
Rory McIlroy has become golf's new diva-in-chief
The joy of Rory McIlroy is that he is unlike so many of the charmless androids populating professional golf, that he treats his craft with a passion and a sincerity impossible to fake. Where US Ryder Cup players strong-arm the PGA of America into paying them £370,000 each for deigning to turn up, he believes so fervently in the European cause that he ends up in tears. And where several of his former team-mates exclude themselves from future captaincy by accepting the Saudi bounty at LIV, he holds firm as the game's moral conscience, reminding his peers that money need not be their lodestar. In a sport that can seem awash with greed and entitlement, he so often brings a reminder of its soul.
All of which makes his behaviour since winning the Masters so difficult to accept. Out of nowhere, McIlroy has morphed into the diva-in-chief, hurling clubs, smashing tee-boxes, and treating America's national championship with such disdain that he claims to be unbothered about even making the cut. That is before we address him brushing off reporters after six consecutive rounds at majors, breaking this pattern only to give a few petulant remarks about 'frustration with you guys' and shrug that he has 'earned the right to do whatever I want'.
It is one of the strangest comedowns witnessed at this level. The diminished motivation that comes with scaling one's personal Everest is well-documented in sport: Nico Rosberg won his solitary Formula One world title in 2016 and promptly retired, exhausted by the psychological needle with Lewis Hamilton, while Pete Sampras lifted a then record 14th men's major singles title at the 2002 US Open and walked away, never to play a competitive tennis match again. The change in McIlroy, though, is something more troubling. It is not just his outlook that has shifted, but his personality, too. His behaviour during the US Open at Oakmont, just as at Quail Hollow for last month's US PGA, was cold, tetchy, hubristic, all traits antithetical to the compassionate character we are used to seeing.
More frustration from Rory McIlroy on the 17th 😬 pic.twitter.com/6U1SiuF6If
— Sky Sports Golf (@SkySportsGolf) June 13, 2025
Paul McGinley understands McIlroy better than most. He mentored him as Europe's captain in the 2014 Ryder Cup at Gleneagles, tellingly noting in the build-up: 'Rory's not arrogant.' But even he has been unsettled by McIlroy's latest conduct, alarmed by the distant and dismissive attitude on display. 'I didn't enjoy them,' McGinley said, in response to the off-hand answers McIlroy gave at Oakmont when he eventually decided to speak. 'I don't like to see that. Rory's better than that. He looks fed up to me, like he has had enough of everything. He's not himself. Something is eating at him. He hasn't let us know what it is, but there's something that's not right.'
The idea that it is just a natural cooling-off period, a reaction to the overwhelming emotional release of completing the career grand slam, does not quite hold water. McIlroy has savoured moments of profound catharsis before and soared immediately to even greater heights. His encore after lifting the Claret Jug at Hoylake in 2014? Winning a World Golf Championship in Akron a fortnight later, and a second US PGA at Valhalla the following week. This time, the upshot is not simply ragged golf – his recent nine-over-par total for 36 holes at the Canadian Open counted among the worst performances of his career – but a peculiarly contemptuous demeanour. You wondered, for example, what all the US Open volunteers felt when, asked what his hopes were for his final round, he shot back: 'Hopefully a round in under 4½ hours and get out of here.'
This mentality is hardly unusual in McIlroy's realm. The finest golfers are such a pampered breed that their entire existence consists of riding in courtesy limousines, staying at seven-star resorts, then firing up the private jets back to Florida. But there are reasons why McIlroy is held to a higher standard. For a start, he has long been unmoved by money: his father Gerry once told me he never had any cash on him, a claim later backed up by his admission that he had bought a huge mansion near the Bear's Club, Jack Nicklaus' Florida enclave, but only lived in four of its rooms. But it is also the fact that he has earned a reputation for sparing time for anybody. He reflected how, growing up, the memory of being snubbed for an autograph by Roy Keane had never left him. As such, he has tended to stay uncommonly long after range sessions to sign whatever a young fan thrusts in front of him.
Now, he is in the mood to disregard everyone. Never mind snubbing the press pack of late, he has even neglected his manners towards the great Nicklaus, skipping the Golden Bear's Memorial Tournament in Ohio and failing to give any advance notice. 'I didn't have a conversation with him,' Nicklaus said. And did that surprise him? 'A little bit.' You wonder if the time has come for him to offer McIlroy a pep talk. After all, Nicklaus made it his habit to talk with humility even on the rare occasions when his form deserted him. He also had zero tolerance of poor etiquette, recalling how tossing a club as a child had earned him ferocious dressing-down from his father. McIlroy threw not one club at Oakmont but two, while totalling a tee-box for good measure.
A sincere hope is that McIlroy rediscovers his irrepressible spirit soon, that he is energised by his imminent relocation to Wentworth with his wife Erica and their four-year-old daughter, Poppy. It is wise not to put anything past him: his abundance of talent is so vast that he could conjure a victory at this week's Travelers Championship in Connecticut, or even an Open triumph for the ages at Royal Portrush next month, in front of the people who remember the boy wonder who would become an icon. But as it stands, the evidence is undeniable: something is very wrong.

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The Guardian
11 minutes ago
- The Guardian
‘It's hard to find work': Marlee Matlin on making Hollywood history but waiting for change
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But as Not Alone Anymore explains, it was also much more complicated than a feelgood story of societal triumph, or a turning point for deaf creatives. Nor was it one of personal glory. Halfway through the film, the scene is replayed again, this time with the sound taken away – the thunderous applause muted to just a simulation of Matlin's own thunderous heartbeat as she walked to the stage. 'I was afraid as I walked up the stairs to get the Oscar,' Matlin recalls on screen in ASL. 'I was afraid because I knew, in my gut, that he wasn't that happy.' Hurt, 16 years her senior and an established Hollywood star, was intensely jealous of her success, and had already begun physically abusing her. Without sound and with context, what once read as overwhelming shock on her face instead appears as something darker, shaded with fear. The twist, of sorts, is one of many decisions by director Shoshannah Stern to subvert the hearing perspective that most viewers automatically assume. 'I wanted to return to her Oscar-winning moment twice,' Stern, a deaf actor herself, told me through an interpreter, 'because sound does limit people. There are a lot of things that I feel hearing people miss when they are just listening with their ears and not listening with their eyes.' When I first watched Matlin's win, I assumed, as Stern expected, that 'it's this roaring applause, so we're celebrating'. Without sound, the picture is clearer. 'You could see in that moment how scary it is,' said Stern. 'And it's right there. It's been in front of us this whole time.' Stern's intrinsic understanding of the deaf perspective was the reason Matlin, who went on to a long career on such shows as Seinfeld, The West Wing, The L Word and, most recently, the Oscar-winning film Coda, decided to make the film at all. 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How is my language being translated into English? And then I'm limiting myself. I'm thinking in a way that the hearing interviewer or the hearing director is thinking. I'm not thinking as myself.' 'It wasn't what I wanted Marlee to say in our documentary, it was how she spoke, how that changes when our expectations and our perspectives change,' she added. 'Accessibility is for everyone. It's not just for us as deaf people, but a lot of times that responsibility, that weight, is put on one person.' Not Alone Anymore illustrates that weight, which Matlin felt acutely as a very young person experiencing rapid professional success. Cast in Children of a Lesser God fresh out of high school, Matlin was new not only to screen acting but the world beyond her small community in suburban Chicago. The youngest of three children in a hearing family – Matlin became deaf at 18 months, for unknown reasons that, she recalls, nevertheless left her parents guilt-stricken – she attended a mixed deaf/hearing school and began acting at age seven; she was inspired, in part, by Henry Winkler, a lifelong mentor she first met backstage at a school show at age 12. (In 1993, Matlin married Kevin Grandalski, a cop she met on the set of Reasonable Doubts, in the Winklers' back yard. They have four children.) Matlin's family was not fluent in ASL, and it took years for her to understand the loneliness and isolation at home. She coped by smoking marijuana. At 19, she began dating Hurt, who was then 35. Her drug use escalated with the physical and emotional abuse; she has said she smoked 20 joints a day, plus cocaine. In the midst of her awards season run, she entered rehab. She emerged sober, and also the face of a deaf community she did not totally understand. 'I didn't realize that there were more deaf people out there, outside of Chicago, a whole community. It was bigger than what I even realized,' she said. Not Alone Anymore powers through cringey clips of interviewers asking Matlin to explain deafness. How did it feel to be deaf? Had she come to terms with it? Matlin powered through as best she could. She quickly became an activist, successfully pushing legislation in the US requiring closed captioning on TV and streaming sites. But she struggled as the lone representative of deafness for hearing people. The film lingers on backlash from the deaf community when Matlin spoke at the 1988 Oscars, which many felt encouraged the stereotype that deaf intelligence was connected to one's ability to imitate hearing speech. Matlin says the incident, fanned by hearing media attention, drove her away from the deaf community for over a decade. 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In posts and comments, some people accused her of lying about the abuse; others were mad at those who accused her of crying wolf. 'They were trying to define me,' she said. 'And I would have none of that. I wanted them to stop, but at the same time, I decided to step away from the conversation' during Coda's press run. Did she wish now that she said anything? 'No, I don't,' she answered, after a beat. 'Because nothing would satisfy these people. And why should I have to? I didn't trust what would happen if I did get involved, because of my past experience of being ignored, of being overlooked, not getting any help. But it was interesting to observe, to see the two factions fighting about me thinking that they knew me.' It's a typically strident answer from Matlin, who has never minced words, particularly on how her Oscar did not open up more opportunities for deaf actors – the film's title comes from her emotional reaction to Coda costar Troy Kotsur's supporting actor Oscar in 2022, becoming only the second deaf actor to win. As with Matlin's 1987 trophy, Kotsur's win hasn't changed much. 'I'm not seeing more opportunities open up,' said Stern. 'It's still up to deaf people or people from a minority group to explain their experience to the majority,' she added. 'We continue to say what is expected of us, which is: 'Great story. Representation has changed! There's going to be so many job opportunities!' That's what people are expecting us to say. And if we say that, nothing's going to change.' 'My least favorite question is: Are you working? What's next?' said Matlin. 'I hate answering that question. I say, 'Oh, well, I have this.' 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