Matt

Frank Lampard hopes Matt Grimes’ “very classy” decision not to celebrate his goal against Swansea City will end the boos when the midfielder faces his old club.

Grimes was given an icy reception on his first return to the Swansea.com Stadium since ending a 10-year spell as a Swan when he joined Coventry City in January 2025.

Yet when he responded by scoring Coventry’s second goal in the Championship leaders’ 3-0 win on Saturday, the 30-year-old raised his hands in apology.

“A lot of people, maybe including me, would have had a little celebration having got booed, but it’s a sign of the man he is,” said Sky Blues boss Lampard.

Ryder Cup stars Ludvig Aberg and Matt Fitzpatrick both falter as American Cameron Young comes from behind to win the Players Championship 2026 at TPC Sawgrass.

WATCH MORE: Young wins Players Championship after Fitzpatrick bogey on final hole

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President Trump announced on social media Friday that Richard Grenell, the former ambassador to Germany who Trump appointed as president of the John F. Kennedy Center for the Performing Arts more than a year ago, is stepping down. Grenell will be replaced by Matt Floca, the vice president of facilities operations at the center.

Change has been the only constant at the Kennedy Center since Trump fired the center’s board in early February of last year and had himself appointed chairman. A week later amid mass artist defections that included Shonda Rhimes and Renée Fleming, Trump appointed Grenell, a close ally, as interim executive director, a post Grenell held until now.

“Ric Grenell has done an excellent job in helping to coordinate various elements of the Center during the transition period, and I want to thank him for the outstanding work he has done,” Trump posted on Truth Social, adding that after an upcoming two-year closure for renovations, the center “will be, at its completion, the finest facility of its kind anywhere in the World!”

News of the center’s imminent closure came as a surprise to employees and arts fans still reeling from Trump’s announcement late last year that the board had voted to rename the venue the Trump-Kennedy Center, which prompted another wave of performance cancellations, including by composer Philip Glass. The Washington National Opera also announced in early January that it would leave the center.

Grenell’s tenure was marked by controversy every step of the way, which Grenell met with combative defiance, often slamming artists that criticized the center’s decisions. He also was known for not granting interviews to press that he deemed unfriendly, instead speaking on the record only to right-leaning news organizations.

The Kennedy Center did not respond to a request for comment on Grenell’s departure.

Matt Tebbutt will not return to MasterChef The Professionals after just one series at the helm, it has been reported. He stepped in to replace axed Gregg Wallace

Matt Tebbutt is reportedly not returning to MasterChef The Professionals after just one series at the helm. The TV chef was drafted in to replace Gregg Wallace, who was axed from the show over misconduct allegations.

It has been reported that the popular TV host will not be returning to the BBC professionals series when this one wraps – with just Marcus Wareing and Monica Galetti hosting the show.

Sources claim that the decision for Matt not to return is nothing to do with the presenter and more so because of the closeness with Monica and Marcus, who have been on the show since 2014 bar a brief hiatus for Monica.

“There might be a few eyebrows raised that Matt isn’t staying on given he has just joined. He didn’t do anything wrong and will definitely come back to the series as a guest in the future,” a source told The Sun.

“But bosses simply realised that they could get away with just having Marcus and Monica at the helm, especially as their chemistry is great and they have a tight relationship. Three was a bit of a crowd. Matt has taken it all in his stride and has plenty of other work to keep him busy. The whole experience was brilliant exposure for him.”

A Banijay spokeswoman said: “No decisions have been made yet about the presenting line up for the future series of MasterChef. We won’t comment on speculation.”

When Matt joined the show last year, he described it as an “absolute honour”. Announcing the exciting news, he said: “It’s an absolute honour to be working alongside these two titans of the food world. Their knowledge and uncompromising attitude is now the stuff of legend and I look forward to them taking me under their wing and seeing the chefs get off to a flying start in the competition!”

Matt previously confessed it was difficult stepping into Gregg’s shoes. He explained: “Stepping into someone’s TV shoes is a difficult position to be in. But I did it before – under totally different circumstances, of course – when James Martin left Saturday Kitchen.

“I just try and make my own mark without making too many waves. I’ll be as safe as houses on MasterChef: The Professionals! It’s fair to say the ‘Good Cop’ would apply here. My two grown-up kids, for instance, call me ‘GI Dad’ but the ‘GI’ refers to ‘give in’ rather than the GI Joe reference that I’d hoped they meant. Seriously, though, I think I’ll be pretty fair but expect high standards – after all some of these contestants are at the top of their game.

“It’s all been very exciting and I was very chuffed to be picked for The Professionals. I was pretty surprised to be honest but I think they wanted to get someone with as much experience as possible so they could drop them in at the deep end! And the fact that my name also begins with a ‘M’ maybe helps. A bit of alliteration never hurts.”

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An independent expenditure committee backed by Silicon Valley executives spent $4.8 million on television ads supporting San Jose Mayor Matt Mahan’s gubernatorial bid that will begin airing Thursday.

The two 30-second ads highlight the Democrat’s life story — being raised in a working-class family and working on a grounds crew and as a middle school teacher — and his accomplishments leading the state’s third-largest city.

Mahan’s parents “taught him the difference between nice to have and need to have,” a narrator says in one of the ads. “So as mayor of San Jose, Matt focused on the basics and delivered results on the things that matter most. The safest big city in America, a sharp drop in street homelessness and thousands of homes built. As governor, Matt Mahan will focus on results Californians need to have, like affordable homes, safe neighborhoods and good schools.”

The ads, which will air statewide on broadcast and cable TV, were paid for by an independent-expenditure committee called California Back to Basics Supporting Matt Mahan for Governor 2026.

The group has not yet filed any fundraising reports with the secretary of state’s office, but the ads’ disclosure says the top donors are billionaire venture capitalist Michael Moritz, luxury sleepwear company founder Ashley Merrill and Silicon Valley entrepreneur Michael Seibel.

Billionaire Los Angeles developer Rick Caruso, who considered running for governor or mayor of Los Angeles but ultimately decided against seeking either post, is involved in the effort, according to a strategist working for the committee who requested anonymity to speak about it.

The committee legally cannot coordinate with Mahan’s campaign, which he launched four weeks ago. Although Mahan lacks the name recognition of several other candidates in the crowded field running to replace termed-out Gov. Gavin Newsom, his fundraising prowess, notably among tech industry leaders, is notable. He has raised nearly $9.2 million in large donations since entering the gubernatorial race.

Matt Henry gets New Zealand off to a blistering start as Pathum Nissanka is dismissed with the first delivery of Sri Lanka’s innings in their ICC Men’s T20 World Cup Super 8s match.

FOLLOW LIVE: Super 8s – New Zealand v Sri Lanka

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MUSE frontman Matt Bellamy has found some solace following his split from model Elle Evans, his wife of six years.

I’m told he has been spending time with sex therapist Gaia Polloni — who he dated for nine years in the Noughties.

A source said: “Matt and Gaia are still good mates and they’ve been spending time together following his split from Elle.

“It’s been a hard time for him, naturally, as it would be after the end of any marriage.

“Gaia has always been a great sounding board. Matt is focused on healing and moving forwards into co-parenting with Elle.”

Matt was seen in Notting Hill, West London, last week without his wedding ring and walking next to Italian Gaia.

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They first started dating in 2001 and Matt popped the question six years later.

But in 2009, the relationship broke down and they called off their engagement.

After the break-up, Matt told an Italian magazine he would “do anything” to fix their relationship.

He went on to write Muse’s track Neutron Star Collision (Love Is Forever) for Gaia a year on from their split.

We revealed at the weekend that Elle and Matt had called time on their marriage.

They actually split in October.

A pal said: “Their relationship is very amicable. They are now focused on co-parenting their children and still get on very well.”

Matt had been splitting his time between London and LA – where Matt’s son from his relationship with Kate Hudson lives.

Now he is expected to spend more time in the UK, after admitting he wanted to come home.

A sparkly pink electric guitar hangs on a wall of the recording studio where Hilary Duff made her new album. The cozy, gear-filled joint near the Van Nuys Airport belongs to her husband, Matthew Koma, who produced “Luck… or Something,” the singer and actor’s first LP in more than a decade. But as Duff points out on a recent afternoon, the paisley-print guitar is all hers.

“I got it for my 16th birthday,” she says proudly — a gift from the Fender company. “I found it in the storage unit and Matt was like, ‘Oh, that’s going up there.’”

Before Miley Cyrus, before Sabrina Carpenter, before Olivia Rodrigo, Duff arrived in the early 2000s as a Disney kid with pop-idol ambitions. She broke out in the endearingly awkward title role of the Disney Channel’s “Lizzie McGuire” then went on to star in family-friendly movies like “Agent Cody Banks” and “Cheaper by the Dozen.” By the time she received that guitar, she’d topped the Billboard 200 with her album “Metamorphosis,” which sold 4 million copies and spawned hit singles like “So Yesterday” and “Come Clean.”

Duff stepped away from music for most of her 20s to focus on acting and starting a family. (An attempted comeback album in 2015, “Breathe In. Breathe Out.,” didn’t really go anywhere.) Now, at 38, she’s returned with a bracingly honest record full of the texture and detail of her life as a wife, sister and mother of four.

In frank yet wordy songs that layer guitars and synths over shimmering grooves, Duff sings about trying to overcome old habits and about her fear that her best times are behind her. “We Don’t Talk” appears to address her estrangement from her older sister, Haylie, while “Weather for Tennis” describes her tendency to keep the peace as a child of divorce. In “Holiday Party,” she recounts a recurring dream in which Koma cheats on her with her friends.

“I wake up in a rage and he’s like, ‘I didn’t do anything!’” she says with a laugh. “And I’m like, ‘But you want to.’ A lot of this stuff came out of the hormonal boom of: I’ve just had a baby and I’m nursing and I’m trying to get my two feet back on the ground again.” (Duff and Koma have three daughters aged 7, 4 and 1, while Duff shares a 13-year-old son with her ex-husband, former hockey player Mike Comrie.)

Asked how he hopes the album fares commercially, Koma says, “I don’t [care]. Public perception or sales, that’s all cool, but it’s a separate experience from why we did it.” The producer, who’s known for his work with Zedd and Shania Twain, adds, “The whole purpose was to make something that Hilary could feel good about stepping into.”

Yet early-2000s nostalgia led to a recent run of sold-out theater gigs, and this summer it’ll carry her into arenas around the world, including Inglewood’s Kia Forum on July 8 and 9. (Less happily for Duff, it also made a viral sensation of an essay in the Cut by her fellow millennial Ashley Tisdale in which Tisdale wrote about leaving a “toxic mom group” that allegedly included Duff and Mandy Moore.)

Curled on a sofa in the studio’s control room, Duff says, “I’m finally at this place where I’m zero percent ashamed of my past and any of the things that used to embarrass me” — one reason she made the bold choice to open her set at the Wiltern last month with two of her biggest hits, “Wake Up” and “So Yesterday.”

After those songs came “Roommates,” perhaps the most vulnerable track on Duff’s new album. It’s about navigating a dry patch in a marriage, and the language is as vivid as it is unsparing: “I only want the beginning / I don’t want the end,” she sings, adding that she longs to be in the “back of a dive bar, giving you h—.”

A surprising word choice.
How would you have said it? Sometimes you need to make the lyrics fit — you need it to rhyme with something. [Laughs] It’s meant to be polarizing because it’s such a desperate plea. I can say I haven’t actually given h— in the back of a dive bar. But it’s just trying to capture the feeling of a time when you felt alive.

Like all teen stars, you had to figure out how to grow up and talk about sex as a public figure. Now there’s the idea that it’s better left to the young.
I finally feel like I know a lot about sex. My whole 20s, sex was not always enjoyable — it was so much to figure out. Now I finally understand it. Maybe that’s a female thing, but I’m not ready to be put out to pasture. People come up to me all the time and they’re like, “Wow, you aged really well.” I’m like, “I’m only 38! Just because you’ve known me since I was 9…”

You’re handling senior citizenship well.
When do I start getting the discounts? I feel like 38 is not old, although when I thought about my parents at 40, they looked so different than we look now.

I always stop at those TikToks where it shows what 35 looked like in 1982.
I don’t think anyone drank water back then. They were, like, dusty-crusty.

Hilary Duff, left, and Matthew Koma at Apple Music Studios in Los Angeles in December.

(Amy Sussman / Getty Images for Apple Music)

You borrow the chorus of Blink-182’s “Dammit” for your song “Growing Up.” Why?
Blink is one of my favorite bands. I remember getting my driver’s license, and that was what was playing on my iPod. “Growing Up” is such a deeply personal song to me, talking about sitting in the backyard with one of my best friends and just needing to drink too much wine and unload about life. But it also feels like a love letter to my fans. I don’t like saying that word, but I genuinely feel like I’ve had fans for 25 years, and getting to see them now in adulthood — I didn’t know I was going to have this opportunity.

What’s the problem with “fan”?
It puts me on a pedestal that makes me feel uncomfortable. If you were to talk to Matt or someone close to me, they’d probably say, “Hilary doesn’t understand what she’s meant to some people.” And I think that’s true. When I think of myself, I’m not like a grand pop star — I feel more like a woman of the people.

A woman of the people?
Am I allowed to say that? [Laughs] Is that offensive in any way? My feet hit the ground in the morning, and I’ve got a million things to do. Sometimes my baby’s still sleeping. And I have a teenager to get ready for school that we’re always all waiting on.

Why do you have four children?
I know — we’re sick.

Did you expect to have four?
I thought I would have at least three. I always wanted a big family because I come from a super small family and I always wanted more siblings. I had Luca obviously pre-Matt, and then we had Banks before we got married. Then the pandemic hit — we had a pandemic baby like everybody else. The fourth was just a crazy-a— decision. Matt was like, “Everybody’s gonna think we’re really Christ-y if we go for No. 4.” We also have three dogs, two cats and eight chickens.

As two artists, how do you sort out the work of child-rearing?
I don’t know if I’ve actually said this out loud — to Matt I have for sure — but I think that part of my wanting to make a record was coming out of having my fourth child. I love motherhood, obviously — I wouldn’t have four kids if I didn’t. But I think I felt really jealous that he got to go to work every day and just be alone with his thoughts. I was like, I need to stretch. That’s what it felt like after the fourth baby: I’m either gonna lose myself completely and just become a stay-at-home mom and wait for the phone to ring, or I’m gonna go make something that moves me.

You don’t need me to tell you that our culture is always happy to make moms feel guilty. Was it a journey to accept that it’s OK to do something for yourself?
That’s what the healthy part of the brain says. But the other part that’s wired to be with the children you birthed — sometimes that part overshadows it. And it’s very hard to fight that. I could probably cry right now thinking about all the things I’m gonna miss this year.

Hilary Duff in the studio where she recorded her new album.

(Jay L Clendenin / For The Times)

You’ve got a line in “Roommates” where you say, “Life is life-ing and pressure is pressuring me.” At the shows you just played, did you think of your audience as being at the same place in life as you?
For sure. When they were scream-singing it back to me, I was like, “Oh, you know.” That doesn’t mean you have to be a parent. “Life is life-ing” is the bills and the monotony and the traffic and the family — it’s all the things. I knew that if it’s bumping around inside my head, and I’ve been living a pretty normal life for 10 years — normal as I can get — then people would see themselves in it.

Twenty-five years ago, you were playing to 10-year-olds. Would a 10-year-old today be interested in your new songs?
I don’t think so. But I mean, I used to sing Natalie Imbruglia’s “Torn” all the time, and I had no idea what it was about.

The last decade has been a golden age for young female songwriters: Taylor Swift, Billie Eilish, Olivia Rodrigo.
You forgot Chappell Roan.

“Luck… or Something” feels aligned with that deepening craft. But maybe your early stuff felt sophisticated to you.
I don’t think the intent back then was sophisticated songwriting. There was no Taylor Swift yet — it’s like before Christ and after Christ.

She changed the game?
On all the levels.

How’d you end up on Atlantic Records? I wondered whether this was a product of personal friendships — the Elliot Grainge and Sofia Richie and Good Charlotte of it all.
We’re more personally friends with them now. I finished making the record and for the first time ever was like, “It’s done — do you like it?”

You weren’t looking for notes from the label.
I’m not saying I didn’t have meetings with A&R. But pretty much the record was created, and that was that. I didn’t go shopping anywhere else, which was fantastic because I hate a dog-and-pony show.

Did you feel like you’d been chewed up by the record industry in any way?
After “Breathe In. Breathe Out.,” it was very easy to be like, “RCA forced me to lead with this song when I knew it should’ve been this song.” But that was me not having [courage], you know what I mean? It was a joint effort of [messing] it up. But I learned a lot from that. I don’t think I would’ve made this record if I hadn’t fumbled the ball a little.

The story about the toxic mom group blew up just as you were launching this album. Did that experience give you pause about reentering the pop world?
I mean, this is not new for me. I’ve had this since I was maybe 15 and starting to get followed around by paparazzi. Everything starts getting documented and everyone knows my life and all the players in it. So the stories that get news pickup — it’s not what happens to a normal person who maybe became an actor as an adult. And now it’s escalated by the talking heads on TikTok that need clickbait. It’s hard because you’re like, “Wait, whoa, that person kind of got it right,” and “Whoa that person doesn’t know what they’re talking about.” I saw something that was like, “None of the moms at school actually like her and neither do the teachers,” and I was like, “First of all…”

Is it hard or easy for you to tune out —
By the way, the women at school are lovely and I’m obsessed with all of them.

But can you ignore the chatter about you on social media?
It just depends on the day. Knowing that I get to open up the backdoors and play soccer as a family and take a hot tub and go get our chicken eggs — that’s the purpose of life. On the days when crazy s— happens, I go home and quiet the noise.