"Honestly, I'm more into the computer, the Internet, and checking out scores or the news"
About this Quote
Hingis lands this line with the casual defiance of someone refusing the script written for her. Athletes, especially prodigies in global sports, are expected to perform not just on court but off it: the glamorous nightlife, the celebrity circuit, the carefully branded “passion” for the spotlight. By saying she’s “more into the computer, the Internet,” she’s quietly swapping that mythology for something ordinary and controllable. It’s not a manifesto; it’s a shrug that doubles as boundary-setting.
The specific intent is practical self-description - what she actually does when she’s not competing. But the subtext is a small rejection of the spectacle machine that surrounds elite tennis. “Honestly” matters here: it signals she’s correcting an assumption, maybe even an interviewer’s leading question about parties, fashion, or fame. The objects she lists - scores, news - are the informational bloodstream of sport, not its social theater. She’s positioning herself as a consumer of the game’s data and storylines, not an ornament of them.
Contextually, it reads as a late-1990s/early-2000s tell: the Internet as a new, slightly nerdy refuge; “checking out scores” as a way to stay plugged in without being physically “seen.” For a young woman under constant scrutiny, the computer becomes a private room with a lock. The line works because it’s modest, even banal - and that banality is the point. It punctures the idea that fame automatically rewires your interests, or that authenticity has to be performative.
The specific intent is practical self-description - what she actually does when she’s not competing. But the subtext is a small rejection of the spectacle machine that surrounds elite tennis. “Honestly” matters here: it signals she’s correcting an assumption, maybe even an interviewer’s leading question about parties, fashion, or fame. The objects she lists - scores, news - are the informational bloodstream of sport, not its social theater. She’s positioning herself as a consumer of the game’s data and storylines, not an ornament of them.
Contextually, it reads as a late-1990s/early-2000s tell: the Internet as a new, slightly nerdy refuge; “checking out scores” as a way to stay plugged in without being physically “seen.” For a young woman under constant scrutiny, the computer becomes a private room with a lock. The line works because it’s modest, even banal - and that banality is the point. It punctures the idea that fame automatically rewires your interests, or that authenticity has to be performative.
Quote Details
| Topic | Internet |
|---|---|
| Source | Help us find the source |
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