claire

LONDON — Claire Liu packed her bags and checked out of her London hotel room on Wednesday morning before heading to the All England Club.

It was more pragmatism than pessimism — a reality of a qualifier navigating her Wimbledon journey one day at a time.

But as her boyfriend reminded her while organizing her luggage: “Just because you’re packing doesn’t mean you’re leaving,” Liu recalled with a laugh.

He was right.

The Thousand Oaks native went on to win her second-round match against 51st-ranked Zeynep Sonmez of Turkey 7-5, 6-3, advancing to the third round of a Grand Slam for the first time in her professional career. She had tried 29 previous times at majors, including qualifying rounds, since 2015.

“I was just super relieved to get through that,” said Liu, noting she had blown a set and a break lead in the French Open’s second round last month.

For Liu, who turned 26 in May, returning to the manicured lawns of SW19 brings her tennis journey full circle. Nine years ago, she captured the 2017 Wimbledon girls’ singles title — the first American to do so since Chanda Rubin in 1992 — and was the No. 1 junior in the world. She still holds fond memories of that heady achievement, including chatting with her idol, Roger Federer, at the Wimbledon Champions Ball.

Yet, the transition from teenage phenom to professional mainstay has been anything but a linear ascent. When asked if she expected to be in the third round of a major this late in her career given her junior success, Liu was candid.

“Younger me would have believed it more than now,” she said.

That shift in perspective comes after weathering some brutal setbacks.

Liu climbed as high as No. 52 in early 2023 but then endured a wrist injury and took a months-long mental health hiatus in 2024 that eventually saw her ranking plummet outside the top 400 last year.

Currently sitting at No. 146, she’s been rebuilding her standing by playing a mix of WTA 125 events and ITF tournaments before returning to the main WTA Tour, with 2026 stops in far-flung places from Bahrain to Boca Raton and plenty of places in between.

“My goals haven’t changed, but I think the stress of how I got there really took a toll on me,” said Liu.

To navigate the darkness, Liu leaned heavily into both sports psychology and traditional therapy, including EMDR, a technique that helps people process traumatic experiences. She also started a Substack newsletter called “Finding Claire-ity,” where she openly chronicles her life and struggles on the tour.

The Southern California native, who has trained at the USTA facility in Carson since she was 9 years old and resides in Redondo Beach, also split with her longtime coach last season, a difficult decision, and hired Clemens Wagner.

The switch following the U.S. Open last year is clicking.

“I saw in her someone who fought a lot of battles inside herself,” says Austrian-born Wagner, who has a background in tennis analytics.

Together, they have focused on keeping an “aggressive undertone” on the grass, emphasizing coming to the net and squeezing the most out of her game.

Wagner notes that the 5-foot-7 player’s game isn’t the flashiest, but describes her as a “silent killer” who excels at “redirecting pace, standing close to the baseline, constantly putting pressure on her opponents.”

The reboot is starting to pay significant dividends.

Liu put together her best stretch in years this spring, winning a lower-tier title in Trnava, Slovakia, her first professional title since 2024, and then qualifying for the French Open.

Having again successfully navigated three rounds of qualifying to reach the main draw here, Liu has now won five consecutive matches at Wimbledon. Not surprisingly, she currently has no sponsors, just equipment support from Head Sport and Asics Corp., making her Wimbledon run particularly lucrative. By reaching the third round, Liu achieved her highest career payday: around $250,000. A victory Friday would boost that to nearly $400,000.

First, she faces her biggest test yet: a third-round contest against two-time major champion Coco Gauff on No. 1 Court, which perhaps fittingly is the same show court where Liu won the girls’ title almost a decade ago.

Gauff, 22, noted that she and Liu haven’t crossed paths much since Liu is older, but expects a serious battle. Gauff won both of their previous meetings on hard courts.

“I feel like anytime you’re playing a qualifier, it’s always tough because they have three matches already,” the seventh-seeded American said.

Liu, who didn’t even know she was playing Gauff until a reporter told her after her match, is purposefully keeping her focus narrow.

“I will just take today to be happy for winning, and then tomorrow I’ll think about it,” Liu said. “Obviously she’s one of the best players in the world right now, so that’ll be a good experience.”

Veteran Jessica Pegula, 32, the top-ranked American who also toiled away on the sport’s lower tier before becoming a top-10 mainstay, appreciates Liu’s resolve.

“It’s always nice to see girls that are figuring it out slowly but surely,” the No. 4 seed said. “I think I can relate to that.”

Liu’s accommodations? Fortunately, her mother was able to rebook the same hotel after the match, which eased some of the logistical issues for her unexpectedly extended stay in London.

“It definitely makes me stay in the moment, like, day by day,” Liu smiled of her lodging limbo.

On Wednesday morning, Liu packed her bags expecting she might leave Wimbledon. Instead, she emptied them one more time, with the biggest match of her career still waiting.

“The Listeners,” which premieres Friday on Starz, began unusually as a story written by Jordan Tannahill as the basis of Missy Mazzoli‘s 2022 opera, also called “The Listeners” (libretto by Royce Vavrek), which he turned into a 2021 novel, which became a 2024 BBC television series, also written by Tannahill. Starz has cut its original four episodes into five, which means that they end in odd places, but given its controlled, glacial pace, shorter might be better.

Tannahill’s inspiration is an unexplained phenomenon reported in the real world — though exactly how real it is is open to interpretation — generally called “the hum,” where people experience a low but persistent background noise inaudible to others. (It isn’t tinnitus, or any diagnosable medical condition.) One such sufferer is Claire (Rebecca Hall), a high school literature teacher with a husband, Paul (Prasanna Puwanarajah) and a teenage daughter, Ashley (Mia Tharia), with whom she gets along well. We begin on an up note, Claire and Ashley singing along to Richard and Linda Thompson’s “I Want to See the Bright Lights Tonight” as they drive to school (she also has Nick Drake on her phone). And then the 1970s British folk rock gives way to a less pleasant auditory landscape, as the hum appears, bringing on headaches and nosebleeds and affecting her concentration and mood, her work and family.

Any condition can be isolating from those who don’t share it, and Claire gets some relief when she’s approached by a student, Kyle (Ollie West), who also hears it. They go investigating possible sources of the sound — wind turbines, a radio telescope — and wind up eventually at something like a support group for hum-hearers run by Omar (Amr Waked) and Jo (Gayle Rankin). There is some sketchiness in their past, including a changed identity, and they like to keep the group on a tight rein, but the breathing exercises and visualizations seem pretty standard, and more benign than, say Scientology, and the suggestion that one may tame an affliction by embracing it is pretty reasonable. Claire’s mistake here is not to get a signed parental permission slip, as it were, or enlist a chaperone, and her growing closeness with Kyle (not romantic, not sexual we are assured) will cause them trouble, cost Claire her job and mess up her marriage. She makes some insufficiently careful decisions, but those around her tend to overreact. This is very much a story about listening and not listening.

Directed by Janicza Bravo and photographed with great intention by Jody Lee Lipes, it has the studied look and tempo of a 20th-century art film. (It is always great to look at.) I was reminded of Antonioni’s “Red Desert” and Bergman’s “Persona,” psychological studies of women going to pieces, but also, thematically, of Spielberg’s “Close Encounters of the Third Kind,” with its characters driven to what looks like madness by private bulletins from the ether, pushing them away from family and toward others who are getting the same message. No aliens here — not a spoiler — though I might have liked that ending more than this, which in its own way seems to drop from space.

You can look for metaphors and social comment here — there are references to conspiracy theories and industrial noise pollution and such — but it seems to me to operate most effectively as a beautifully rendered mood piece and character study, and, certainly in the case of Hall, whose story this is, a platform for some exquisitely subtle acting.

Claire Danes’ performance in Netflix’s “The Beast in Me” appears like a lock for an Emmy nomination for lead actress in a limited series or TV movie. In typical fashion, Danes left it on all the floor in portraying a reclusive author who suspects her developer neighbor (Matthew Rhys) of misdeeds.

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The Golden Globes rarely get it as right as they did in awarding Danes the drama series best actress award, at 15, for ABC’s “My So-Called Life.”

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The lifespan of the authentic teen drama that introduced viewers to Danes’ unique emotional translucence, counted in episodes.

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Danes also received an Emmy nomination for the series — the first of eight for acting so far.

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She is the second-youngest Emmy nominee ever for lead actress in a drama series, between Melissa Sue Anderson (15, for “Little House on the Prairie”) and Kristy McNichol (17, for “Family”).

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Danes won an Emmy for playing the real-life animal science professor in the HBO movie “Temple Grandin,” and two for playing complex CIA officer Carrie Mathison on Showtime’s “Homeland.”

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Span of years between Danes’ first and 2026 nominations, if she receives one.

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Danes’ Emmy longevity may not equal the likes of Carol Burnett, nominated in 2024 for “Palm Royale” 62 years after her first, but it’s mighty impressive for someone Danes’ age.

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There’s even a contender in her category this year whose span between nominations would be longer than Danes’ lifetime: Sally Field, who appears in Netflix’s TV movie “Remarkably Bright Creatures.”