Irish actor Michael Gambon, who was best known for his role as Albus Dumbledore in Harry Potter movies, has died. He was 82.
“We are devastated to announce the loss of Sir Michael Gambon,” his family said in a statement.
“Beloved husband and father, Michael died peacefully in hospital with his wife Anne and son Fergus at his bedside, following a bout of pneumonia.”
After Richard Harris, who had portrayed Albus Dumbledore in the first two films, passed away, Gambon assumed the role.
Gambon acknowledged that he had never read any of the Harry Potter books and added, "I'd never seen any of the previous films, but working on the series was huge fun, and for lots of dosh."
Gambon received an Emmy nomination for supporting actor in a miniseries or movie for playing Mr Woodhouse in the 2009 production of Jane Austen's Emma, which starred Romola Garai in the title role, in addition to his nomination for outstanding lead actor in a miniseries or movie for Path to War in 2002.
The actor received four BAFTA TV Awards for outstanding actor, first for his game-changing performance in The Singing Detective in 1986, then for Wives and Daughters in 1999, then for the exquisite telepic Longitude in 2000, and finally for Perfect Strangers the following year.
He received three Laurence Olivier Awards, the equivalent of a Tony, for his work in theatre: in 1986, for his performance in Ayckbourn's A Chorus of Disapproval, for best comedy performance; in 1988, for his role in Arthur Miller's A View from the Bridge, for best actor; and in 1990, for his comedy performance in Ayckbourn's Man of the Moment. He received another ten nominations for Best Actor.
He won three Laurence Olivier Awards in 1986, for Best Comedy Performance, for Ayckbourn’s A Chorus of Disapproval; in 1988, for Best Actor, for Arthur Miller’s A View From the Bridge; and in 1990, for Comedy Performance, for Ayckbourn’s Man of the Moment. He was also nominated for best actor a further 10 times.
Gambon made his movie debut in Othello, starring Olivier, in 1965.
At the age of 74, Gambon announced his retirement from stage performing in February 2015 due to memory loss that was making it more and more difficult for him to remember his lines, as per Variety.
A few years prior, due to panic attacks brought on by forgetting his lines, he had been sent urgently to the hospital.
In 1962, he wed Anne Miller, and in 1964, Fergus was born.
Gambon left the Kent home where he lived with his wife in 2002, and he quickly declared Philippa Hart to be his girlfriend.
He is survived by Hart and her two little sons, Michael, born in 2007, and William, born in 2009, in addition to his son Fergus.
So, Kajol and Twinkle Khanna’s show, Two Much, is already near its fourth episode. And people keep asking: why do we love watching stars sit on sofas so much? It’s not the gossip. Not really. We’re not paying for the gossip. We’re paying for the glimpse. For the little wobble in a voice, a tiny apology, a family story you recognise. It’s why Simi’s white sofa mattered once, why Karan’s sofa rattled the tabloids, and why Kapil’s stage made everyone feel at home. The chat show isn’t dead. It just keeps changing clothes.
Why Indian audiences can’t stop watching chat shows from Simi Garewal to Karan Johar Instagram/karanjohar/primevideoin/ Youtube Screengrab
Remember the woman in white?
Simi Garewal brought quiet and intimacy. Her Rendezvous with Simi Garewal was all white sets and soft lights, and it felt almost like a church for confessions. She never went full interrogation mode with her guests. Instead, she’d just slowly unravel them, almost like magic. Amitabh Bachchan and Rekha, they all sat on that legendary white sofa, dropping their guard and letting something real slip out, something you’d never stumble across anywhere else. The whole thing was gentle, personal, and almost revolutionary.
Simi Garewal and her iconic white sofa changed the face of Indian talk showsYoutube Screengrab/SimiGarewalOfficial
Then along came Karan Johar
Let’s be honest, Karan Johar changed the game completely. Koffee with Karan was the polar opposite. Where Simi was a whisper, Karan was a roar. His rapid-fire round was a headline machine. Suddenly, it stopped being about struggles or emotions but opinions, little rivalries, and that full-on, shiny Bollywood chaos. He almost spun the film industry into a full-blown high school drama, and honestly? We loved it up.
Kapil Sharma rewired the format again and took the chat show, threw it in a blender with a comedy sketch, and created a monster hit. His genius was in creating a world or what we call his crazy “Shantivan Society” and making the celebrities enter his universe. Suddenly, Shah Rukh Khan was being teased by a fictional, grumpy neighbour and Ranbir Kapoor was taunted by a fictional disappointed ex-girlfriend. Stars were suddenly part of the spectacle, all halos tossed aside. It was chaotic, yes, but delightfully so. The sort of chaos that still passed the family-TV test. For once, these impossibly glamorous faces felt like old friends lounging in your living room.
Kajol and Twinkle’s Amazon show Two Much feels like friends talking to people in their circle, and that matters. What’s wild is, these folks aren’t the stiff, traditional hosts, they’re insiders. The fun ones. The ones who know every secret because, let’s be honest, they were there when the drama started. On a platform like Amazon, they don’t have to play for TRPs or stick to a strict clock. They can just… talk.
People want to peep behind the curtain. Even with Instagram and Reels, there’s value in a longer, live-feeling exchange. It’s maybe the nuance, like an awkward pause, a memory that makes a star human, or a silly joke that lands. OTT gives space for that. Celebs turned hosts, like Twinkle and Kajol in Two Much or peers like Rana Daggubati in Telugu with The Rana Daggubati Show, can ask differently; they make room for stories that feel earned, not engineered.
How have streaming and regional shows changed the game?
Streaming freed chat shows from TRP pressure and ad breaks. You get episodes that breathe. Even regional versions likeThe Rana Daggubati Show, or long-running local weekend programmes, prove this isn’t a Mumbai-only appetite. Viewers want local language and local memories, the same star-curiosity in Kannada, Telugu, or Tamil. That widens the talent pool and the tone.
From White Sofas to OTT Screens How Indian Talk Shows Keep Capturing HeartsiStock
Are shock moments over?
Not really. But people are getting sick of obvious bait. Recent launches lean into warmth and inside jokes rather than feeding headlines. White set, gold couch, or a stage full of noise, it doesn’t matter. You just want to sit there, listen, get pulled into their stories, like a campfire you can’t leave. We watch, just curious, hoping maybe these stars are a little like us. Or maybe we’re hoping we can borrow a bit of their sparkle.
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