In the dynamic world of tennis commentary, few voices carry the weight and experience of Rennae Stubbs, a former doubles world No. 1 and a seasoned coach who once mentored Serena Williams to glory. On this crisp April day in 2025, Stubbs has once again stirred the pot with a candid critique that’s set the tennis community abuzz. Her target? None other than Iga Swiatek, the Polish powerhouse who, despite her five Grand Slam titles and a reputation as a clay-court queen, finds herself under the microscope for a part of her game Stubbs can’t stand. “I absolutely hate her service motion,” Stubbs declared with unfiltered honesty, her words cutting through the air like a well-placed volley. But this blunt assessment didn’t land without pushback—former player Andrea Petkovic stepped in to defend Swiatek, accusing Stubbs of being “totally unfair” in her judgment.
Swiatek, now 23, has been a force to reckon with since her breakout 2020 French Open win. Her aggressive baseline play, powered by a lethal topspin forehand, has dismantled opponents with surgical precision, earning her four Roland Garros crowns and a US Open title. Yet, 2025 has been a rocky road. After a doping suspension late last year sidelined her for a month—later traced to contaminated melatonin—she lost her No. 1 ranking and has struggled to reclaim her dominant form. As of April 1, she’s yet to win a title this year, a stark contrast to her trophy-laden campaigns of 2022 and 2023. It’s this dip that’s sharpened the focus on her weaknesses, and Stubbs, never one to mince words, zeroed in on the serve—a shot she believes Swiatek has failed to elevate despite her physical gifts.
“She’s 5ft 10, maybe 5ft 11—she should have a much better serve,” Stubbs argued, her frustration palpable. “It’s so discombobulated. The arm goes one way, the foot steps too far forward. She should be more side-on, with a lot more wrist snap. Her serve hasn’t developed at all, and it’s so predictable.” For Stubbs, this isn’t just a technical quibble—it’s a tactical liability. “Where she’s getting hurt now is she’s getting broken a lot,” she added. “The predictability of that second serve is killing her. She hits the same one over and over and kinda refuses to change it up.” It’s a harsh verdict, especially as Swiatek sits at No. 2 in the world, her second-serve win percentage still ranking third among the top 20 at 50.1% this year.
Enter Andrea Petkovic, the retired German pro turned commentator, who leapt to Swiatek’s defense with a counterpoint that turned the debate into a full-on clash of perspectives. “Yes, she should be able to serve the slice, but it’s not fair to say she hasn’t developed her serve,” Petkovic shot back. “She was all kick serves before—now she’s got the body serve too. She’s worked on it so much that sometimes she overthinks it and loses rhythm.” Petkovic pointed to a match against Elena Svitolina where Swiatek’s serve faltered, yet her return game shone. “Her weapon was never her serve—it’s her baseline game and return. That’s why it’s not her focus, but she’s still improving it.”
This isn’t the first time Swiatek’s serve has drawn scrutiny, but Stubbs’ visceral disdain—“I absolutely hate it”—adds a raw edge to the discourse. The critique lands as Swiatek navigates a pivotal moment in her career. With new coach Wim Fissette by her side, she’s tweaking her game, showing flashes of brilliance—like her Australian Open semifinal run—only to stumble against foes like Jelena Ostapenko and Mirra Andreeva. The clay season, her domain, beckons as a chance to silence doubters, but Stubbs’ words linger like a challenge: can Swiatek transform a perceived flaw into a strength?
For fans, it’s a tale of two truths. Stubbs sees a missed opportunity, a serve that doesn’t match Swiatek’s stature or potential. Petkovic sees evolution, a work in progress unfairly maligned. As the tennis world watches, Swiatek’s next move—perhaps a sharper serve or a defiant return to form—will decide the narrative. For now, the debate rages, a testament to her stature and the passion she ignites, even in her imperfections.
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