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.



Music Review: Katy Perry Returns with the Uninspired and Forgettable ‘143’

 Katy Perry attends the MTV Video Music Awards in Elmont, New York, US, September 11, 2024. (Reuters)
Katy Perry attends the MTV Video Music Awards in Elmont, New York, US, September 11, 2024. (Reuters)
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Music Review: Katy Perry Returns with the Uninspired and Forgettable ‘143’

 Katy Perry attends the MTV Video Music Awards in Elmont, New York, US, September 11, 2024. (Reuters)
Katy Perry attends the MTV Video Music Awards in Elmont, New York, US, September 11, 2024. (Reuters)

Katy Perry's new album title, “143,” is code for “I love you,” based on the number of letters in each word of the phrase. She may love us, but the album is more like 144 — “I made mush.”

Perry's first LP since 2020’s lackluster “Smile” is just as lackluster, an 11-track blur of thick electronic programming and simplistic lyrics. There's none of her past cheeky humor, virtually no personality. Even the title is filler.

The rollout has been snakebit from the jump, with the artist under fire for collaborating with music producer Dr. Luke and the video for “Woman’s World” emerging as a sloppy, puzzling attempt at satire. Then her video shoot on a Spanish beach for “Lifetimes” was investigated for potential environmental damage.

It doesn’t help that the first three singles are just OK. “Woman’s World” is a frothy Lady Gaga-esque arena pop anthem, the techno-stomper “Lifetimes” smacks of Calvin Harris from the 2010s and “I’m His, He’s Mine,” featuring Doechii, lazily lifts Crystal Waters’ “Gypsy Woman (She’s Homeless)” from 1991. It’s a trio of tunes that doesn’t scream 578 (“Katy's totally relevant”).

“Gimme Gimme,” featuring 21 Savage, just lacks bite, a nursery rhyme from a new mother masquerading as a pop song (with crib-adjacent lyrics like “Say the right thing, maybe you can be/Crawling on me, like a centipede”).

“Crush” isn’t bad, but it’s built on the repetitive, unyielding synths you’d find in Eastern European discos in the ’90s. That’s a complaint for all the Dr. Luke tracks, really — Perry may rue their reunion simply based on the ugly, unsophisticated production. “All the Love” has the phrase “back to me” repeated 23 times during its 3:15 length.

“My intuition’s telling me things ain’t right,” she sings on “Truth,” a lyric that may sum up her album and a song that includes a fake voicemail at the end. Other artists are incorporating real dialogue and recorded snippets of their lives. Perry is faking it.

She has always preferred gangs of songwriters, but “143” pushes it to an insane level, with “Nirvana” credited to an even dozen. Listen to it and see if 12 songwriters were necessary for a song that sounds like a warmed-over club track from La Bouche.

If the best song on “143” is “Lifetimes,” the worst is easily the closer, a sticky-sweet, wide-eyed plea for innocence in “Wonder,” sticking out like a sore thumb. This is a cynical attempt to have moms in the audience wave their hands in unison as balloons float up, even as it decries cynicism.

“One day when we're older/Will we still look up in wonder?” she sings, name-checking her daughter, Daisy, who also makes a cute appearance. But by this point, she's lost our trust, with the 10 previous songs a sonic slog. “143” has no soul or emotion; it's just a number.