem — accessibility. There aren’t enough tennis schools and clinics to accommodate all the children who want to play, and building new courts and facilities is going to take time.
“The bureaucracy,” he said, falling back on the notorious Italian lament. “It’s very difficult.”
Still, Sinner is the answer to Italian tennis prayers in other ways. A few years back, it appeared Matteo Berrettini and his hammer-like serve might have a shot at the pinnacle. He made the Wimbledon final in 2021.
Danillo Baccarani, Francesco’s father, said that the Berrettini power game doesn’t appeal to Italian tennis sensibilities the way Sinner’s does. Here, the tennis hero is Nicola Pietrangeli, the star of the 1950s and 1960s known for his stylish and instinctive play.
“Sinner is more close to someone like (Roger) Federer,” Baccarani said.
And what about the idea that Sinner is somehow less Italian, because he comes from the mountains of San Candido in northeastern Italy near the Austrian border that is closer culturally to its neighbor than to Rome? Sinner’s first language is German.
“A stupid idea,” Baccarani said.
Sinner has managed to turn this into something of an advantage. With the retirement of Dominic Thiem, Austria is without a tennis star. The country has staked some claims to Sinner.
All the hoopla is a something of a goof to him.
“I’m just a 23-year-old man who just plays tennis,” he said in a news conference earlier this week. He walks outside, he sees a massive version of himself on a billboard. He turns on the television, he’s hawking coffee. His father was a chef. His mother a restaurant worker. He was supposed to become a skier.
Jannik Sinner has assumed the mantle of Italy’s most-beloved sportsperson, at least outside of football. (Tallio Puglia / Getty Images)
“I try to get used to it,” he said. “I’m just trying to play some good tennis.”
Other than some other hotshot besides Alcaraz coming along, there is one thing that could send the Sinner train off course. The World Anti-Doping Agency (WADA) is seeking a ban of one or two years in its appeal of his doping case, which it submitted to the Court of Arbitration for Sport (CAS) in September.
Earlier this year, Sinner twice tested positive for clostebol, an anabolic steroid. Three tribunals convened by the tennis anti-doping authorities accepted his explanation that the substance inadvertently ended up in his system after his physiotherapist used it to treat a cut on his own finger, then gave Sinner a massage. WADA, too, accepts this explanation but believes he should bear some responsibility for the actions of his support team.
Clostebol has become a problem in Italian sport, with numerous athletes in different disciplines testing positive as a result of using healing creams. Memories linger of the doping scandal at Juventus of the 1990s, which went to the highest level of the Old Lady of Turin before Italy’s Supreme Court acquitted the club.
Sinner’s verdict is unlikely to come until 2025 and, even in Turin, it gets lost in the noise from point to set to, thus far at least, the inevitable conclusion.
Gioco, partita, incontro, Sinner.
And the olés strike up again.
(Top photos: Getty Images; Design: Eamonn Dalton)
(Additional reporting: James Horncastle)
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.
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.
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?
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.
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.
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.
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.
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.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
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.”
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.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, 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 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?
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.
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.”
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.
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.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
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.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, 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, 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.”
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.
“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.
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.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “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 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.”
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.
“I feel the loss.”
Wheaton remembers River Phoenix.
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.
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.
Near the end
of 1971,
Chris
went into a Chicken Delight 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. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them 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.
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.
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.
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