“Battle of the Sexes” Is a Triumph for Sports Movies and Lesbians

When Bobby Riggs missed the drop shot that clinched Billie Jean King’s straight-set victory in the final minutes of Battle of the Sexes, the people in my packed theater in New York City burst into cheers. For 20 minutes they’d been hanging on every volley, gasping at every serve, hissing their approval as cross-court winners whizzed from Billie Jean’s racket, as if they were watching a real tennis match unfold to decide the fate of feminism, instead of a fictional reenactment of a forty-year-old sporting event. “Billie Jean King is a hero!” an older man in front of me whispered loudly to his wife. She patted his hand. She said, “I know.”

Battle of the Sexes, which stars Emma Stone as King and Steve Carrell as Riggs, is so many movies. It’s a comedy about a charming, washed-up, middle-aged gambling addict looking for a little notoriety and one more hustle. It’s a period drama about a group of women athletes trying to get equal pay and a little respect. It’s a sports movie, complete with breathless action sequences, overwrought crowd reactions, and a soaring score. It’s a biopic about a legend. And it’s one of the best lesbian films I’ve ever seen.

Billie Jean King — a gay icon, a feminist idol, one of the greatest athletes in history, an unshakable pillar of indomitable humanity here in 2017 — becomes even more powerful in Battle of the Sexes, but the film also offers audiences the gift of undoing her invincibility in our imaginations by allowing her to fall in love.

Her name is Marilyn Barnett and she’s a stylist. She’s doing Billie Jean’s hair for a photoshoot to celebrate the press conference that’s launching the Women’s Tennis Association into existence. It’s casual laughs and small talk until Marilyn’s hands start to linger in Billie Jean’s hair; until Marilyn leans closer to whisper near Billie Jean’s ear; until Marilyn compliments Billie Jean’s eyes, her nose, her mouth. The intimacy is almost stunning, as the camera closes in on them and the microphones do too. Their faces. Their voices. The snip of Marilyn’s scissors. “Is that… perfume?” The look on Billie Jean’s face as understanding dawns on her: what she wants and has always wanted. They find themselves at a bar later, and in a hotel room — and, ultimately, on the road together with the eight other players who made up the first Virginia Slims Tour.

The tour, in real life and in the movie, was a tag-team effort between Billie Jean King and World Tennis Magazine founder Gladys Heldman to combat pay inequality on the professional tennis circuit. They argued that women pulled in the same size crowds as the men, but USTA execs refused to give women more than a fraction of the men’s winnings because they weren’t as fast or as strong. When King left the USTA to start her own league, she had everything to prove, which is why she eventually agreed, at 29, to play 55-year-old self-proclaimed “male chauvinist” Bobby Riggs. He’d already defeated superstar Margaret Court, and King realized the shortest path to pay equality in women’s tennis — and women’s pay equality, full stop — was through Riggs. She also knew it was the most dangerous. In later years, King told reporters she felt sure, at the time, that if she lost she would set the women’s movement back 20 years.

Billie Jean carries the weight of her affair with Marilyn; the knowledge that she’s acting on romantic feelings that could, if made public, destroy her career; the pressure of the first women’s professional tennis tour; the hype surrounding her match with Riggs; and the hopes and dreams of millions of women around the world.

The irony of Battle of the Sexes is how hard it has to work to try to make Carrell’s Bobby Riggs a character of equal importance. It touches on his marital problems, his parenting problems, his gambling addiction, his bombastic sexism, his training style, his narcissism, his sponsorships, what he wears, what he eats. But no matter how many narratives weave their way around him, Riggs is never more than a distraction.

Many male movie reviewers (so: the majority of movie reviewers) have found the film’s depiction of Riggs & Co’s sexism unbearable. Before ultimately deciding it was okay for people to watch, David Edelstein over at New York Magazine mocked the “smirkingly chauvinistic chauvinist Jack Kramer” who “smirks chauvinistically,” while also calling the film “feminist propaganda” and part of the “feminist and gay agenda.” As if watching a complicated, accomplished, unapologetic woman face off against a misogynist clown in the middle of a media circus is just so very outside the bounds of reality. As if that same misogynist clown didn’t once offer Serena or Venus Williams a million dollars to face off against John McEnroe. As if John McEnroe didn’t come unglued when he found out Serena laughed when she heard the offer. Battle of the Sexes is set lushly in 1973, but it’s also not.

It does oversimplify things. Billie Jean King was tortured by her sexuality; her parents were so homophobic she wasn’t able to come out to them until she was 51. Everyone who knew about her sexuality told her it would shatter women’s professional tennis if it became public. She developed an eating disorder as she tried to cope with the pressure of staying closeted. When she was outed by Marilyn Barnett in the early ’80s it almost ended her career; she lied about the depth and length of their relationship and went immediately back into the closet. Her loving and supportive ex-husband, whom she has remained close to throughout her life, told Ms. magazine in 1981 that she’d had an abortion without her permission. Another media blitz followed. She was forced to play tennis long past the age at which she wanted to retire because she lost all her endorsements — totaling $2 million, more money than she made in winnings her entire career — in a single day when she was outed.

But one of the beauties of stories is their ability to bend space and time. In 1973, Billie Jean King beat Bobby Riggs in The Battle of the Sexes in front of an audience of over 50 million people in 37 countries. In doing so, she pushed feminism forward in incalculable, exponential ways. In 2017, Billie Jean King has been awarded the Presidential Medal of Freedom, inducted into the Tennis Hall of Fame, is the namesake of the tennis center where the U.S. Open is played, and lives with her life partner, Ilana Kloss. Those are the true bones of then and now.

In the closing scene of Battle of the Sexes, Billie Jean emerges from the locker room where she’s just broken down in private for the first time: sobbing, heaving, gasping relief. Alan Cummings’ gay designer Ted Tinling pulls her aside and promises her that one day they’ll be free to love who they love. He assures her that her victory moved them one step closer to that day. Billie Jean’s eyes are hope and disbelief. She half-smiles and leaves that dream behind, walks to the center of the Astrodome, the court where she defeated Bobby Riggs, a thousand women waiting to watch her dance.

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Heather Hogan

Heather Hogan is an Autostraddle senior editor who lives in New York City with her wife, Stacy, and their cackle of rescued pets. She's a member of the Television Critics Association, GALECA: The Society of LGBTQ Entertainment Critics, and a Rotten Tomatoes Tomatometer critic. You can also find her on Twitter and Instagram.

Heather has written 1718 articles for us.


  1. Ok. So. Not sure how to ask this politely but I really want to know – how convincing is Emma Stone?

    When I saw the trailer, I was worried that she wasn’t butch enough – or wasn’t *something* enough. Wasn’t Billie Jean enough.

    I’ve been excited and also nervous about this movie. I grew up watching Billie Jean (and Chrissie and Martina) play tennis – my mom’s a huge tennis fan.

    I know I will see it. And I’m psyched to know that they show her falling in love and that it’s well done.

    • I’ve been telling people the only thing I was slightly disappointed by was that Emma Stone is a little bit too adorable for the role. But damn did she give a great performance. It was clear she wasn’t /trying/ to be adorable, I’m pretty sure that’s just a part of Emma Stone that can’t be taken away.

      • I didn’t find her adorable in La La Land, but I don’t blame her, I blame the film, which was, to me, one of the films I’ve seen least deserving of the hype. That and Inception, but Inception at least had Ellen Page.

  2. I seriously need to stop reading reviews about queer movies written by straight writers. Heather – this was exactly what I was looking for. You make the movie sound incredible, and I’m now so excited to see it.

    • Yes! I think I saw that on PBS. What I saw was fantastic. And I think that’s why I’m so skeptical of Emma Stone to.

      • No, wait. I think what I saw was the American Masters episode about Billie Jean King. It’s really good too.

  3. “Billie Jean King is a hero!” an older man in front of me whispered loudly to his wife. She patted his hand. She said, “I know.”

    In my headcanon, this man is Harold, of the “Harold, they’re lesbians” fame.

  4. I cannot wait to see this- I had the privilege of seeing her deliver a keynote speech at a benefit last year and she was absolutely incredible. I love that this film was made, and from this review, it sounds like it was made Correctly.

  5. You know, I wasn’t planning on seeing this (not being a big tennis fan), but Heather’s recap changed my mind. Thank you.

  6. I saw this the other day and really enjoyed it! I loved how much time the movie spent with Billie Jean and Marilyn and how Billie Jean was allowed to be so vulnerable throughout. She has a great reputation as a strong woman and a phenomenal tennis player and it was really nice to see her be able to be soft and fragile and scared at the same time.

  7. just saw this film. definitely teared up. also, Billie Jean and her partner Ilana Kloss were credited as consultants on the film, which made me happy.

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