Potter

DOWNTON Abbey and Harry Potter star Dame Maggie Smith left a £16million fortune to her two actor sons, probate records published nearly two years after her death reveal.

The double Oscar winner, who died at a London hospital in September 2024 at the age of 89, left a net estate valued at £15,977,325.

Her will divides the bulk of that fortune equally between her sons Christopher Stephens, who works under the stage name Chris Larkin, and Toby Stephens.

She also left her West Sussex farmhouse, Douglas Lake Farm at Fittleworth, to a family trust she had set up with the two brothers in 2019.

The five-bedroom house, where she raised her sons and lived for more than 40 years, sits on a secluded plot with barns, a stable and a vineyard.

Born Margaret Natalie Smith in Ilford, Essex, in 1934, she was brought up in Oxford and made her stage debut at the Oxford Playhouse aged 17.

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She won her first Oscar in 1970 for playing the teacher in The Prime of Miss Jean Brodie, and a second in 1979 for California Suite.

She was made a Dame in 1990 and her other films included A Room with a View, Sister Act, Gosford Park and The Lady in the Van.

A generation of children knew her as Professor Minerva McGonagall in the Harry Potter films, a role she played across a decade from 2001 to 2011.

Her role as the acid-tongued Violet Crawley in six series of ITV’s Downton Abbey from 2010 won her three Emmy awards and a fresh television audience around the world.

In all she won two Oscars, seven Baftas, four Emmys, three Golden Globes and a Tony award, and was appointed a Companion of Honour by the late Queen in 2014.

King Charles and Queen Camilla also paid tribute, saying: “As the curtain comes down on a national treasure, we join all those around the world in remembering with the fondest admiration and affection her many great performances, and her warmth and wit that shone through both off and on the stage.”

Harry Potter co-star Daniel Radcliffe, said: “I will always consider myself amazingly lucky to have been able to work with her, and to spend time around her on set. The word legend is overused but if it applies to anyone in our industry then it applies to her. Thank you Maggie.”

Hugh Bonneville, who played her son in Downton Abbey, said: “Anyone who ever shared a scene with Maggie will attest to her sharp eye, sharp wit and formidable talent.

“She was a true legend of her generation and thankfully will live on in so many magnificent screen performances.”

Her sons announced her death in a statement issued through her publicist, in which they thanked hospital staff for their care during her final days.

They said: “An intensely private person, she was with friends and family at the end.

“She leaves two sons and five loving grandchildren who are devastated by the loss of their extraordinary mother and grandmother.”

She married the actor Robert Stephens in 1967, the father of her two sons, and after their divorce married the playwright Beverley Cross in the mid-1970s.

Mr Cross wrote the musical Half a Sixpence and the screenplays for the fantasy adventure films Jason and the Argonauts and Clash of the Titans.

Her will directs that any copyright, royalties and unpublished works she inherited from him after his death in 1998 should be shared out separately.

The proceeds are split equally between his daughter Philippa Maughan, his son Shaun Cross and her own two sons.

She signed the will in September 1996, when Mr Cross was still alive and named as her main beneficiary, but he died 18 months later.

The full value of everything she owned came to £16,003,613, with debts and expenses of just over £26,000 taken off to reach the final figure.

Speaking in a magazine interview in 2019, she was dismissive of the two roles that had made her famous to a new generation of viewers.

She said: “It wasn’t what you’d call satisfying. I didn’t really feel I was acting.”

She added that she was grateful for both jobs, which between them introduced her to millions of filmgoers who had never seen her on stage.

Dame Maggie once summed her life up by saying: “One went to school, one wanted to act, one started to act and one’s still acting.”

The Hogwarts Express has arrived in Perris, Calif.

The Southern California Railway Museum has temporarily turned into Platform 9 3⁄4 to host “Harry Potter: A Hogwarts Express Adventure.” The one-hour theater performance takes place on a moving train and features singalongs, spellcasting and House cheers. Tickets cost between $72.25 and $93.25 per passenger.

The experience is the first of its kind in the United States, said Jarrette Ireland, vice president and general manager of Colorado-based Rail Events Inc., and Kathleen Wallis, vice president of global themed entertainment at New York-based Warner Bros. Discovery.

As of July 23, the experience sold just under 11,000 tickets in pre-sales.

The train event commences as the Harry Potter franchise’s author, J.K. Rowling, continues to draw criticism for her opposition toward transgender women. She has long been criticized for transphobic commentary on X and for funding organizations that fight to exclude trans women from public life.

In Perris, local LGBTQ+ activists urge for a boycott. Ashley Williamson, lead director of R.I.S.E. Perris Pride, said that financially supporting the experience — and anything to do with a Harry Potter trademark — funnels money to Rowling, who puts that wealth toward initiatives targeting trans rights.

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1. The cast performs with magic wands in “Harry Potter: A Hogwarts Express Adventure.” 2. A passenger holds a Platform 9 3/4 ticket. 3. The Hogwarts Express conductor performs in “Harry Potter: A Hogwarts Express Adventure.” (David Fouts / For The Times)

“What’s really terrifying is that influence. It’s already being felt in the United States,” Williamson said. “There’s a trans genocide happening. It’s very serious.”

Williamson, who is nonbinary and identifies under the trans umbrella, said it is “already very scary being openly queer in Perris,” where the Harry Potter experience is hosted. She, her children and other queer and trans folks in their circle have experienced hateful slurs, home vandalism and other queerphobic prejudice.

Asking the public not to purchase anything Harry Potter related, they said, is “the most we feel that we can do for our community.”

Responding to general concerns about Rowling, Wallis said, “We feel privileged to create these experiences for the fans who love the stories, and there’s a very deep fandom out there. A lot of these kids, my own included, grew up with these movies and stories, and they love to experience them in new ways.”

Warner Bros. Discovery did not respond to a request for comment about local advocacy at the time of publication.

Ireland said Rail Events “is really proud to welcome all guests to a great experience” and later clarified that it doesn’t have “a personal connection” to Rowling.

But Warner does. For instance, its new Harry Potter television series will air this Christmas.

There was no mention of Rowling during a recent preview of the train experience, which is geared toward children. Passengers travel through “Platform 9¾” and board the train, where four Hogwarts students belonging to each House greet them.

A cast member carries Fred Weasley’s Basic Blaze Box.

Passengers watch the performance in “Harry Potter: A Hogwarts Express Adventure.”

“Are you a Hufflepuff?” one of the Hogwarts students asked a visitor.

For those unfamiliar with the Harry Potter universe, each House embodies a trait: courage for Gryffindor, loyalty for Hufflepuff, wisdom for Ravenclaw and ambition for Slytherin.

When the train takes off, the students make these personality differences known. The Gryffindor and Slytherin maintain a traditional rivalry, the Ravenclaw nerds out about magical history and the Hufflepuff attempts to mediate them all.

To successfully complete their journey, each student must embody a virtue that belongs to a different House. The Gryffindor must hone wisdom, the Hufflepuff courage, the Ravenclaw ambition and the Slytherin loyalty.

Throughout the ride, the students put their new traits to the test: confronting a hippogriff blocking the tracks, capturing runaway chocolate frogs and facing off a soul-sucking dementor. By the end of the journey, they overcome their House stereotypes and learn they aren’t so different from one another after all.

A dementor puppet moves through the train in “Harry Potter: A Hogwarts Express Adventure.”

According to the experience’s website, the train travels along a route through the neighborhoods of Perris and starts and ends at the same place. When visitors disembark the train, they head to an area inspired by Hogsmeade, a village that sits outside Hogwarts. Here, they can purchase themed drinks, food and merchandise.

Navigating the logistics of “putting theater tech into a train” was a “real adventure,” Ireland said. Inside, TV screens replaced the overhead luggage compartments, and a strip of lights lined the carriages’ walls from front to back. Gray shades embellished with a circular “Hogwarts Express” logo covered all the windows, so visitors can’t see outside.

These elements aided the storytelling. The TVs played scenes from the Harry Potter films and helped suspend disbelief where magical creatures were involved, and the lighting system aided in spellcasting.

Streaks of light fly down the carriage in one dueling scene, and in the show’s climax, the lights go dark when a dementor — played by a hooded actor puppeteering the creature strapped to their torso — floats down the aisle.

It was the Hufflepuff who, with the help of passengers, vanquished the dementor.

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1. The cast showcases floating feathers after performing a levitation spell. 2. A cast member carries a box of chocolate frogs through the train.

“Everyone, repeat after me!” the Hufflepuff called, wand pointed at the creature. “Expecto Patronum!”

As passengers chanted the incantation together, white light flashed through the carriage, and music swelled from the speakers. Defeated, the dementor drifted down the aisle and out of sight.

The experience will run at the Southern California Railway Museum through Sept. 27.

Ireland said future stops will be announced in the fall, with plans to expand throughout North America and, ultimately, to the United Kingdom.

Maybe you can use a laugh this morning. Maybe you’re still deep in your feelings, thinking about the “Hacks” series finale and that shot of Hannah Einbinder looking at Jean Smart on the dance floor, grief seeping into her eyes. Maybe you’re lamenting the chaos at our treasured national parks. Hell … maybe you took out a loan to buy a tomato over the weekend.

If you’re feeling down, Gary Oldman would like a word. And that word is: Hufflepuff.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, back in your inbox for the next few weeks as we navigate our way through Emmy season.

Digital cover story: The world according to Gary

(Jennifer McCord / For The Times)

Gary Oldman is a Hufflepuff.

Never mind that the 68-year-old actor, who played the rebellious, impulsive wizard Sirius Black in the Harry Potter film franchise, couldn’t tell you the difference between a Hufflepuff and, say, a Gryffindor.

When journalist Josh Horowitz reads a list of core personality qualities — loyalty, hard work, patience, fairness, dedication — and asks Oldman if that describes him, he nods his head.

You’re a Hufflepuff.

“I’m a Hufflepuff?” Oldman says, trying the word on for size. He likes it. “I’m a Hufflepuff!”

This video clip is a favorite of mine, one I could watch on a loop for the sheer delight Oldman takes in pronouncing the word Hufflepuff.

It’s easy to see why Oldman takes such pleasure in being a granddad these days, one of the things we talked about at length not long ago for an Envelope digital cover story. He can access his silly side with ease.

I asked Oldman about the upcoming HBO “Harry Potter” television series, a decade-spanning endeavor that will spend a season adapting each of J.K. Rowling’s seven fantasy books.

“I’ve seen a trailer for it, and I think it’s a great idea,” Oldman says. “They’re doing the whole book, which I love, because there were a lot of wonderful things, fabric and character detail, we had to lose for the sake of telling the story in two hours.”

Would Oldman be keen to don a distressed velvet overcoat again and participate in the reboot?

“I don’t think they want any of us from the movies contaminating or muddying the waters,” Oldman says, pleasantly. “Besides, I’m too old.”

But with AI, is anyone too old now? Oldman could drop into “Harry Potter and the Prisoner of Azkaban” and look like he hasn’t aged a day since the movie was released 22 years ago.

“I don’t know where we’re going with it because it seems to advance every week,” Oldman says. He ponders the advances made since Martin Scorsese used digital deaging in his 2019 film “The Irishman.”

“I think that was the least successful thing about it,” Oldman says of the technology, “and I’ve been a huge Martin Scorsese fan forever. Ultimately, I don’t know why they wanted to make [Robert] De Niro’s eyes blue.” He pauses, considering the change and why it bothered him. “I guess it’s a blue-eyed Irishman. If I had one negative takeaway, it would be that.”

Oldman prefers directors like Christopher Nolan, whom he worked with on the “Dark Knight” movies and “Oppenheimer,” who think technology should be used sparingly to enhance the storytelling.

“Otherwise it leaves me a bit cold,” he says. “You’re just looking at ones and zeroes.”

“I don’t want to be replaced entirely,” Oldman continues, shaking his head. “I don’t think anyone does.”

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