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The 'post-Olympic blues': Why do so many competitors suffer an emotional comedown?

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The 'post-Olympic blues': Why do so many competitors suffer an emotional comedown?

The Olympics should be the pinnacle of an athlete’s career. Yet scratch beneath the surface and the physical toll is often accompanied by an emotional comedown known as the ‘post-Olympic blues’.

That is an experience which unites swimmer Michael Phelps — the most decorated Olympian with 28 medals, gymnast Simone Biles with seven medals, Allison Schmitt and Adam Peaty, who won 10 and five pool medals respectively. Between them, they boast 34 Olympic golds.

Great Britain’s 800m runner Keely Hodgkinson and U.S. sprinter Noah Lyles are examples of athletes at their peak who have spoken of post-Olympic comedowns.

Dr Karen Howells, an academic and sports psychologist, explains that athletes first coined the term ‘post-Olympic blues’. “The blues undermined the seriousness,” she says. “The problem with using the word ‘depression’ is it is a mental illness, diagnosed by clinical psychologists and psychiatrists. As a researcher and applied sports psychologist, I’m not qualified to diagnose.”


Noah Lyles (Patrick Smith/Getty Images)

Jessica Bartley, senior director of psychological services for the U.S. Olympic and Paralympic Committee (USOPC), explains the ‘blues’ as a range of emotions.

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“We try to make it broad because it’s not always ‘blues’. I don’t want to alienate athletes who aren’t feeling sad. If they’re feeling anxious, the blues often capture a lot of them, but it’s not everyone’s experience.

“Other athletes say, ‘I had the perfect experience, I did everything that I wanted to.’ It’s complicated, but we try to be as open as possible, as often as possible.”

It is impossible to accurately state how many athletes experience this. Although there is academic research, there is no standardised questionnaire. Not all athletes are prepared to speak about their emotions or engage in interventions.

Howells will not put a number on it because she hasn’t carried out a prevalence survey, but says she has “not yet met an Olympian who hasn’t experienced” the post-Olympic blues.

A 2023 study of 49 Danish Olympians and Paralympians found 27 per cent had below-average well-being or moderate-to-severe depression. For athletes who achieved their goals, as many had above-average well-being as below average (40 per cent).

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There are typical symptoms. “The most helpful way is to recognise deviations from their baseline,” says Dr Cody Commander, the Team USA mental health officer for the delayed 2020 Tokyo Olympics. “Were they gregarious and outgoing and now they’re not?

“Appetite and sleep are the first few things that can change. You’re eating and sleeping more or less. You’re also looking to see if there’s any social withdrawal. That is more common for elite athletes now — not responding to text messages, emails and calls. They can’t deal with the mental energy needed to talk to everyone about it.”


Adam Peaty at the Tokyo Olympics (Maddie Meyer/Getty Images)

Danielle Adams Norenberg, head of psychology at the UK Sports Institute and Team GB psychologist references “maladaptive responses” post-Games. These include a dependence on alcohol and overtraining among other self-destructive behaviours, as athletes try to fill the void.

Commander describes “a crash of emotions afterwards”. He describes an inevitability “because it’s more of a build-up over time. They’re training for years versus just a season and it’s a bigger stage. Financially, this may be a great source of potential income. There is a lot of expectation and pressure.

“It’s more about making a map of how to get to a destination. Once you get there, it’s like, ‘Now what?’ They’re in a period with no plans and no spectators and they don’t know what to do. Elite athletes are used to having each minute planned every day for years.

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“When there’s no plan, it’s the feeling of ‘I’m lost’. It’s very different from training. That difference is what they have a hard time adjusting to — the freedom can feel more awkward.

Howells explains that most people can relate to the blues. “It’s normal that when we build up to something, and then it’s over, we are going to feel lost and upset,” she says. “There may be anger, frustration, irritation”.


Recent Olympic cycles have seen changed approaches to managing athletes’ emotional well-being, with performance now considering mental health and the post-Olympic experience, and countries taking measures to prepare athletes for life post-Games.

“We have a team of 15 that focus on mental health and mental performance,” Bartley says. We’re meeting regularly with Canada, Great Britain, Australia, Denmark and the Netherlands.”

The International Olympic Committee (IOC) has started to build infrastructure which countries use and there are shared initiatives. “There are over 150 mental health providers at the Games from different countries.” All the nations met pre-Games to pool resources and share strategies. Since Tokyo, Team USA has implemented a new process, screening first-time athletes via questionnaires.

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“When an athlete makes the team, we immediately talk about resources, whether that’s mental health or medicine, career services, retirement services, how to transition out of sport. We’ve tried to normalise and make the transition piece a part of the conversation early. Throughout their career, we’re talking about it during what we call an ‘elite athlete health profile’.

“We talk to them annually, doing physical and mental health screenings. Right before the Games, we’re screening every athlete. We’ve met with every Olympic and Paralympic athlete, every alternate, training partners — everybody who’s in the mix for Team USA.

“Then we’ll follow up post-Games. We’ve developed ‘navigating the Olympic blues’ and navigating the emotions. We have process groups and skills groups, then we have a really cool experience.” All U.S. Olympians and Paralympians visit the White House and meet the President, and there are counsellors available throughout the week post-Games.


US Olympians meet President Joe Biden in 2022 (Patrick Smith/Getty Images for USOPC)

For Team GB, the focus is on performance decompression. A six-stage model designed by the British Institute of Sport before the Tokyo Games applied knowledge and research from the military, the Red Cross and their own practical experience to help prepare athletes for life after the Games.

It consists of four phases: First, a ‘hot debrief’, almost immediately post-competition. Second is ‘time zero’, athletes are encouraged to take a break and engage with the present. The third phase is ‘process the emotion’, a psychological debrief to discuss the emotional experience of the Games. Finally, there is a performance debrief.

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“In those pre-stages, we’ll talk to them about the importance of performance decompression,” says Adams Norenberg. “We will drip-feed the conversation all the way through. We might say, ‘When might you want to plan your post-Games period?’

“They’ve got really good performance decompression plans, they know when they’re going to take a break and, ideally, they know when they’re going to have that process the emotion conversation. It’s all booked in before the Games start.

“In some areas of the military, upon returning home, there’s a stop-off before, where individuals are supported to make sense of their experience. We knew that talking it through, understanding and acknowledging emotions that might have come up for them is important before jumping straight in to find life again.

“The research from the Red Cross, about support for hostages returning home, gave us insight into how a stage three brief, where emotions are understood, could look”.

But there is a balance required between focusing on the post-Games experience and potentially problematic emotions, and prioritising competition.

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“You want to think about it before the Games, but not right before,” says Commander. “Maybe six months out. So afterwards, if it goes well, here’s my plan. If it doesn’t go well, here’s my plan B. I’m thinking about it ahead of time but now I have a plan so I’m not thinking about it anymore. I’m just focused on my training and everything else.”

For Bartley and the USOPC, as with Team GB, athletes are given ownership. “We start when they’re ready. Even when we’re doing an athlete orientation or introducing our services, we’ll tell them there’s going to be a lot of emotions that come up. We’re not going to start talking at them about what to expect. We let them know we’re here and say, ‘When you’re ready, let us know’.”


Academics first identified the ‘blues’ decades ago. In a 1998 study of 18 Australian Olympic gold medallists, competing across several sports at Games between 1984 and 1992, only four athletes described their experiences as completely positive. Six, however, cited burnout and a lack of support. Athletes were “lacking guidelines for being a gold medallist”.

A study of 61 Israeli athletes and coaches at the 2012 London Games found one in five spoke with others afterwards — most ignored their feelings or isolated themselves. A 2021 paper, which interviewed 18 Australian Olympians after the Rio 2016 games said: “national system stressors, including organisational restructures, coaching changes and funding cuts, were impediments to athlete well-being”.

In 2018, Howells and Mathijs Lucassen interviewed four British Olympians. They concluded that “negative emotions are a normal response to returning home but athletes don’t expect it to affect them, they are incapable of focusing beyond the Games before they happen and get rollicked by a return to normality. They struggle being away from other athletes with relatable experiences.”

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Holly Bradshaw, a pole vault bronze medallist, was a participant. In 2022, Bradshaw became “researcher as participant” alongside Howells and Lucassen. She facilitated four focus groups with 14 British Olympians across various sports, featuring medallists and non-medallists. Researchers were surprised by how much athletes preferred focus groups.

“We thought that having Holly run them would enable the Olympians to be more open. We hadn’t realised how open they were going to be.

“What came out very clearly was a real antagonism and mistrust towards sports psychologists,” she says. Athletes felt they might relay information to the coach which made them look ‘weak’ or cost them their place on the team. “Sports psychologists didn’t really get it.” Athletes “wanted to be supported through the post-Olympic blues by somebody who’d been through it,” Howells says.


Holly Bradshaw competing at the Tokyo Olympics in 2021 (Michael Steele/Getty Images)

The way forward is nuanced, Howells believes: “It is more complicated than we thought. We would be foolish not to listen to the athletes”. She says peer support should complement, not replace, sports psychology.

“Just because you’ve been through it, it doesn’t mean that you are in the best position to help somebody. To get a team of sports psychologists to support Olympians afterwards is easy. It’s much harder to work a mentorship scheme.”

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Academia may try to shift the dial from encouraging change to initiating it more formally. In 2020, experts proposed that national governing bodies view the Games as a five-year cycle, with a clearly defined support system for 12 months post-Games. Formalised mental health care teams and a specific mental health officer, improving athlete education and simplifying screening processes were further recommendations.

“There are two areas at which we can address the blues,” says Howells. “The first is pre-Games, with psychoeducation. That’s the first thing that athletes were clear about and that aligned with our own expectations: the more that you know, the better equipped you are to cope.”

Stigma is gradually reducing as high-profile athletes open up publicly. The pressure, expectation, the heralding of exceptional athletes as heroes and superhuman and the ensuing celebrity status are all factors. It does not encourage athletes to be human.

A 2023 paper on Olympic judokas (judo) explained the identity crises athletes face as a result of hyper-fixation on performance, leaving their non-sporting personalities underdeveloped. In a 2018 paper, Howells wrote that athletes with a greater “myopic” performance focus are more at risk of the ‘blues’.

“At elite sport level, it is common for competitors to have this very high athletic identity. That is all they are,” says Howells. “They’ve sacrificed every other aspect of their identity for the purpose of being an Olympian. Many have an Olympic rings tattoo; they are branding themselves, their bodies, as an Olympian”.

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(Buda Mendes/Getty Images)

Bartley, who has worked with the USOPC since 2012, is confident that discussing mental health can provide “an edge” in performance.

“The biggest difference I’ve seen (over that time) is that so many notable athletes have spoken out about their mental health that it’s starting to destigmatise it a lot,” she says. “It’s helping future athletes or even athletes now to understand that it’s OK to talk about mental health and to use these resources.”

A 2015 report by Tanni Grey-Thompson, who won 16 Paralympic medals with Team GB, found that “mental health and well-being is a major concern in British performance sport and should be treated accordingly”.

Howells points to it as a turning point in reducing stigma. “There is certainly a very dark side to elite sport,” she says, but remains positive about affecting change.

“Change doesn’t happen quickly, the stigma is still there. It takes a long time to bring about attitudinal change, but we’re getting there.”

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(Header photos: Getty Images)

Culture

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

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

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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.

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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.

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Wallace Stevens in 1950.

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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?

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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.

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

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

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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.

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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.

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“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.

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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.

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This interview has been edited and condensed.

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

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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.”

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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

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“You’re just a kid,

Gordie–”

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“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

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if I was!

It’s like

God gave you something,

all those stories

you can make up,

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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

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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?

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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.

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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.”

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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.

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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.”

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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

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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

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They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

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I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

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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,

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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.”

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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.

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“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.

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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.

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“The Body” Read by Wil Wheaton

“Will you shut up

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and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

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Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

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“It’s not really much—”

“Naw,

we don’t expect much

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from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

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“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

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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.”

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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.

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“I feel the loss.”

Wheaton remembers River Phoenix.

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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.

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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

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Near the end

of 1971,

Chris

went into a Chicken Delight

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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.

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One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

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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.

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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.

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Do You Know the Comics That Inspired These TV Adventures?

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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.

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