What was your reaction to hearing the tragic news that Emma Watson, that great thespian of our age, has stepped away from acting? Did you wail and gnash your teeth? Are you crying out for the Samaritans to set up an emergency telephone hotline, as they did when Robbie Williams left Take That? No? Me neither.
I have nothing against Watson per se: she seems like a relatively pleasant and well-adjusted person, given that she grew up amid
Harry Potter mania. But I was definitely more befuddled than heartbroken by her earnest announcement this week that acting was no longer for her. Not because of the art itself, you’ll be relieved to hear, but because she
found the promotional responsibilities “soul-destroying”.
Adding to my confusion, this brave departure from public life came via a mini press tour: an interview with magazine
Hollywood Authentic and a two-hour-40-minute discussion with Jay Shetty on his podcast
On Purpose. Perhaps we should call this the Prince Harry and Meghan Markle logic. Only by doing more publicity can you really take a stand against the evils of the press.
Watson has been a celebrity figure for most of my life, but I can’t claim to have been profoundly moved by any of her performances. The early Potter films feature such appallingly wooden child acting (as the cast have themselves admitted) that they almost become an avant-garde rebellion against naturalism. Watson seems to be in a competition with herself to rattle through her lines as fast as humanly possible, and with the most peculiar stresses, so that only one word in 10 is actually comprehensible.
Nor did she summon new, Meryl Streep-like transformative powers in her few subsequent movies, such as irritating teen drama
The Perks of Being a Wallflower, Sofia Coppola’s true-crime caper
The Bling Ring, the Russell Crowe-led biblical misfire
Noah, or plodding tech thriller
The Circle.
We last saw Watson on screen in 2019, in
Greta Gerwig’s acclaimed Little Women, although it was co-stars Saoirse Ronan, Florence Pugh and Timothée Chalamet who walked away with that one.
Plenty of actors make a career out of playing the same role, so it’s not a total deal-breaker that Watson never really diverges from “nicely brought up girl from Oxfordshire”. But it does make it puzzling that she was apparently so emotionally drained by giving everything to her art that she’s had to step back. She said in the Shetty interview that she was forced to revisit “painful stuff in my life” in order to film Beth March’s death scene in
Little Women.
To which most of us would surely say… and? Isn’t this what actors do? They’re either so brilliant at accessing another character that they can take on that person’s emotions, or they draw on their own experiences to reach that particular state. Watson, it seems, struggles to do either.
Which is perfectly fine – God knows we’re not short of actors. But it does beg the questions: why exactly is Watson doing lengthy interviews to share her epiphany that attention is terrible, and what seismic change are we really going to see?
She has always been famous for being famous rather than for her actual acting, thanks to her association with
Harry Potter and with Disney juggernaut
Beauty and the Beast, so her newfound anti-commerce stance is a little hard to take.
The cynical among us may be wondering what exactly she’s promoting, even as she insists that she’s now far too enlightened to sell anything. She did say in the Hollywood Authentic interview that she would consider taking a role behind the camera, so perhaps this is a soft launch for Hermione the director.
Meanwhile, the jaw-dropping news from Shetty’s podcast is that Watson wrote what sounds like an absolutely excruciating one-woman show (which I would 100 per cent watch, from behind a cushion) while studying at Oxford University. It’s based on her journals chronicling her experience of “transitioning from being a full-time actress and activist to trying to move home and be a normal student and attend a normal university as a super-famous person”.
Watson even, she says, reads out parts of the play to people so they can understand what it’s like to be her. Shetty, who was one of the lucky few to get to read this masterpiece, sees great future potential in the project and professes that “anyone can relate to it”. I remain sceptical: is being a Hollywood celebrity worth an estimated £60m suddenly navigating life among the Muggles really the most relatable subject matter?
But her whole interview tour – the main subject of which is, essentially, the great trial of being Emma Watson – does feel like a canny set-up for the announcement of this tearfully confessional play’s premiere. Producers, of course, would snap it up, although that could test Watson’s assiduous anti-promo policy.
She might feel that her art is too precious to be shared, so perhaps she is preparing to re-enter the fray as an activist. She has previously campaigned for gender equality, Gaza, environmental causes, and trans rights. Interestingly, though, speaking to Shetty she took a woolly line on JK Rowling, saying “I hope I can keep loving people who I don’t necessarily share the same opinion with”, then adding that she wasn’t currently commenting on Rowling or the issue “because the way that the conversation is being had feels really painful to me”.
Of course, we must not forget that Watson, with her younger brother Chris, is also a budding gin entrepreneur: the pair launched their brand Renais in 2023. This sustainable gin is flavoured with recycled grand cru grape skins, making it suitably virtuous.
But celebrity-created or endorsed spirits are an overcrowded market, already conquered by the likes of Ryan Reynolds, David Beckham and George Clooney, so that might not be Watson’s retirement plan.
But whatever she chooses for her courageous post-acting career, it does seem that Watson has finally found the one role that she can really nail: being herself.