Lifestyle
What to know about the gender controversy sweeping Olympic boxing
Taiwan’s Lin Yu-ting, left, and Algeria’s Imane Khelif have competed in boxing competitions as women for years. But their presence in Paris is being scrutinized by some after they failed a vague gender eligibility test last year.
John Locher/AP and Aijaz Rahi/AP
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John Locher/AP and Aijaz Rahi/AP
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Women’s boxing is at the center of the latest Olympics controversy as critics take issue with the participation of two athletes — Imane Khelif of Algeria and Lin Yu-ting of Taiwan — who have failed gender eligibility tests in the past.
Both Khelif and Lin identify and have long competed as women, but were disqualified from the 2023 women’s world championships by the International Boxing Association (IBA) for what it called failure to meet “eligibility rules.”
Olympic organizers are defending their right to compete in Paris and questioning the validity of those unspecified tests and the fairness of their previous disqualification, which they said happened without due process.
“The current aggression against these two athletes is based entirely on this arbitrary decision, which was taken without any proper procedure — especially considering that these athletes had been competing in top-level competition for many years,” the International Olympic Committee said in a statement Thursday.
The conservative outcry started after Khelif won her match against Angela Carini of Italy on Thursday in somewhat dramatic fashion.
Carini quit just 46 seconds into the bout after Khelif’s punches dislodged her chinstrap and bloodied her shorts. After deciding to withdraw, she fell to her knees sobbing in the ring and refused to shake hands with Khelif.
“I have never been hit so hard in my life,” Carini tearfully told reporters afterward.
She said she had stopped fighting because of nose pain, but also said it wasn’t her place to pass judgment on whether Khelif should compete.
“If an athlete is this way, and in that sense it’s not right or it is right, it’s not up to me to decide,” Carini added.
Khelif didn’t speak to the media other than a quick comment to BBC Sport: “I’m here for the gold — I fight everybody.”
She is set to return to the ring Saturday for a quarterfinal matchup against Hungary’s Anna Luca Hamori.
Hamori has accepted the fight, saying she is “not scared” of Khelif. But the Hungarian Boxing Association is striking a different tone: The Associated Press reported on Friday that the organization is sending “letters of protest” about the matchup to the IOC and Hungary’s own Olympic committee.
On Friday, Lin emerged victorious in her preliminary-round fight against Uzbekistan’s Sitora Turdibekova, winning 5-0 by unanimous decision but without much fanfare in the crowd.
She is headed to the quarterfinals on Sunday, one victory away from her first Olympic medal.
Who is Lin?
Lin, 28, a two-time world champion, has been competing for over a decade.
According to her Olympic bio, Lin joined an athletics team as a child “to achieve good results in athletics and win awards to help out financially.” She switched to boxing in middle school.
She made her Olympic debut at the Tokyo Games, though left without a medal.
Still, the southpaw has won many other titles — including bronze in featherweight at the 2019 Women’s World Boxing Championships, gold at bantamweight in 2018 and gold in featherweight in 2022.
She also won a bronze medal at the 2023 world championships, but lost it after she was disqualified. It went to the opponent she had defeated in the quarterfinals, Bulgaria’s Svetlana Kamenova Staneva.
Who is Khelif?
Khelif, at 25 years old and 5’10”, has been competing since 2018. She entered Paris with a 9-5 professional record, according to the New York Times.
She made her first Olympic appearance at the Tokyo Games in 2021, where she lost in the quarterfinal round to Ireland’s Kellie Harrington (and didn’t face any false allegations about her gender at the time, as many of her defenders are now noting).
Khelif won the African and Mediterranean Championships in 2022 and reached the final of the IBA Women’s World Championships that same year. She took home silver, after a defeat by another Irish boxer, Katie Broadhurst.
Khelif also reached the finals of the 2023 world championships in New Delhi but was disqualified by organizers the day before they began in March.
Why were the athletes disqualified last year?
The IBA said in a statement at the time that Khelif and Lin had “failed to meet eligibility rules, following a test conducted by an independent laboratory.”
IBA President Umar Krevlev told Russian state media that it was “proven they have XY chromosomes” — which is seen in men, as opposed to the XX genotype of women.
It is medically possible for women to have male chromosomes, in rare cases. Separately, there are a number of health conditions — most notably, polycystic ovary syndrome — that can cause women to produce excess male hormones.
In a new statement released this week, the IBA clarified that Khelif and Lin had not undergone a testosterone exam, but were “subject to a separate and recognized test, whereby the specifics remain confidential.”
“This test conclusively indicated that both athletes did not meet the required necessary eligibility criteria and were found to have competitive advantages over other female competitors,” they wrote.
Why are they eligible for the Olympics?
Algeria’s Imane Khelif, right, walks beside Italy’s Angela Carini after winning their women’s 66kg preliminary boxing match on Thursday.
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The IBA is no longer the governing body of Olympic boxing.
The IOC — which had already overseen boxing competitions for the Tokyo Olympics — officially voted to derecognize it in June 2023, after a years-long dispute over the integrity of its bouts and judging and transparency of management.
Olympic officials took issue with how presidents from Uzbekistan and Russia ran the IBA, as well as the fact that its sole sponsor was a Russian state energy firm, according to the Associated Press.
The IOC has repeatedly defended the athletes’ right to compete in Paris, casting doubt on the process that disqualified them last year and pointing to their female legal identities.
“They are women in their passports and it’s stated that this is the case, that they are female,” spokesperson Mark Adams told reporters earlier this week. Notably, there is no right to change one’s legal gender under Algerian law.
In its Thursday statement, the IOC confirmed that all athletes participating in the boxing tournament “comply with the competition’s eligibility and entry regulations, as well as all applicable medical regulations.” It said it used the Tokyo boxing rules as the baseline for this year’s regulations.
It called Khelif and Lin, whom it did not identify by name, “the victims of a sudden arbitrary decision by the IBA.”
The IOC said it is “saddened by the abuse that the two athletes are currently receiving,” and stressed the need for National Boxing Federations to “reach a consensus around a new International federation” for boxing to be included in the 2028 Summer Olympics in Los Angeles.
On Friday, spokesperson Adams reminded reporters that the IOC stopped blanket sex testing in 1999, and that “even if there were a sex test that everyone agreed with, I don’t think anyone wants to see a return to some of the scenes.” He acknowledged that the situation has become a minefield.
“And unfortunately, as with all minefields, we want a simple explanation,” he added. “Everyone wants a black-and-white explanation of how we can determine this. That explanation does not exist, neither in the scientific community, nor anywhere else.”
For more about sex testing in elite women’s sports, check out the new podcast Tested, from NPR and the CBC.
What are critics and supporters saying?
Taiwan’s Lin Yu-ting, left, reacts after defeating Uzbekistan’s Sitora Turdibekova in their women’s 57 kg preliminary boxing match on Friday.
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After Khelif’s win, the backlash was swift, especially in conservative circles.
Author J.K. Rowling — who has been criticized for her transphobic views in recent years — falsely labeled her a man, in a tweet that has garnered over 400,000 likes. Former President Donald Trump shared a video of the match on Truth Social, writing in all caps, “I WILL KEEP MEN OUT OF WOMEN’S SPORTS!”
Riley Gaines, a widely-followed former collegiate swimmer who describes herself as a “leader defending women’s single-sex spaces,” tweeted that “men don’t belong in women’s sports.” Tesla CEO Elon Musk amplified her tweet, adding, “Absolutely.”
Vlogger-turned-WWE wrestler Logan Paul also slammed Khelif as a man, tweeting that the match was “the purest form of evil unfolding right before your eyes.” He later deleted his post and wrote, “I might be guilty of spreading misinformation along with the entirety of this app.”
Foreign officials have also weighed in.
Italy’s far-right Prime Minister Giorgia Meloni told the Italian news agency ANSA that the fight between Carini and Khelif was unfair.
“I think that athletes who have male genetic characteristics should not be admitted to women’s competitions,” she said, according to Reuters. “And not because you want to discriminate against someone, but to protect the right of female athletes to be able to compete on equal terms.”
Italy’s family and sports ministers have also voiced concerns about the lack of clarity around gender eligibility criteria, suggesting that uniform international criteria would assuage “suspicion” and protect athletes’ safety.
Algeria’s Olympic committee is defending Khelif, issuing a statement on Wednesday condemning what it called her “unethical targeting” with “baseless propaganda.”
“Such attacks on her personality and dignity are deeply unfair, especially as she prepares for the pinnacle of her career at the Olympics,” it added, per Reuters.
Meanwhile, Taiwanese officials have thrown their support behind Lin.
Pan Men-an, secretary-general for Taiwan’s presidential office, said on social media that it is wrong for the athlete to be “subjected to humiliation, insults and verbal bullying just because of your appearance and a controversial verdict in the past.”
Tsai Ing-wen, Taiwan’s first female president, wrote on X that Lin is “an athlete who is fearless in the face of challenges, whether they come from inside or outside the ring.”
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Bill Cosby
Rape Accuser Says Cosby Won’t Take Stand At Trial
Published
Bill Cosby‘s rape accuser Donna Motsinger says the TV star can’t be bothered to show up to court for a trial in a lawsuit she filed against him.
According to new legal docs, obtained by TMZ. Motsinger says Bill will not testify in court … she claims it’s “because he does not care to appear.”
Motsinger says Bill won’t show his face at the trial either … and the only time the jury will hear from him will be a previously taped deposition.
As we previously reported, Motsinger claims Bill drugged and raped her in 1972. In the case, Bill admitted during a deposition that he obtained a recreational prescription for Quaaludes that he secured from a gynecologist at a poker game.
TMZ.com
Bill also said he planned to use the pills to give to women in the hopes of having sex with them.
Motsinger alleged Bill gave her a pill that she thought was aspirin. She claimed she felt off after taking it and said she woke up the next day in her bed with only her underwear on.
Here, it sounds like Motsinger wants to play the deposition for the jury.
Elvis Presley in Las Vegas in Aug. 1970.
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“You are my favorite customer,” Baz Luhrmann tells me on a recent Zoom call from the sunny Chateau Marmont in Hollywood. The director is on a worldwide blitz to promote his new film, EPiC: Elvis Presley in Concert — which opens wide this week — and he says this, not to flatter me, but because I’ve just called his film a miracle.
See, I’ve never cared a lick about Elvis Presley, who would have turned 91 in January, had he not died in 1977 at the age of 42. Never had an inkling to listen to his music, never seen any of his films, never been interested in researching his life or work. For this millennial, Presley was a fossilized, mummified relic from prehistory — like a woolly mammoth stuck in the La Brea Tar Pits — and I was mostly indifferent about seeing 1970s concert footage when I sat down for an early IMAX screening of EPiC.
By the end of its rollicking, exhilarating 90 minutes, I turned to my wife and said, “I think I’m in love with Elvis Presley.”
“I’m not trying to sell Elvis,” Luhrmann clarifies. “But I do think that the most gratifying thing is when someone like you has the experience you’ve had.”
Elvis made much more of an imprint on a young Luhrmann; he watched the King’s movies while growing up in New South Wales, Australia in the 1960s, and he stepped to 1972’s “Burning Love” as a young ballroom dancer. But then, like so many others, he left Elvis behind. As a teenager, “I was more Bowie and, you know, new wave and Elton and all those kinds of musical icons,” he says. “I became a big opera buff.”
Luhrmann only returned to the King when he decided to make a movie that would take a sweeping look at America in the 1950s, ’60s, and ’70s — which became his 2022 dramatized feature, Elvis, starring Austin Butler. That film, told in the bedazzled, kaleidoscopic style that Luhrmann is famous for, cast Presley as a tragic figure; it was framed and narrated by Presley’s notorious manager, Colonel Tom Parker, portrayed by a conniving and heavily made-up Tom Hanks. The dark clouds of business exploitation, the perils of fame, and an early demise hang over the singer’s heady rise and fall.
It was a divisive movie. Some praised Butler’s transformative performance and the director’s ravishing style; others experienced it as a nauseating 2.5-hour trailer. Reviewing it for Fresh Air, Justin Chang said that “Luhrmann’s flair for spectacle tends to overwhelm his basic story sense,” and found the framing device around Col. Parker (and Hanks’ “uncharacteristically grating” acting) to be a fatal flaw.
Personally, I thought it was the greatest thing Luhrmann had ever made, a perfect match between subject and filmmaker. It reminded me of Oliver Stone’s breathless, Shakespearean tragedy about Richard Nixon (1995’s Nixon), itself an underrated masterpiece. Yet somehow, even for me, it failed to light a fire of interest in Presley himself — and by design, I now realize after seeing EPiC, it omitted at least one major aspect of Elvis’ appeal: the man was charmingly, endearingly funny.
As seen in Luhrmann’s new documentary, on stage, in the midst of a serious song, Elvis will pull a face, or ad lib a line about his suit being too tight to get on his knees, or sing for a while with a bra (which has been flung from the audience) draped over his head. He’s constantly laughing and ribbing and keeping his musicians, and himself, entertained. If Elvis was a tragedy, EPiC is a romantic comedy — and Presley’s seduction of us, the audience, is utterly irresistible.
Unearthing old concert footage
It was in the process of making Elvis that Luhrmann discovered dozens of long-rumored concert footage tapes in a Kansas salt mine, where Warner Bros. stores some of their film archives. Working with Peter Jackson’s team at the post-production facility Park Road Post, who did the miraculous restoration of Beatles rehearsal footage for Jackson’s 2021 Disney+ series, Get Back, they burnished 50-plus hours of 55-year-old celluloid into an eye-popping sheen with enough visual fidelity to fill an IMAX screen. In doing so, they resurrected a woolly mammoth. The film — which is a creative amalgamation of takes from rehearsals and concerts that span from 1970 to 1972 — places the viewer so close to the action that we can viscerally feel the thumping of the bass and almost sense that we’ll get flecked with the sweat dripping off Presley’s face.
This footage was originally shot for the 1970 concert film Elvis: That’s The Way It Is, and its 1972 sequel, Elvis on Tour, which explains why these concerts were shot like a Hollywood feature: wide shots on anamorphic 35mm and with giant, ultra-bright Klieg lights — which, Luhrmann explains, “are really disturbing. So [Elvis] was very apologetic to the audience, because the audience felt a bit more self conscious than they would have been at a normal show. They were actually making a movie, they weren’t just shooting a concert.”
Luhrmann chose to leave in many shots where camera operators can be seen running around with their 16mm cameras for close-ups, “like they’re in the Vietnam War trying to get the best angles,” because we live in an era where we’re used to seeing cameras everywhere and Luhrmann felt none of the original directors’ concern about breaking the illusion. Those extreme close-ups, which were achieved by operators doing math and manually pulling focus, allow us to see even the pores on Presley’s skin — now projected onto a screen the size of two buildings.
The sweat that comes out of those pores is practically a character in the film. Luhrmann marvels at how much Presley gave in every single rehearsal and every single concert performance. Beyond the fact that “he must have superhuman strength,” Luhrmann says, “He becomes the music. He doesn’t mark stuff. He just becomes the music, and then no one knows what he’s going to do. The band do not know what he’s going to do, so they have to keep their eyes on him all the time. They don’t know how many rounds he’s going to do in ‘Suspicious Minds.’ You know, he conducts them with his entire being — and that’s what makes him unique.”
Elvis Presley in Las Vegas in Aug. 1970.
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It’s not the only thing. The revivified concerts in EPiC are a potent argument that Elvis wasn’t just a superior live performer to the Beatles (who supplanted him as the kings of pop culture in the 1960s), but possibly the greatest live performer of all time. His sensual, magmatic charisma on stage, the way he conducts the large band and choir, the control he has over that godlike gospel voice, and the sorcerer’s power he has to hold an entire audience in the palm of his hands (and often to kiss many of its women on the lips) all come across with stunning, electrifying urgency.
Shaking off the rust and building a “dreamscape”
The fact that, on top of it all, he is effortlessly funny and goofy is, in Luhrmann’s mind, essential to the magic of Elvis. While researching for Elvis, he came to appreciate how insecure Presley was as a kid — growing up as the only white boy in a poor Black neighborhood, and seeing his father thrown into jail for passing a bad check. “Inside, he felt very less-than,” says Luhrmann, “but he grows up into a physical Greek god. I mean, we’ve forgotten how beautiful he was. You see it in the movie; he is a beautiful looking human being. And then he moves. And he doesn’t learn dance steps — he just manifests that movement. And then he’s got the voice of Orpheus, and he can take a song like ‘Bridge Over Troubled Water’ and make it into a gospel power ballad.
“So he’s like a spiritual being. And I think he’s imposing. So the goofiness, the humor is about disarming people, making them get past the image — like he says — and see the man. That’s my own theory.”
Elvis has often been second-classed in the annals of American music because he didn’t write his own songs, but Luhrmann insists that interpretation is its own invaluable art form. “Orpheus interpreted the music as well,” the director says.
In this way — as in their shared maximalist, cape-and-rhinestones style — Luhrmann and Elvis are a match made in Graceland. Whether he’s remixing Shakespeare as a ’90s punk music video in Romeo + Juliet or adding hip-hop beats to The Great Gatsby, Luhrmann is an artist who loves to take what was vibrantly, shockingly new in another century and make it so again.
Elvis Presley in Las Vegas in Aug. 1970.
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Luhrmann says he likes to take classic work and “shake off the rust and go, Well, when it was written, it wasn’t classical. When it was created, it was pop, it was modern, it was in the moment. That’s what I try and do.”
To that end, he conceived EPiC as “an imagined concert,” liberally building sequences from various nights, sometimes inserting rehearsal takes into a stage performance (ecstatically so in the song “Polk Salad Annie”), and adding new musical layers to some of the songs. Working with his music producer, Jamieson Shaw, he backed the King’s vocals on “Oh Happy Day” with a new recording of a Black gospel choir in Nashville. “So that’s an imaginative leap,” says Luhrmann. “It’s kind of a dreamscape.”
On some tracks, like “Burning Love,” new string arrangements give the live performances extra verve and cinematic depth. Luhrmann and his music team also radically remixed multiple Elvis songs into a new number, “A Change of Reality,” which has the King repeatedly asking “Do you miss me?” over a buzzing bass line and a syncopated beat.
I didn’t miss Elvis before I saw EPiC — but after seeing the film twice now, I truly do.
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