John Lithgow weighs in on backlash after joining Harry Potter series
John Lithgow isn't being intimidated by Harry Potter fans.
The actor, 79, did an interview with the Times of London published on Sunday where he addressed the backlash he's gotten for joining HBO's Harry Potter TV series because of J.K. Rowling's anti-trans controversies.
Lithgow said he 'absolutely' didn't expect to get so much hate from the author's many critics.
'Of course, it was a big decision because it's probably the last major role I'll play,' Lithgow said, reports the New York Post.
'It's an eight-year commitment so I was just thinking about mortality and that this is a very good winding-down role.'
The Conclave star revealed that before he signed onto the Harry Potter show to play Professor Albus Dumbledore, 'a very good friend who is the mother of a trans child' sent him an open letter titled 'An Open Letter to John Lithgow: Please Walk Away from Harry Potter.'
'That was the canary in the coal mine,' Lithgow said.
He added: 'I thought, 'Why is this a factor at all?' I wonder how J.K. Rowling has absorbed it. I suppose at a certain point I'll meet her, and I'm curious to talk to her.'
When asked if the backlash has made him reconsider joining the cast, Lithgow replied, 'Oh, heavens no.'
Rowling's controversial comments about the transgender community have been met with backlash over the last few years. Harry Potter movie stars Daniel Radcliffe and Emma Watson even spoke out to publicly disagree with her back in 2020.
Despite her views, Rowling is one of the executive producers of HBO's television adaptation of her famous book series.
HBO CEO Casey Bloys confirmed in November that Rowling has 'been fairly involved' in the making of the show, which is expected to debut on Max in 2026.
'She was very involved in the process of selecting the writer and the director,' Bloys told reporters at a press event. 'I imagine she'll have opinions on casting. It hasn't affected the casting or hiring of writers or production staff or anything, so we haven't felt any impact from that.'
Lithgow confirmed his casting in the Harry Potter series in February.
'It came as a total surprise to me,' he told Screen Rant. 'I just got the phone call up at the Sundance Film Festival for yet another film, and it was not an easy decision because it's going to define me for the last chapter of my life, I'm afraid.'
'I'm very excited. Some wonderful people are turning their attention back to Harry Potter,' continued Lithgow. 'That's why it's been such a hard decision. I'll be about 87 years old at the wrap party, but I've said yes.'
Joining Lithgow in the show are Janet McTeer as Professor Minerva McGonagall, Paapa Essiedu as Professor Severus Snape, Nick Frost as Rubeus Hagrid, Luke Thallon as Professor Quirinus Quirrell and Paul Whitehouse as Argus Filch.
The actors playing Harry, Ron and Hermione have yet to be announced.
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The Advertiser
18 hours ago
- The Advertiser
Lange, Brosnan, Bates: performances like these never get old
This is one of those movies that gets described as a love letter to the theatre. For those of us who enjoy both art forms and can look past some of the cliches and overdramatic elements, it's well worth seeing. For others, it might not appeal quite so much, but the acting is excellent and it's sometimes funny despite its underlying seriousness. It's a truism that there aren't many good movie parts for older actresses but there are a couple of juicy roles here. At one point Meryl Streep was going to play the title character and I can imagine Glenn Close eyed the role with longing. But Jessica Lange is the star and she's excellent. This film was produced for HBO in the United States but, like an earlier HBO movie, the 2013 Liberace biopic Behind the Candelabra, it's getting a theatrical run here. Lillian is the First Lady of the American Theatre (you can practically hear the capital letters when it's said). She's been in hundreds of plays over a long career, a total pro and a bit of a diva, the kind of grande dame who often seems to be acting as much off stage as on. She's in rehearsals for a Broadway production of The Cherry Orchard, expected to be another triumph. But lately, strange things have been happening. She's been having visions of her late husband Carson (Michael Rose) who was sometimes her director, and worse, she's having more and more trouble remembering people's names - and worse, her lines. Any actor can have a memory lapse but here it's getting to the point where the director, the producer and the other actors are noticing. And the producer, in particular, is getting worried. Will Lillian, the big draw, be up to the demands of the Chekhov play? Should she be replaced? Medical tests reveal a terrible truth: she has a form of dementia. She's shocked and terrified but desperately wants to stay in the play, knowing it will be her last. She also wants to reconcile with her daughter Margaret (Lily Rabe) who was sorely neglected as a result of her parents' careers and wonders why her mother keeps wanting to spend time with her now. But Lillian can't bring herself to tell her daughter the truth and, of course, this does not bode well. Her longtime friend and assistant Edith (Kathy Bates) finds out what's going on sooner than most and, having been through the experience with her husband, is shaken by the thought of facing it again. Bates is excellent in bringing out the mix of good humour, affection, tough love and anguish in the role. The Great Gillian Hall is like a spiritual sequel to the classic backstage movie All About Eve. In that movie, great Broadway star Margot has to accept that she's getting older (40!) and that love can be had as well as a career. Here, Lillian has lost one great love, her husband, and is about to lose another, her career. And, all too soon, there will be more and more losses. There have been other movies dealing with dementia - The Notebook, Still Alice, and The Father among them - so many elements of Elisabeth Seldes Annacone's screenplay are familiar. And I have to say one way to alleviate Lillian's problems seemed painfully obvious: it occurred to me long before someone in the movie thought of it. Director Michael Christof's experience with thrillers (Body Shots, The Night Clerk) helps convey the creepiness as well as the strange comfort of Lillian's hallucinations. Providing some lighter moments is Lillian's flirty, friendly banter with artist Ty (Pierce Brosnan) who lives in the neighbouring apartment. If you're in the mood for a poignant film where the excellent performances are foregrounded, this is well worth a watch. This is one of those movies that gets described as a love letter to the theatre. For those of us who enjoy both art forms and can look past some of the cliches and overdramatic elements, it's well worth seeing. For others, it might not appeal quite so much, but the acting is excellent and it's sometimes funny despite its underlying seriousness. It's a truism that there aren't many good movie parts for older actresses but there are a couple of juicy roles here. At one point Meryl Streep was going to play the title character and I can imagine Glenn Close eyed the role with longing. But Jessica Lange is the star and she's excellent. This film was produced for HBO in the United States but, like an earlier HBO movie, the 2013 Liberace biopic Behind the Candelabra, it's getting a theatrical run here. Lillian is the First Lady of the American Theatre (you can practically hear the capital letters when it's said). She's been in hundreds of plays over a long career, a total pro and a bit of a diva, the kind of grande dame who often seems to be acting as much off stage as on. She's in rehearsals for a Broadway production of The Cherry Orchard, expected to be another triumph. But lately, strange things have been happening. She's been having visions of her late husband Carson (Michael Rose) who was sometimes her director, and worse, she's having more and more trouble remembering people's names - and worse, her lines. Any actor can have a memory lapse but here it's getting to the point where the director, the producer and the other actors are noticing. And the producer, in particular, is getting worried. Will Lillian, the big draw, be up to the demands of the Chekhov play? Should she be replaced? Medical tests reveal a terrible truth: she has a form of dementia. She's shocked and terrified but desperately wants to stay in the play, knowing it will be her last. She also wants to reconcile with her daughter Margaret (Lily Rabe) who was sorely neglected as a result of her parents' careers and wonders why her mother keeps wanting to spend time with her now. But Lillian can't bring herself to tell her daughter the truth and, of course, this does not bode well. Her longtime friend and assistant Edith (Kathy Bates) finds out what's going on sooner than most and, having been through the experience with her husband, is shaken by the thought of facing it again. Bates is excellent in bringing out the mix of good humour, affection, tough love and anguish in the role. The Great Gillian Hall is like a spiritual sequel to the classic backstage movie All About Eve. In that movie, great Broadway star Margot has to accept that she's getting older (40!) and that love can be had as well as a career. Here, Lillian has lost one great love, her husband, and is about to lose another, her career. And, all too soon, there will be more and more losses. There have been other movies dealing with dementia - The Notebook, Still Alice, and The Father among them - so many elements of Elisabeth Seldes Annacone's screenplay are familiar. And I have to say one way to alleviate Lillian's problems seemed painfully obvious: it occurred to me long before someone in the movie thought of it. Director Michael Christof's experience with thrillers (Body Shots, The Night Clerk) helps convey the creepiness as well as the strange comfort of Lillian's hallucinations. Providing some lighter moments is Lillian's flirty, friendly banter with artist Ty (Pierce Brosnan) who lives in the neighbouring apartment. If you're in the mood for a poignant film where the excellent performances are foregrounded, this is well worth a watch. This is one of those movies that gets described as a love letter to the theatre. For those of us who enjoy both art forms and can look past some of the cliches and overdramatic elements, it's well worth seeing. For others, it might not appeal quite so much, but the acting is excellent and it's sometimes funny despite its underlying seriousness. It's a truism that there aren't many good movie parts for older actresses but there are a couple of juicy roles here. At one point Meryl Streep was going to play the title character and I can imagine Glenn Close eyed the role with longing. But Jessica Lange is the star and she's excellent. This film was produced for HBO in the United States but, like an earlier HBO movie, the 2013 Liberace biopic Behind the Candelabra, it's getting a theatrical run here. Lillian is the First Lady of the American Theatre (you can practically hear the capital letters when it's said). She's been in hundreds of plays over a long career, a total pro and a bit of a diva, the kind of grande dame who often seems to be acting as much off stage as on. She's in rehearsals for a Broadway production of The Cherry Orchard, expected to be another triumph. But lately, strange things have been happening. She's been having visions of her late husband Carson (Michael Rose) who was sometimes her director, and worse, she's having more and more trouble remembering people's names - and worse, her lines. Any actor can have a memory lapse but here it's getting to the point where the director, the producer and the other actors are noticing. And the producer, in particular, is getting worried. Will Lillian, the big draw, be up to the demands of the Chekhov play? Should she be replaced? Medical tests reveal a terrible truth: she has a form of dementia. She's shocked and terrified but desperately wants to stay in the play, knowing it will be her last. She also wants to reconcile with her daughter Margaret (Lily Rabe) who was sorely neglected as a result of her parents' careers and wonders why her mother keeps wanting to spend time with her now. But Lillian can't bring herself to tell her daughter the truth and, of course, this does not bode well. Her longtime friend and assistant Edith (Kathy Bates) finds out what's going on sooner than most and, having been through the experience with her husband, is shaken by the thought of facing it again. Bates is excellent in bringing out the mix of good humour, affection, tough love and anguish in the role. The Great Gillian Hall is like a spiritual sequel to the classic backstage movie All About Eve. In that movie, great Broadway star Margot has to accept that she's getting older (40!) and that love can be had as well as a career. Here, Lillian has lost one great love, her husband, and is about to lose another, her career. And, all too soon, there will be more and more losses. There have been other movies dealing with dementia - The Notebook, Still Alice, and The Father among them - so many elements of Elisabeth Seldes Annacone's screenplay are familiar. And I have to say one way to alleviate Lillian's problems seemed painfully obvious: it occurred to me long before someone in the movie thought of it. Director Michael Christof's experience with thrillers (Body Shots, The Night Clerk) helps convey the creepiness as well as the strange comfort of Lillian's hallucinations. Providing some lighter moments is Lillian's flirty, friendly banter with artist Ty (Pierce Brosnan) who lives in the neighbouring apartment. If you're in the mood for a poignant film where the excellent performances are foregrounded, this is well worth a watch. This is one of those movies that gets described as a love letter to the theatre. For those of us who enjoy both art forms and can look past some of the cliches and overdramatic elements, it's well worth seeing. For others, it might not appeal quite so much, but the acting is excellent and it's sometimes funny despite its underlying seriousness. It's a truism that there aren't many good movie parts for older actresses but there are a couple of juicy roles here. At one point Meryl Streep was going to play the title character and I can imagine Glenn Close eyed the role with longing. But Jessica Lange is the star and she's excellent. This film was produced for HBO in the United States but, like an earlier HBO movie, the 2013 Liberace biopic Behind the Candelabra, it's getting a theatrical run here. Lillian is the First Lady of the American Theatre (you can practically hear the capital letters when it's said). She's been in hundreds of plays over a long career, a total pro and a bit of a diva, the kind of grande dame who often seems to be acting as much off stage as on. She's in rehearsals for a Broadway production of The Cherry Orchard, expected to be another triumph. But lately, strange things have been happening. She's been having visions of her late husband Carson (Michael Rose) who was sometimes her director, and worse, she's having more and more trouble remembering people's names - and worse, her lines. Any actor can have a memory lapse but here it's getting to the point where the director, the producer and the other actors are noticing. And the producer, in particular, is getting worried. Will Lillian, the big draw, be up to the demands of the Chekhov play? Should she be replaced? Medical tests reveal a terrible truth: she has a form of dementia. She's shocked and terrified but desperately wants to stay in the play, knowing it will be her last. She also wants to reconcile with her daughter Margaret (Lily Rabe) who was sorely neglected as a result of her parents' careers and wonders why her mother keeps wanting to spend time with her now. But Lillian can't bring herself to tell her daughter the truth and, of course, this does not bode well. Her longtime friend and assistant Edith (Kathy Bates) finds out what's going on sooner than most and, having been through the experience with her husband, is shaken by the thought of facing it again. Bates is excellent in bringing out the mix of good humour, affection, tough love and anguish in the role. The Great Gillian Hall is like a spiritual sequel to the classic backstage movie All About Eve. In that movie, great Broadway star Margot has to accept that she's getting older (40!) and that love can be had as well as a career. Here, Lillian has lost one great love, her husband, and is about to lose another, her career. And, all too soon, there will be more and more losses. There have been other movies dealing with dementia - The Notebook, Still Alice, and The Father among them - so many elements of Elisabeth Seldes Annacone's screenplay are familiar. And I have to say one way to alleviate Lillian's problems seemed painfully obvious: it occurred to me long before someone in the movie thought of it. Director Michael Christof's experience with thrillers (Body Shots, The Night Clerk) helps convey the creepiness as well as the strange comfort of Lillian's hallucinations. Providing some lighter moments is Lillian's flirty, friendly banter with artist Ty (Pierce Brosnan) who lives in the neighbouring apartment. If you're in the mood for a poignant film where the excellent performances are foregrounded, this is well worth a watch.

News.com.au
a day ago
- News.com.au
Painful story behind the new Harry Potter series
In any given week there are any number of images that are likely to elicit an Edvard Munch-y Scream but this week there was one photo, shot in a green and pleasant bit of England which could have doubled as a Wind In the Willows set, that should have set your hair on fire. In the image, three tweens crouch, broadly grinning for the camera, the trio having beaten out tens of thousands of other 9-11-year-olds to nab the lead roles in the New HBO remake of Harry Potter. Ohgodisthisagoodideareallyummmm…. Dominic McLaughlin, Alastair Stout and Arabella Stanton have been cast, respectively, as the Harry and his sidekicks Ron and Hermione, guaranteeing them fortunes, fame and never having to sit through year ten modern history should they not fancy. That day, they just might be in Cannes doing a quick red carpet or in Prague shooting Darron Aronofksy's newie. Ciao darling. I'm sure that for McLaughlin, Stout and Stanton it's a dream come true. They feel like golden ticket winners, the envy of kids the world over and are about to embark on an incredible adventure. But boring adult me looks at this publicity shot and wants to do some Munch-ing. Child stardom, historically, has a helluva chequered record. The announcement of McLaughlin, Stout and Stanton as the new faces of Harry Potter feels like the most double edged of swords going outside of a Roman military museum. On one hand, what child's dream would not be to get to skive off school to pretend to be a wizard all day while earning squillions? On the other hand, youthful fame is notorious for wreaking havoc and often coming with an extraordinarily high, lifelong cost. The most obvious casualties: Drew Barrymore, Cory Haim, Cory Feldman, Edward Furlong, Lindsay Lohan, Britney Spears, Tatum O'Neil, Macaulay Culkin, and Amanda Bynes. We could also probably add in Justin Bieber considering he seems to really be going through something right now. Hello, stints in rehab, reality TV, and even court, with the occasional caught-by-the-paps, head-shaving breakdown thrown in there too. For decades it has been clear that childhood stardom both arrests and speeds up the normal sort of emotional, psychological and social development that you are meant to go through as you leave childhood and awkwardly galumph into adulthood. We've known all of this since Ronald Reagan was eating all the red jelly beans out of his Oval Office jar and yet every generation there are new fresh-faced enthusiastic pre-teens who don't, who can't, quite realise what they are about to sacrifice. Look no further than the original Potter stars, Daniel Radcliffe, Emma Watson and Rupert Grint. They have all made clear that the actual acting on the eight original movies – the larking about on sets and the creative aspect of it all – was a real joy but that tremendous, global fame that came with it deeply affected them. Radcliffe, Watson and Grint might never have to worry about mortgage payments or how they can afford that ice cream truck they always wanted (Grint) but the life-altering reverberations of being cast in Potter are clear to this day. Radcliffe has, on a number of occasions, talked about how he started drinking heavily as a teenager to cope with it all. 'The quickest way to forget about the fact that you're being watched is to get very drunk,' he told Off Camera With Sam Jones in 2019. 'I was a recluse at 20. It was pathetic,' he told Shortlist in 2012. 'I'd stay in my apartment for days and drink alone.' During a Newsweek interview in 2022 he was clear: 'I wouldn't want fame for my kid.' Speaking to The Times in 2021, Grint said: 'I found it hard to deal with the fame side of things. If I ever do see Dan [Radcliffe] or Emma [Watson], fame is the one thing we never talk about.' Wade into the myriad of interviews Radcliffe, Watson and Grint have given over the years and the words they use to describe becoming global megastars so young are ones like 'scary', 'dehumanising', 'surreal and odd', 'weird' and 'vulnerable'. They have talked about feeling 'detached' from other teenagers. Grint said in 2018, when he would go back to his old school and see his peers, 'We had very little in common, which is quite isolating in a way.' Radcliffe, Watson and Grint won their roles in 2000 and yet here we are, 25 years later, and their careers and public identities are still indelibly shaped by a movie they started shooting a full year before 9/11 even happened. Smartphones didn't exist yet. Instagram had barely been invented when the final Potter movie came out. So, what will the future be like for McLaughlin, Stout and Stanton? They are about to embark on a project that will make them some of the most instantly recognisable teenagers in a world saturated by social media. How will they get through this unscathed? I'm sure their parents, HBO and every producer involved will do absolutely everything in their power to look after them; that they will all take every precaution and hire every child psychologist and adolescent specialist and on-set advocate to try and protect McLaughlin, Stout and Stanton as much as possible. But surely there is only so far a well-meaning studio and the most thoughtful and best of parents can go to shield them from real world consequences of their roles. Just think about what lies ahead. McLaughlin, Stout and Stanton will have to go through the profound, innate awkwardness of adolescence – the hormones, the physical and emotional changes – with People keeping a around-the-clock watch. Their faces will be on screens the world over. For a new generation, they will be Harry, Hermione and Ron. They will become immutable parts of the cultural furniture and nothing can ever change that. There will be no going back. They are making what could be a lifelong choice at 11. There will be at least one season per book, with the first out in 2026 meaning that, assuming there is one series per year, the final one could be screening in 2034. McLaughlin as the titular Harry will be 19-years-old by then. How will they be on the other side of this? I hope that what lies ahead for McLaughlin, Stout and Stanton is all the joy and fun and magic of bringing these characters to life. I hope against hope that they can somehow dodge having to walk the tough path that many other child stars have over the years. I hope. I so very dearly hope. And if all else fails, they can buy themselves an ice cream van I suppose.


West Australian
2 days ago
- West Australian
What to Watch: Mix Tape, Ocean With David Attenborough, Play School, Fubar and The Inspired Unemployed
Binge is fast carving a place for itself as the go-to for reliably excellent locally produced series. This is a good thing: they recently lost their HBO slate to new streaming rival Max, so investing locally is probably a solid strategy going forward. In recent years Binge has given us some ripper series, including The Twelve, Love Me and Colin From Accounts. Now they're blessing us with this great four-part drama, based on the acclaimed novel by Jane Sanderson. Told through dual timelines, it charts the teen love story of school friends Alison and Daniel (Florence Hunt and Rory Walton-Smith), living in Sheffield, England, in 1989, who fall in love and exchange mix tapes, which provide the musical backdrop to this beautifully realised series. Alison and Daniel's story picks up again in 2015, and by this stage the pair (now played by Teresa Palmer and Jim Sturgess) are long estranged, and living very different lives to their teen selves. Daniel is a music critic, still living in his hometown, and Alison is on the other side of the world in Sydney, the wife of an accomplished surgeon (played by Ben Lawson) — neither is wholly satisfied with where they've landed. They reconnect again, once more through music, and their stories pick up where they left off. But there's been a whole life lived between the stories, and the series asks whether lost love can ever really be reclaimed, and whether 'the road not taken' really is the better one. This is beautifully shot, with a great script and superb performances, especially from Bridgerton's Hunt and newcomer Walton-Smith, who infuse their portrayals with just the right amount of teen intensity and crackling tension. I adored this sweetly nostalgic series. You won't want to miss it. 'If we save the sea, we save our world,' says David Attenborough in the trailer for his latest landmark documentary special, which highlights the importance of the world's vast oceans and the part we all have to play in ensuring they remain healthy and viable. It's a marvel that Attenborough, now aged 99, is still involving himself with these types of programs. How blessed we are to still be hearing his voice. A cinematic journey into the deep. This one's for all of you with teen boys at home: chances are they'll be tuning in to the new season, which sees the four mates up to their old tricks, thriving in the chaos they create through their attempts to one-up each other in the embarrassment stakes. Real talk: this show is not for everyone, but if you like puerile humour and rapscallion hijinks (see also: teenage boys), then you're in the right place. Not for the faint of heart. There's something so wholesome about Play School — I miss the time I spent watching it daily with my little one. This week sees the start of a new spin-off, this one all about 'the beauty and diversity of Australia'. Different places are explored through the premise that regular presenter Teo is off having adventures, posting back parcels and videos showcasing where he's been. For curious little minds. He promised us he'd be back, and Arnold Schwarzenegger is nothing if not a man of his word. He's returning for another season of his surprisingly funny comedy, which has him star as an ageing CIA operative who realises his daughter, played by Monica Barbaro, is also working for his organisation. For years they've both been living double lives, unaware of each other's professions — great premise, no? This season they're joined by The Matrix's Carrie-Anne Moss. Count us in!