Why More Female Executives Don’t Play Golf

Female executives face all sorts of barriers when it comes to using one of the great networking tools for business: golf.

That’s according to a new study, identifying some of the benefits female executives derive from playing golf, as well as the reasons more female executives don’t golf. The study’s authors conducted a content analysis, reviewing almost 100 articles from academic journals, trade publications, general-interest publications and golf associations.

The Wall Street Journal spoke with Deborah Gray, a professor of marketing at Central Michigan University and one of the study’s co-authors, about the research. Here are edited excerpts of the conversation.

WSJ: What were your overall conclusions?

DR. GRAY: Golf is so much different than other networking activities. The game takes hours, and gives you a chance to learn about someone’s life and personality. You learn how they react when things are not going well. You also get a sense of their integrity by seeing if they are honest on the course. Not surprisingly, many executives say their careers benefit from playing golf. We found one article stating that 71% of Fortune 1000 CEOs reported doing business with someone they met on the golf course, and another article that said 80% of Fortune 500 executives say golf has helped their career.

But only about a quarter of all golfers are women. That’s a problem because women’s careers may benefit just as much as their male counterparts. By not golfing, women not only miss out on the experience but also conversations about the experience. They also miss out on the chance to be more visible within their organisation, converse with decision makers and put themselves in a better position for promotions.

WSJ: Your literature review also found that men and women often network differently.

DR. GRAY: Academic researchers have found women’s networks tend to include people who are more like themselves, whereas men’s networks tend to be less homogeneous and more strategic and include more powerful people. One way men create more diverse networks is through golf. They connect with business associates over shared interest rather than a common background. Women should do that, too.

WSJ: What are some of the barriers female executives may face when it comes to using golf as a networking tool?

DR. GRAY: Women often have unequal access to leisure time. Female executives may be caring for children and ageing parents in addition to their professional responsibilities. Consequently, they may prioritize paid work during business hours and skip networking opportunities. That’s especially true for golf because it is very time consuming. Playing 18 holes of golf can take four to five hours.

WSJ: Are there any barriers specific to the game of golf?

DR. GRAY: Female executives may also spend more time worrying that they are not strong enough or good enough to play with male colleagues. But most people are just average golfers. According to the USGA, the average man’s handicap is 14.1 and the average women’s handicap is 28, which is a long way from being a scratch golfer.

Those numbers from the USGA also suggest that the average woman swings her club 12 more times over a round of golf, which isn’t a lot of waiting time over 18 holes, especially if the ball is hit right down the fairway. A common misconception is that higher-handicap golfers, often assumed to be women, are slower golfers. But golfers with low handicaps can be slow, too. The key for any golfer is knowing when to pick up the ball.

But the idea that women play slower has been used by private golf clubs to exclude women from playing during popular times on the golf course, like Saturday morning, though the practice is now changing. Other parts of the game can be updated to be more inclusive. For instance, the forward-most tee is still frequently called the woman’s tee, though some courses now suggest that someone’s handicap dictates where they tee off. Male executives shouldn’t just assume their female colleagues will tee off at a different spot.

WSJ: Aren’t more women starting to play golf?

DR. GRAY: Major golf associations, including the LPGA, are running marketing campaigns to increase the number of women playing golf. These associations are also trying to get more girls to start playing the game. Girls now make up about 36% of all golfers ages 6 to 17 years old. But corporate America could definitely do more to get women into the game.

WSJ: What can companies do to encourage more female golfers?

DR. GRAY: Companies could teach employees more about networking and include golf as part of their training. They could even help employees evaluate gaps in their network and identify key people who can help them accomplish their career goals. I tell my business students to think about a round of golf like any other business meeting, and consider their objectives beforehand. After all, few people would go into a meeting without an agenda. Companies could also sponsor golf lessons at local courses. The key is that it happens during the workday, just like other professional development activities, encouraging people who tend to skip after-hour events to participate. Lessons and clinics also provide opportunities for employee team building, so there are many reasons for employers to think about sponsoring golf lessons.

The most 2026 element of the latest screen adaptation of 1847’s hottest novel, “Wuthering Heights,” is the scene in which Heathcliff repeatedly asks the young lady he’s undressing, “Do you want me to stop?” even as she writhes with lust, indicating an affirmative response is unlikely.

Previously understood as a notorious brute even by 19th-century standards, Heathcliff now exhibits signs of having earned perfect grades in today’s campus training modules.

There’s also a reference to septicemia, which is writer-director Emerald Fennell’s perhaps too-technical stab at explaining the nonspecific Victorian disease that afflicts one character.

Mostly, however, Ms. Fennell has done an admirable job of not modernising a dark and moody romance. If most of today’s filmmakers crave hearing, “This is not your mother’s (fill in the blank)” when adapting classic material, this pretty much is your mother’s “Wuthering Heights,” or at least one she will recognise.

Catherine Earnshaw, played with great soapy gusto by Margot Robbie, is still the same judgment-impaired social-climbing drama queen as ever, and Ms. Fennell frequently associates her with a rich, decadent red—the colour of the bordello—to suggest that she has unwisely traded her body for riches.

Ms. Fennell, who won an Oscar for writing the feminist parable “Promising Young Woman,” doesn’t bother suggesting that Catherine is a victim of society’s impossible expectations for women, which allows her to focus on the core story without intrusive mutters of disapproval for 19th-century mores.

The plot is a template for every Harlequin romance about a woman caught between a sexy beast and a languid but wealthy wimp.

Catherine, who lives with her frequently drunken father (Martin Clunes) on a struggling Yorkshire estate called Wuthering Heights, grows up with a wild, apparently orphaned boy adopted by her father after being found hapless in the street.

The boy at first doesn’t even talk, and seems to have no name, so Catherine calls him Heathcliff. As an adult, he is played by Jacob Elordi , an excellent match for Ms. Robbie, both in comeliness and star power.

The pair grow up best friends and even sleep in the same bed. The desperate attraction between them is evident to both, but Catherine has her sights set on a higher-status mate than this mere stable boy.

After much figurative and literal peering over the walls of the posh neighbouring estate, Thrushcross Grange, she twists an ankle and becomes a six-week houseguest of the gentleman who owns it, the wealthy Edgar Linton (Shazad Latif). He lives with his ward, Isabella (Alison Oliver). Heathcliff, in agony, moves away without notice while Catherine marries Edgar.

Ms. Fennell has greatly streamlined the complicated plot of Emily Brontë’s novel, eliminating the framing device, the supernatural element, several peripheral figures and a second generation of characters.

Other adaptations have made similar excisions, and yet the latest version is luxuriantly long, fully half an hour longer than the much-loved 1939 film by William Wyler that starred Merle Oberon, Laurence Olivier and David Niven.

Ms. Fennell is a millennial who might have been expected to make the material slick, hip or at least fast; she has done none of that.

The story is a slow burn, as it should be, an extended sonata of moaning winds, crackling storms, smouldering glances and heaving bosoms. When you’ve got two actors as luminous as Ms. Robbie and Mr. Elordi, you don’t need them to say clever things, and they don’t.

Having simplified matters, Ms. Fennell sloughs off the psychological depth of the novel and instead lavishes attention on the heavy breathing and the decor, exhibiting much interest in the ornate mansion in which the Linton family lives (one room is set aside for ribbons only) and the costumes and accessories with which Ms. Robbie is gloriously draped.

Catherine essentially becomes a character in a Sofia Coppola movie who grows increasingly trapped and anguished in proportion to her cosseting. A slate of songs by Charli XCX captures Catherine’s tragic self-absorption without seeming jarringly modern.

The movie is very much aimed at female viewers, and Heathcliff (whose bare-chested form Ms. Fennell’s camera adoringly takes in) is less robustly drawn than in some previous iterations, driven mainly by carnal lust rather than a more all-encompassing rage.

Olivier’s demonic anger at the world came through clearly, whereas Mr. Elordi’s Heathcliff seems as though he’d be content to simply peel away Catherine from Edgar. And though Nelly (Hong Chau), Catherine’s maid and confidante, plays an essential role in developments, her character remains a bit frustratingly hazy.

Still, in the wake of adaptations such as 2012’s “Anna Karenina,” with Keira Knightley , and 2013’s “The Great Gatsby,” with Leonardo DiCaprio, that were all sizzle and flash, “Wuthering Heights” is a worthy throwback.

Deeply felt longing is its own kind of sizzle.

Why More Female Executives Don’t Play Golf—and Why That’s a Problem

According to a new study, women miss out on a lot of networking opportunities by not playing the game

Margot Robbie and Jacob Elordi star in an adaptation of the classic novel that respects the romance’s slow burn.