List of supporting Harry Potter characters. The following are supporting characters in the Harry Potter series written by J.

For members of the Order of the Phoenix, Dumbledore's Army, Hogwarts staff, Ministry of Magic, or for Death Eaters, see the respective articles. The Dursleys. To ensure Harry's safety, Albus Dumbledore placed him in the Dursleys' care when he was a baby. The Dursleys live at Number 4, Privet Drive, Little Whinging in Surrey, England. They are all Muggles, and despise all things related to magic – and anything out of the ordinary in general – and the Wizarding World, especially the Potters. Vernon Dursley. Vernon is described as a big, beefy man, the literal human embodiment of a walrus, with hardly any neck, and a large moustache. He is very much the head of his family, laying down most of the rules for Harry and doing most of the threatening, as well as spoiling Dudley. He is also the director of a drill- making firm, Grunnings, and seems to be quite successful in his career.

He regularly reads the Daily Mail. Uncle Vernon and his wife have grudgingly raised Harry from an early age. He and Petunia were often hostile to Harry and never informed him about the magical world, including how his parents died; they explained it away as a car crash. Unlike Petunia, who proves to have a slight feeling of familial loyalty to Harry, Vernon seems to hate his nephew so much that in Harry Potter and the Order of the Phoenix, he is willing to throw him out of the house, knowing that doing so would put him in grave danger. In fact, while discussing the Dementor attack with Harry, Vernon actually hopes aloud that Harry will receive the death penalty. Vernon also has an aversion to imagination, to any references to magic, and anything even slightly out of the ordinary; in the first book, when Harry mentions dreaming about a flying motorbike, Vernon responds by angrily bellowing that motorbikes do not fly, despite Harry's protests that it was only a dream.

When the Dursleys decide to leave Privet Drive to go into hiding, Vernon nearly shakes Harry's hand good- bye, though he ultimately cannot bring himself to do it. In the film version, he leaves without even a word to Harry although a deleted scene showing Dudley and Harry's reconciliation shows him saying . She is described as a bony woman with blonde hair that she passed down to her son, a . Her eyes are large and pale, quite unlike Lily's. Her entire family, except Lily, is made up of Muggles. According to Petunia, her parents were proud of having a witch in the family, but Petunia saw her sister as a freak. In fact, Petunia was envious and resentful of Lily's magical abilities.

Dumbledore gently denied her enrollment. Afterwards, Petunia grew bitter towards the school and, by extension, towards the wizarding world in general. She had no contact with Lily after her marriage to James Potter and the birth of her nephew, Harry, though she did send the family a . The gift echoes Harry's Dursley- sent Christmas presents, which are never pretty or welcome. Petunia has more knowledge of the wizarding world than she is initially willing to admit. After the Dementors attack Harry and Dudley, Petunia states that she knows Dementors guard the wizard prison, Azkaban. When Harry and the rest of her family look at her strangely, she explains that she heard .

Harry assumes that the . On one occasion, Petunia, but mostly her husband, almost throws Harry out of their house, but when she receives a Howler from Albus Dumbledore, she decides not to send the boy away due to the agreement she had made with Dumbledore (although she covers by claiming that her decision is based on what the neighbors might think if the Dursleys threw Harry out). Before the Dursleys leave Privet Drive to go into hiding, Petunia almost wishes Harry good luck, suggesting that she does feel a tiny sense of familial attachment to her nephew; however her self- imposed dislike of magic prevents her from doing so, and she leaves without a word. In the film version of Harry Potter and the Deathly Hallows – Part 1, she leaves Harry without showing any sentiment; however, in a deleted scene on the Blu- ray/DVD release, Petunia shows acknowledgment of the wizarding world, and ultimately deep sadness and remorse for the loss of her younger sister Lily, reminding Harry that she lost a sister as well. Described as a very large, blond boy (though dark- haired in the films), Dudley is generally given his way in almost everything, and shows the symptoms of a spoiled brat. Dudley is a cold- hearted bully and the leader of a gang of thugs with whom he regularly beats up Harry and younger children on the flimsiest of excuses. He is only one month older than Harry, meaning that his birthday must be sometime in late June.

The same year Harry starts at Hogwarts, Dudley is enrolled at his father's old private boarding school, Smeltings. In Harry Potter and the Philosopher's Stone, Dudley is given a pig's tail by Rubeus Hagrid which has to be removed at a private hospital in London. In Goblet of Fire, the Smeltings school nurse advises the Dursleys to put him on a strict diet. During the summer when this diet is enforced, the Weasleys arrive at Number 4, Privet Drive to pick Harry up for the Quidditch World Cup, and Fred Weasley . Dudley collapses, and Harry uses the Patronus Charm to drive a group of Dementors away from himself and his cousin.

Claws (TV Series 2017–) cast and crew credits, including actors, actresses, directors, writers and more.

Reviews from Sundance on three ambitious films based on original screenplays, "Novitiate," "Colossal" and "Bitch.". Taken (TV Series 2017–) cast and crew credits, including actors, actresses, directors, writers and more.

Figg then comes running in and reveals she is a Squib by talking about Dementors. Harry and Mrs. Figg carry the shaken Dudley home, though Dudley is convinced that Harry made the dementors appear in the first place. After the confrontation, Harry wonders what sort of bad memories Dudley could have relived, as Dementors force people to relive their worst experiences. Rowling later revealed, in an on- line chat, that Dudley's worst fear was seeing himself for who he really was: a cruel, selfish, violent bully with no feelings whatsoever for others, and this revelation shocked him to the core. In his appreciation of his cousin's belated gratitude, Harry says good- bye to him using Dudley's former nickname, .

In the film version, however, there is no such sentiment as Dudley leaves Harry before he can say any final words; however, on the Blu- ray/DVD release, a deleted scene includes the reconciliation between the two cousins. Rowling says that Harry and Dudley would . In Harry Potter and the Cursed Child it is also mentioned that adult Dudley sent Harry his baby blanket, the only surviving possession of Harry's from his parents. Dudley is portrayed by Harry Melling in the Harry Potter films.

Melling had to wear a fat suit, as he lost a considerable amount of weight as the films progressed. Though she is not a blood relative of Harry, he has been forced to call her . Marge lives in the country, where she breeds bulldogs and because of her commitment to her animals, she rarely visits Privet Drive, to Harry's considerable relief. She adores her nephew, Dudley and treats Harry with contempt and cruelty. Owing to Vernon's and Petunia's lies, Aunt Marge believes that Harry is a horrible boy, and delights in insulting both him and his dead parents. In Harry Potter and the Prisoner of Azkaban after she insults Harry's parents, Harry loses his temper and accidentally inflates her, thus causing her to blow up like a monstrous balloon and float up to the ceiling. Marge is later rescued, changed back to normal, and the Ministry of Magic modifies her memory.

She also appeared in a memory in Harry Potter and the Prisoner of Azkaban: When Harry is chased up a tree by one of Marge's bulldogs named Ripper. Pam Ferris appeared as Marge in the film adaptation of Harry Potter and the Prisoner of Azkaban, in which she floats out of the house and into the sky after being inflated. Bathilda Bagshot. She lives in the village where Harry was born, Godric's Hollow, and is an old family friend of Dumbledore, as well as being the Potters' neighbour and friend.

Sundance 2. 01. 7: . These films display distinct ambition, too, though they are wildly different in content—an alcoholic disaster movie, a nun story and a movie called “Bitch.” Anyone worried about a dearth in cinematic creativity can find plenty of solace within Sundance’s programming. Margaret Betts’ “Novitiate” is strikingly ambitious, even when it can be as formal as a church service. In her directorial debut, she has sought to make a movie that presents an honest, deliberately- paced and non- judgmental idea of a sister’s journey to become a nun during the 1. The story takes place before Vatican II decided that nuns were not as special as priests, and that their traditions of solemnity have been pointless.

As it follows the religious journey of Sister Cathleen (Margaret Qualley), it plays to every beat with supportive, sunny music as she decides that she wants to become religious despite not being raised that way, and then elects to give herself to God. There are many moments where the first half of the movie feels like “Nun: Origins,” replete with “Full Metal Jacket”- level detail into the training process, and it becomes uncertain as to which angle Betts has with the story, unless it’s for audiences who believe just like Sister Cathleen. A fascinating angle of Betts’ take on nuns is by highlighting it as a love story, but about a woman’s relationship with God. The women often say “I love you, God,” and even refer to him as their husband. It’s also a vivid depiction as to why these women would voluntarily sign themselves up for a life that cuts them away from the world, while also repressing many actions. As a movie that wants be as formal as possible until it starts to get some edge halfway, it is given that energy from its excellent cast of women (featuring Dianna Agron, Liana Liberato, Maddie Hasson, Morgan Saylor, Eline Powell and more).

They are able to maintain the human side of these characters. Betts’ script as well becomes more interesting when it becomes less about the formalities and the women themselves, who have their curiosities about the sexuality they repress, along with the rules they follow. Of all people in the cast, no one is more explosive than Melissa Leo, who is given carte blanche as the head Reverend Mother, acting upon her own repressions and powerlessness against the young women of the convent. Leo brings an intensity that also opens the movie up a bit, particularly in a scene where she forces the women to share what their deepest, darkest flaws are.

It’s her performance, along with this movie’s interest in exploring religion as a loving relationship, that make this movie more vivid than it might initially seem. Advertisement. One reason that I like “Colossal” so much is that it runs like a parody of a typical Sundance dramedy. It tells of a woman (Anne Hathaway’s Gloria) who heads back to her hometown after getting dumped. In a house abandoned by her parents, she works through her self- destructive demons, particularly alcoholism and even sleeping in weird positions. She reconnects with people that she knew back from the day, including a childhood friend named Oscar (Jason Sudeikis, smiley and deceptive).

But while “Colossal” opens up with a scene of a giant monster appearing in the city of Seoul back in the '7. In ways best explained by Vigalondo’s film, Gloria learns that her actions hurt people in the most serious way one could imagine—literally, whenever she walks on a playground at a certain time of a day, a giant monster appears in the city of Seoul, and matches her physicality, damaging the city and killing hundreds in the process. The movie goes through an impressive emotional gamut with this concept—at first it’s mortifying when she realizes what she has done just casually, but then it becomes playful, leading to some great visual jokes—and successfully builds its own logic. It’s a thrill to see the movie normalize its bizarre concept, but to be true to itself every step of the way. As the movie becomes original, so do the performances, like Hathaway’s incredibly physical turn.

I’ve never seen “horrified because a foot stomp on a playground just killed hundreds of people,” but that’s the kind of expressions that are actualized by Hathaway. As the events lead to a genuinely effective climax involving saving Seoul at the playground, “Colossal” is one of those movies with the amount of creativity that some directors never produce in their whole lives. Fans of seeing films that are like never before should seek it out.

Advertisement. The nagging problem about Marianna Palka’s horror- comedy “Bitch” is that it displays her unique power as an actress while simultaneously showing her weaknesses as a writer and her potential as a director. Downsizing (2017) Ipod Movie here. With a concept that sells itself—a worn- down housewife becomes a dog—it’s underwhelmed by weak execution aside from the disturbing, intense ways she plays the character. The story of “Bitch” draws the clear line between statement or expression.

This is undoubtedly a statement, in which Palka plays the selfless supermom who tries to hang herself in the opening scene, but when that fails decides to embody the dog that she is treated like by her husband. She growls, walks on fours, and barks like a hell hound when eventually cooped up in the basement. It’s not done with the finesse of an expression though, because everything is played so directly—Palka is a dog, and her husband Bill (Jason Ritter) is just a complete doofus, who faces the reality of everything that she did when he has to do it himself. Ritter takes his bad- dad cluelessness to eleven with cringing over- acting. He flails and screams and drops twice to the floor in a sequence where he experiences the daily routine of dropping the four kids off at different schools, having to remember all of the little things in between.

Whether he’s meant to be a reflection of the idiotic alpha male or a direct mirror, it leads to a movie that’s too often stuck on one idea. The closest that “Bitch” comes to making an interesting expression is with how Bill blames Jill for everything, and won’t let her get psychiatric help because that’s his wife. The way that he talks about her is like pure ownership, adding to his entitlement of being taken care of. Bill fails to get that he is directly responsible for her condition. The vision that Palka has for this movie can be a freaky one, from the modern classical score that plucks on strings and builds tension out of chaos to excellent sound design, with the guttural growls she makes as a dog. As she did with her grungy, depressed performance in previous Sundance film “Good Dick,” she revels in the grossness of a character, and takes on playing the dog with the intense physicality found more in performance actors than film actors.

Her appearance, covered in feces, growling through grit teeth is disturbing, especially as her basement home is like a torture chamber from a “Saw” movie. Next Article: Sundance 2.