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British Actor Maggie Smith Dies Aged 89

Actress Dame Maggie Smith arrives at the Royal Film Performance and World Premiere of the film, "The Second Best Exotic Marigold Hotel", at Leicester Square, London February 17, 2015. (Reuters)
Actress Dame Maggie Smith arrives at the Royal Film Performance and World Premiere of the film, "The Second Best Exotic Marigold Hotel", at Leicester Square, London February 17, 2015. (Reuters)
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British Actor Maggie Smith Dies Aged 89

Actress Dame Maggie Smith arrives at the Royal Film Performance and World Premiere of the film, "The Second Best Exotic Marigold Hotel", at Leicester Square, London February 17, 2015. (Reuters)
Actress Dame Maggie Smith arrives at the Royal Film Performance and World Premiere of the film, "The Second Best Exotic Marigold Hotel", at Leicester Square, London February 17, 2015. (Reuters)

Britain's Maggie Smith, one of the most acclaimed actors of her generation with a career ranging from Shakespeare to Harry Potter and Downton Abbey, has died aged 89, her family said on Friday.

Smith was one of a select few to win the treble of an Oscar, Emmy and Tony during seven decades on stage and screen, becoming a star known for her sharp intelligence and waspish wit.

British Prime Minister Keir Starmer said Smith "introduced us to new worlds with the countless stories she acted over her long career".

"She was beloved by so many for her great talent, becoming a true national treasure whose work will be cherished for generations to come," he said.

After starting on stage in the 1950s, Smith became a fixture at Britain's new National Theatre in the 1960s, working alongside Laurence Olivier, before winning her first Oscar at the end of the decade.

But for many younger fans in the 21st century, she was best-known as Professor McGonagall in all seven "Harry Potter" movies, and the Dowager Countess in the hit TV series "Downton Abbey," a role that seemed tailor-made for an actor known for purse-lipped asides and malicious cracks.

She died in hospital in London early on Friday, her sons Chris Larkin and Toby Stephens said.

"An intensely private person, she was with friends and family at the end," they said in a statement.

Smith's first Academy Award nomination was for her turn playing Desdemona opposite Laurence Olivier's "Othello" in 1965, before winning the Oscar for her role as an Edinburgh schoolmistress in 1969's "“The Prime of Miss Jean Brodie."

She won her second Oscar for her supporting role in the 1978 comedy "“California Suite".

Other critically acclaimed roles included Lady Bracknell in Oscar Wilde's “"The Importance of Being Earnest" on the West End stage, a 92-year-old bitterly fighting senility in Edward Albee's play "“Three Tall Women," and her part in 2001 black comedy movie "Gosford Park."

In 1990 Smith was knighted by Queen Elizabeth and became a Dame.

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JoJo Was a Teen Sensation. At 33, She’s Found Her Voice Again

Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
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JoJo Was a Teen Sensation. At 33, She’s Found Her Voice Again

Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)

Joanna Levesque shot to stardom at 13. Two decades later, “JoJo” — as she’s better known — has written a memoir and says the song responsible for her meteoric rise, “Leave (Get Out),” was foreign to her. In fact, she cried when her label told her they wanted to make it her first single.

Lyrics about a boy who treated her poorly were not relatable to the sixth grader who recorded the hit. And sonically, the pop sound was far away from the young prodigy's R&B and hip-hop comfort zone.

“I think that’s where the initial seed of confusion was planted within me, where I was like, 'Oh, you should trust other people over yourself because ... look at this. You trusted other people and look how big it paid off,’” she said in a recent interview with The Associated Press.

“Leave (Get Out)” went on to top the Billboard charts, making Levesque the youngest solo artist ever to have a No. 1 hit.

“I grew to love it. But initially, I just didn’t get it,” she said.

Much of Levesque’s experience with young pop stardom was similarly unpredictable or tumultuous, and she details those feelings in her new memoir, “Over the Influence.”

With “Leave (Get Out)” and her several other commercial hits like “Too Little Too Late” and “Baby It’s You,” Levesque’s formative years were spent in recording studios and tour buses. Still, she had a strong resonance with teens and young people, and her raw talent grabbed the attention of music fans of all ages.

“Sometimes, I don’t know what to say when people are like, ‘I grew up with you’ and I’m like, ‘We grew up together’ because I still am just a baby lady. But I feel really grateful to have this longevity and to still be here after all the crazy stuff that was going on,” she said.

Some of that “crazy stuff” Levesque is referring to is a years-long legal battle with her former record label. Blackground Records, which signed her as a 12-year-old, stalled the release of her third album and slowed down the trajectory of her blazing career.

Levesque said she knows, despite the hurdles and roadblocks the label and its executives put in her path, they shaped “what JoJo is."

“Even though there were things that were chaotic and frustrating and scary and not at all what I would have wanted to go through, I take the good and the bad,” she said.

Levesque felt like the executives and team she worked with at the label were family, describing them as her “father figures and my uncles and my brothers." “I love them, now, still, even though it didn’t work out,” she said.

With new music on the way, Levesque said she thinks the industry is headed in a direction that grants artists more freedom over their work and more of a voice in discussions about the direction of their careers. In 2018, she re-recorded her first two albums, which were not made available on streaming, to regain control of the rights. Three years later, Taylor Swift started doing the same.

“Things are changing and it’s crumbling — the old way of doing things,” she said. “I think it’s great. The structure of major labels still offers a lot, but at what cost?”

As she looks forward to the next chapter of her already veteran-level career, Levesque said it’s “refreshing” for her to see a new generation of young women in music who are defying the standards she felt she had to follow when she was coming up.

“'You have to be nice. You have to be acceptable in these ways. You have to play these politics of politeness.’ It’s just exhausting,” she said, “So many of us that grew up with that woven into the fabric of our beliefs burn out and crash and burn.”

It’s “healing” to see artists like Chappell Roan and Billie Eilish play by their own rules, she said.

In writing her memoir and tracing her life from the earliest childhood memories to today, Levesque said she’s “reclaiming ownership” over her life.

“My hope is that other people will read this, in my gross transparency sometimes in this book, and hopefully be inspired to carve their own path, whatever that looks like for them.”