TIME Books

J.K. Rowling Unveils Moaning Myrtle’s Controversial Full Name

Introducing Myrtle Elizabeth Warren

J.K. Rowling doesn’t shy away from politics: she’s been outspoken about Scottish independence and gay rights, among many other topics. On Monday, she inadvertently edged into American politics when a fan asked on Twitter what Moaning Myrtle’s full name was. Rowling’s reply: “Moaning Myrtle’s full name was Myrtle Elizabeth Warren.”

But after the tweet went viral, Rowling said it was not meant to be a statement of any kind.

This post has been updated to included new comments from J.K. Rowling.

This article originally appeared on EW.com.

TIME

Anna Chlumsky Explains How Veep’s Amy Came to Her Breaking Point

Celebrities Visit SiriusXM Studios - April 16, 2015
Astrid Stawiarz—Getty Images Actress Anna Chlumsky visits the SiriusXM Studios on in New York City on April 16, 2015.

"Finally I get to listen to my impulse."

Anna Chlumsky—who plays Amy Brookheimer, the tightly-wound ticking time bomb of President Selina Meyer’s coterie—got to listen to her “impulse” as an actor when filming Sunday night’s episode. Chlumsky is used to keeping Amy’s stress just barely in check, but this season the character combusts, egged on by the inanities of Selina’s new adviser Karen (Lennon Parham).

Amy blows up at her high-powered boss, and issues the devastating parting line: “The fact that you are a woman means we will have no more women presidents because we tried one and she f–king sucked.”

Chlumsky talked with TIME about giving Selina hell, and what this means for the future of the show.

TIME: Amy full loses it. What was your reaction when you got the script?

ANNA CHLUMSKY: My reaction when I read the scene was kind of relief because I had been warned of it since the beginning [of this season] our showrunners were talking about how she was going to kind of have a stand off and I was like, oh wow. And I told them, well, let’s make sure from day one that it’s earned and that it’s just not out of the blue, that we can track Amy’s frustrations so that when it happens it really makes sense. So then when I did read it and it came very naturally when we read it around the table. I was relieved that it was going to make sense.

So you knew that this season was her breaking point.

I was told that they were headed there. My job this season was every chance that I was on camera, that you saw Amy that there was some type of bubbling, some type of where this is going to go, wherever she began. I think we really get to see her lose the reins a little bit beginning in episode four. It’s that thing where she’s kind of like, well what I’m doing now isn’t working, so now what? She’s starting to just kind of lose her ground. It was definitely at the forefront of my mind.

It’s very shocking because she’s always been intense but she has also always been subservient to Selina, and now she’s telling her there will never be another woman president because of her.

It’s so heartbreaking when she says that because I think when we all step back everything she says is debatable, but the whole thing is she’s saying these things in the heat of the moment. I think in many relationships anyone can identify with saying things that maybe sometimes it’s not to make sense but it’s to hurt. And I think that’s where she’s at. It’s highly emotional.

I feel like they’ve done that a lot this season like when Selina and Gary have their showdown in episode 2. What do you think it is about this season that everyone is saying these things that maybe they don’t actually mean?

I have no idea how it goes in the actual West Wing, but I think in our story, she and her loyal cronies like Gary and Amy have been working for this for so long and this is what they’ve wanted for so long and now they have it in a weird way. I think it’s that thing that happens where if you’re driven towards a goal a lot of times you can’t be distracted by the other stuff, but once you get it… it kind of opens you up to all the stuff you’ve been avoiding for all this time. I think it has something to do with that type of thing that happens to people. It’s the now what? And then it’s like, oh crap, now all of my fears and all of my anger and all of my injustices, all of that stuff is coming to the forefront when I was able to kind of put it aside for a long time. Also, in their lives now, the stakes are enormously high… they’re dramatic people. What Amy says, there will be no more women presidents, this is what she goes to bed thinking about and wakes up thinking about. Every waking moment is about not just getting Selina Meyer reelected, but the enormity of her losing that election. As a female, as a feminist, and someone who has worked for this, I think Amy relishes that kind of pressure, but that’s a lot of pressure for one person.

Even though she’s gone, Amy sort of wins at the end. Selina picks Amy’s suggestion, Tom James (Hugh Laurie), as her running mate.

And isn’t that beautiful? That’s what I think is the key to Selina and why she is still such a wonderful, well-rounded character, I think in lesser shows she probably wouldn’t listen… but she is smart she has been in politics for 20 years, she does kind of know what she’s doing. She gets messed up, but in the end, she actually is able to listen to reason, even though it had to be brought to that end.

What was it like playing that scene? Is it harder to do the moments leading up to it when Amy is bubbling with all this tension?

I think I had a lot of practice doing the whole bottling moment. More than in other scenes with Amy, I think this took more choreography. Just really planning out the beats… Amy feels all this stuff a lot but I have to suppress it playing her because she has to suppress it. So, like, finally I get to listen to my impulse. It did kind of feel, I don’t want to say cathartic, but it was certainly kind of releasing. It’s nice to be able to act big stuff.

The reactions in the room are also very funny.

Aren’t they heaven? Oh my God. When I saw it edited together I was just like, all right!

Did you ever break doing the speech because of what you were seeing on the other end?

No, not at all. That’s the gorgeous thing about having a scene like that. Once you’re in it, it just drives. She isn’t listening to them, so when I was playing it my intention was purely on Selina. However, it’s kind of funny too because Tony [Hale], who plays Gary, was right behind her so there were moments when you could see the horror and there were moments when you were like, this is going off the rails and then that’s the point of no return. You can’t be like, oh never mind. Then she’s just got to go for it.

What do you think it means that we see that core team dissolving?

Again, it probably has a lot to do with her being president now. We were in the Selina Meyer Company—I always used to say when Amy was chief of staff for the first three seasons that her job was to be CEO of the Selina Meyer Company, that’s what it was always about. And all of a sudden, we’re in the America Company. Definitely I think with the Dan stuff, even Ben offering to resign at one point, a lot of that has to do with saving the administration, saving face to the country, keeping people out of jail. Before it was feeding an ambitious goal, but this time around there’s greater stakes involved.

Obviously you can’t spoil anything, do you think people will come back around? Can Amy come back into the fold?

There’s a huge journey now that the people who have left have to go through, and I’m not sure. I have no idea how it ends up really. And when we come to episode 10 people will know exactly what I’m talking about. We really don’t know what’s going to happen. I say that completely honestly, although we do have a season 5.

I wanted to get your reaction to a Jezebel’s titled “Can Veep’s Dan and Amy Just F–k Already?” It says: “for viewer satisfaction [they] should definitely make out a few times on camera.” So what do say to the people who want Dan and Amy to get together?

Who can blame them? They are obviously two peas in a pod. In some unhappy Machiavellian world they are perfect for each other. Who can blame anybody who wants to just see them get it on already? It’s a long, long relationship for these guys. It’s very rich.

TIME Television

What Game of Thrones Can Learn From American History

Game of Thrones
Helen Sloan—HBO Emilia Clarke as Daenerys Targaryen on 'Game of Thrones'

What Khaleesi and Abraham Lincoln have in common

Contains minor spoilers for the fifth episode of Game of Thrones Season 5

The region once seemed wealthy and relatively peaceful, but that façade of prosperity was built on the backs of slaves. Those who traded in human lives, though vastly outnumbered, held the power and wealth. Though custom and courtliness were valued within the walls of their grand homes, the masters ruled ruthlessly, with sexual and economic exploitation.

Then came an outsider whose mandate they questioned, but whose armies were strong and whose moral code was even stronger. When the fighting stopped, the slaves were free, the economic system was upended, the outsider’s right to rule was no longer up for debate.

And yet it would soon become clear that declaring an end to slavery was only the first step: some of those who had lost power returned as masked vigilantes, determined to put an end to equality, and those who had gained power struggled with how to use it. The well-intentioned leader, bombarded with conflicting advice, searched for the best way forward.

Fans of Game of Thrones will recognize that story as the saga of Slaver’s Bay, where Daenerys, the Khaleesi and Mother of Dragons, rules the unstable former slaving city of Meereen. As it was phrased in the episode that aired May 10, “Though Daenerys maintains her grip on Slaver’s Bay, forces rise against her from within and without. She refuses to leave until the freedom of the former slaves is secure.”

Those more attuned to real history than to fantasy may recognize a very different place: the United States in the years following the Civil War.

The historical period generally referred to as Reconstruction began around 1865 as President Lincoln and his allies confronted the question of what to do with the South after its rebellion ended. Lincoln had said in his second Inaugural address that there would be “malice toward none” when peace arrived, but that would be a difficult pledge to keep. How much revenge would the North exact? What would happen to those who had been slaves? How could the Southern states rejoin the Union, and which part of the government would oversee that process?

The solution that Lincoln devised involved requiring 10% of voters in each of the rebel states to swear an oath of allegiance to the Union, after which the states would be eligible to hold elections and generally not be considered in rebellion anymore. Some people in his own party (the Radical Reconstructionists) wanted more demands placed on the South; some people (like Vice President Andrew Johnson, who became president after Lincoln was assassinated in 1865) wanted fewer.

After Lincoln was dead the Radical Reconstructionists defied Johnson in order to pass the 14th and 15th Amendments, and to establish Republican-controlled governments within the Southern states. African Americans, newly freed, were elected to office, and they worked to improve the educational and social prospects of former slaves.

However, the era now known as Redemption would set back that progress. A financial panic in 1873 and political maneuvering in the 1876 election came to occupy minds in the north, as Southern white Democrats returned to power and began to institute discriminatory laws. Many former slaves became sharecroppers, still bound to the wealthy but through contracts rather than ownership. The Ku Klux Klan was founded during this period, turning fear of change into a violent force for oppression.

The social systems put in place during the Southern Redemption would shape the next century of life in America, with the black codes and Jim Crow laws that were created to get around the law of Reconstruction enduring until the 1960s. The effects of that codified discrimination are still being felt today.

So what does all of this have to do with Game of Thrones?

Daenerys is currently in the Reconstruction phase of her conquest. Like Lincoln, she is only able to bring freedom through military action. Her decision to remain in Meereen and rule, rather than delegating the way she did in Yunkai and Astapor, is like the Radical Reconstructionists’ desire to keep Republican politicians in power in the South; she has seen how those other cities were either destroyed or “redeemed” with the return of the Wise Masters to their old ways.

The Sons of the Harpy, like the KKK, use terror to lash out at those who upset their power structure. Khaleesi’s decision to allow Freedmen to contract their labor—and the argument about reopening the Fighting Pits—calls to mind the economic fate that faced many slaves freed in real life. The arguments among her advisers about how best to deal with a conquered people played out in Congress. She faces the familiar questions of how to balance vengeance via dragon and unity via marriage. (Some Game of Thrones watchers earlier saw a racial parallel as well, in noticing that the oppressed residents of Slaver’s Bay are all darker than Daenerys is).

Game of Thrones is a work of fiction, of course; the cruelty of real slavery cannot be compared to a fantastical depiction. But it believably portrays the dangerous obstacles that exist in the wake of such cruelty. Author George R.R. Martin is conscious of history, and his study of the perils and perks of power is grounded in the way things really work. The show has been praised for its realistic psychology, and here’s proof that such realism isn’t limited to the interpersonal relationships it highlights.

Nobody except the show’s creators knows what Martin, currently working on a sixth volume in the epic series, has planned for Daenerys — and the show is about to get ahead of the books, anyway. But the lessons of history suggest it won’t be an easy road.

TIME Television

Why Mad Men Needed Betty

AMC

Maligned and ill used, flawed and fascinating, she was essential to the show's themes and its feminism

Spoilers from Mad Men, “The Milk and Honey Route,” below:

Why wouldn’t Betty just go away? At least since the Draper marriage broke up at the end of Season 3, there has been a strong anti-Betty refrain among the Mad Men fandom — people found her cold, childish or, most damning of all, superfluous. It was a rare thing, after all, to end the protagonist’s marriage in the middle of a series. What do you do then? Maybe there should be a divorce settlement: Betty gets custody of the kids, Don gets custody of the audience.

In defense of these viewers, Mad Men has not always seemed to know what to do with Betty in the post-divorce years. Sometimes she was stranded in tertiary plots (say, her reconnaissance mission to a hippie tenement in search of Sally’s violinist friend). Sometimes the show seemed actively hostile to her (the whole “Fat Betty” arc from Season 5). Sometimes she seemed to exist for the sake of scenes that demonstrated, as Matthew Weiner has said of her, that she “should never have had kids.”

But writing Betty off would have been the TV thing to do — driven by story concision, neatness, budget — not the Mad Men thing to do. Mad Men has always been committed, first, to the messy, complicated reality of life. (Though I wonder in retrospect if Weiner didn’t consider this end sooner, when Betty had her cancer scare in Season 5.) It doesn’t get messier or more complicated than divorce, and the reality of that is, once you are tied to people through children and history, they remain part of your life one way or another.

Betty’s devastating story line in “The Milk and Honey Route” proved that those connections were still sunk in deep enough to tear at our hearts. Of course, a terminal diagnosis is an easy way to do that. (Sally getting the news in her dorm room, her Peanuts calendar hanging behind her: I died.) But this wasn’t just medical-drama manipulation: Betty Hofstadt/Draper/Francis moved us because she earned her place, because Mad Men needed her:

She connected Don’s work to life (and death). Among many parallels to The Sopranos, I suspect that Betty — like Carmela, Meadow and A.J. often did — got on fans’ bad side because she wasn’t involved in the business story lines they preferred. The office is where Mad Men’s action is, but it’s not all the show is about. And yet there was a heavy sense of vocational irony in her illness: after all those years of shilling tobacco, the bill came due, yet it was not Don or any of the ad men who had to pay it. (Not to make Betty’s diagnosis all about Don, but it’s noteworthy that three of the significant women in his life — Anna, Rachel and now it seems Betty — would die of cancer.)

She was essential to Mad Men’s feminism. It’s not controversial to say that, title aside, Mad Men is largely a women’s story. And it’s not surprising that, especially for a modern audience, it’s easier to identify with that story through Joan (who goes from accepting the boy’s club to actively fighting it) or Peggy (whose attitudes are closer to those of our own time). With few exceptions (hoisting her gun in the first season), Betty gives us few you-go-girl moments to cheer for. (And so what? We don’t need Mad Men’s male characters to be “likeable” or “relatable” to justify their existence.) But that’s exactly why we need her: the suburban Republican housewife may not have been a feminist but she was a case study for feminism all the same. Watch the scene where she gets her diagnosis: Weiner’s camera pushes in on Betty, in focus, but it’s men doing the talking, the doctor discussing treatment options with her husband. The world treats her as a secondary character even in her own death.

She showed that people don’t change … Of course, for much of Betty’s life, she’s accepted, even embraced, living life as an adornment to the men around her. See her heartbreaking letter to Sally, concerned first with how she’ll look at her funeral: “Remind them how I liked to wear my hair. Will you show them the picture?” She is a construct of a certain set of social expectations, and she’s asserted her worth and strength by trying to be the absolute damn best at living up to them. This may not make her a hero from today’s perspective. But no less than with Don, this is part of Mad Men’s belief that change is a lot harder than TV makes it look.

… Except when they do. And yet when we met Betty at the beginning of this final season, she was attempting change, in her small way, going back to school in psychology. Is it too late? Maybe. (Even before she gets her diagnosis, her fellow students are mocking her as “Mrs. Robinson.”) Is it misguided? Possibly! (Let’s say she’s more than halfway down the list of Mad Men characters you’d seek psychological counsel from.) But it’s an assertion of independence, more so when you remember that in the first season she was confiding in a therapist who was secretly reporting to Don. “Why would you do that?” Henry asks, as she continues to go to class for a degree she won’t ever be able to complete. Her answer: “Why was I ever doing it?” Betty did not wholly own her life. But she damn sure intends to own its ending.

Because the past is the mother to the future. It’s not a happy ending, and yet it’s a kind of hopeful one. Not to play psychologist myself, but it’s worth noting that Weiner’s own mother went back to school — in her case law school — late in life. And in that final letter to Sally, there’s a sense of a generational passing. Sally may have “marched to the beat of [her] own drum” (I like the cliché here; Mad Men isn’t going to pretend that cancer has made Betty a poet), but the result of all that pushing, fighting and struggle is that Sally’s life “will be an adventure.”

No, people don’t always change, and when they do, it’s not always dramatic. And yet — this is the contradiction that Mad Men shows us over and over — the world changes anyway. Occasionally people break their patterns. More often, they’re lucky enough if they live to see the pattern change in their children. Sometimes the adventure comes in the next life. In Betty’s case, that next life will have to be Sally’s.

Read next: See Don Draper’s Complicated Relationship History in 1 Chart

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TIME Television

These Are All the TV Shows That Have Been Renewed and Canceled So Far

The Mindy Project - Season 3
Adam Taylor—NBC/Getty Images The Mindy Project "Best Man" Episode with Mindy Kaling as Mindy Lahiri

Long-running and beloved shows like The Mindy Project, The Mentalist and American Idol are coming to an end

Networks are announcing their new lineups at TV upfronts this week—and that means some old favorites are getting the ax to make room for ne. Here’s what’s been renewed and what has been dropped, network-by-network:

Fox

Returning:

Unsurprisingly, Fox is bringing back its hyper-popular drama Empire as soon as possible next fall. Emmy-winning comedy Brooklyn Nine-Nine and the highly watched Last Man on Earth will also form the comedy bedrocks for the network, while New Girl will be pushed from a fall return to January (maybe because of low ratings or perhaps so the writers can sort out what to do with Zooey Deschanel’s baby bump).

Also returning: Bob’s Burgers, Bones, Gotham, Family Guy, MasterChef, MasterChef Junior, The Simpsons, Sleepy Hollow, and So You Think You Can Dance.

Canceled:

Fox announced that it would cancel the Mindy Kaling comedy, The Mindy Project, which has struggled in the ratings department despite featuring dozens of cameos from famous comedians, and the Kevin Bacon drama The Following. But don’t despair: either show could be resurrected on a streaming service like Hulu, if fans get heated enough. Other cancellations include Backstrom, Glee, Gracepoint, Hieroglyph, Mulaney, Red Band Society and Utopia.

And after a 15 year run, American Idol will also air its final season next fall.

ABC

Returning:

ABC is redoubling its commitment to diverse comedies by renewing Modern Family, Black-ish and Fresh Off the Boat. On the drama side, Shonda Rhimes’ Shondaland production company will continue to rule with Grey’s Anatomy, Scandal and How to Get Away With Murder. The Disney-owned network will also forge ahead with both of its Marvel projects, Agents of S.H.I.E.L.D. and Agent Carter.

Other renewals include American Crime, The Bachelor, Castle, Dancing With the Stars, Galavant, The Goldbergs, Last Man Standing, The Middle, Mistresses, Nashville, Once Upon a Time, Rookie Blue, Secrets and Lies and Shark Tank.

Canceled:

Revenge aired its final episode last week. Meanwhile, ABC also canceled Cristela, Forever, Manhattan Love Story, Resurrection, Selfie and The Taste.

The CW

Returning:

The CW took steps to compete critically with the other networks this year with Jane the Virgin, with star Gina Rodriguez becoming the first from the network to win a Golden Globe. The network is renewing that show along with most of its original programming: The 100, America’s Next Top Model, Arrow, Beauty and the Beast, The Flash, Masters of Illusion, The Originals, Penn & Teller: Fool Us, Reign, Supernatural, The Vampire Diaries, Whose Line Is It Anyway? and iZombie.

Canceled:

Rachel Bilson’s Hart of Dixie got the ax after four seasons, as did The Messengers after one.

NBC

Returning:

After continuing to grow through its second season, the popular drama The Blacklist will return next year, along with The Biggest Loser, Celebrity Apprentice, Chicago Fire, Chicago P.D., Grimm, Hannibal, Hollywood Game Night, Law & Order: SVU, Mysteries of Laura, Undateable and The Voice.

Returning:

NBC’s freshman shows largely struggled this year with only one (Mysteries of Laura) making it to a second season. Shows canceled after one season include A to Z, Allegiance, Bad Judge, Constantine, Marry Me, One Big Happy and State of Affairs (sorry, Katherine Heigl). About a Boy, Parenthood and Parks and Recreation all ended their runs this year as well.

CBS

Returning:

CBS has yet to announce its full schedule. We do know that ratings juggernaut The Big Bang Theory will return for seasons nine and 10 as will 2 Broke Girls, Big Brother, Scorpion, Mike & Molly, Mom and NCIS: New Orleans. The show’s new drama, the Tea Leoni-fronted Madam Secretary, has also been renewed

Canceled:

The Mentalist will retire after seven seasons. The Millers and Two and a Half Men have also concluded their runs.

TBD:

Though The Good Wife, The Amazing Race and The Odd Couple are shoo-ins for renewal, CBS has yet to announce those shows will come back for sure. Vince Gilligan’s Battle Creek is also up for review. Other shows waiting for renewal: Blue Bloods, Criminal Minds, CSI, CSI: Cyber, Elementary, Hawaii Five-O, NCIS, NCIS: Los Angeles, The McCarthys, Person of Interest, Stalker, Survivor and Undercover Boss.

TIME Television

Here’s Who Will Be Playing Kris Jenner on American Crime Story

"China: Through The Looking Glass" Costume Institute Benefit Gala - Arrivals
(L) Rabbani and Solimene—Getty Images; (R) JC Olivera—Getty Images Chris Jenner (L) ; Selma Blair (R)

Legally Blonde actress Selma Blair will play the wife of attorney Robert Kardashian

As EW reports, Selma Blair, known for her roles in Legally Blonde and Cruel Intentions, is set to play a very familiar face: Kardashian family matriarch Kris Jenner.

Before her marriage to Bruce Jenner and her rise to prominence as Kim’s mom on a hit reality TV show, Kris Jenner was Kris Kardashian, the wife of O.J. Simpson’s lawyer during Simpson’s murder trial; it’s this period of Jenner’s life that will be covered in American Crime Story: The People v. O.J. Simpson. (Attorney Robert Kardashian will be played by Friends star David Schwimmer, while Simpson himself will be played by Cuba Gooding Jr.)

While Jenner herself wasn’t involved directly in the legal proceedings, her friendship with both O.J. Simpson and the late Nicole Brown Simpson make her narrative a particularly compelling one. It’s easy to forget the degree to which Jenner was a player in the biggest legal story of the 1990s. Indeed, Jenner’s general reticence to engage with how she came to prominence speaks to the degree to which the Simpson trial, with its perceived lack of resolution, is still discomfiting. In large part, the culture has moved on; O.J. Simpson’s attempt to capitalize on the trial with a book, If I Did It, was met with revulsion. And when the Simpson trial came up on The Real Housewives of Beverly Hills due to a character’s association with Brown Simpson, it was more reality than the reality show could bear.

It’s an open question as to how much TV viewers, including those who weren’t alive during the trial, will want to go back to a fairly painful chapter in cultural history—one whose players have all either faded from the spotlight or pivoted to other endeavors.

TIME Music

Metric Shines Bright With New Song ‘The Shade’

The first taste of the band's new album since 2012's Synthetica

When Metric announced they’d be joining Imagine Dragons for a summer tour in February, it felt like a sure sign the Canadian indie band was wrapping up its first album in three years. That feeling was spot-on: Today, Metric is back with their new single “The Shade.” Not only does the synth-driven track pick up where the dreamy soundscapes of 2012’s Synthetica left off, it’s also seasonally appropriate, as the normally cryptic frontwoman Emily Haines sings with unusual frankness about falling in love under the stars and holding hands by the moonlit sea. As it turns out, “The Shade” doubles as the year’s most convincing call to go enjoy the weather yet.

TIME Television

See American Idol’s Most Successful Alumni

Fox announced Monday that the singing competition's 15th season will be its last. Here are some of the contestants whose careers the show helped launch.

TIME Television

Watch the Latest Trailer for Orange Is the New Black

The ladies of Litchfield return in June

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The latest trailer for Orange Is the New Black ends with a summation from Piper: “People think all we do is have lesbian sex and strip searches and naked cat fights in the shower,” she explains with a smile. She then pauses, and puts on a serious face: “We also do other things.”

Though the new trailer does revisit some of the show’s history—including why Piper is in Litchfield in the first place—it also gets us all riled up in anticipation for the upcoming season. There are flashes of hugs, bonding between Big Boo and Pennsatucky, a wink from the new inmate played by Ruby Rose and bathroom singing from Black Cindy, who says: “Please, my grandma used to douche with disinfectant.”

The show returns for season three June 12.

TIME celebrity

The Rock Is Now the Reigning Champion of Mother’s Day

He paid tribute in a sweet Instagram post

While most mothers would agree that it’s not a competition, Dwayne “The Rock” Johnson won Mother’s Day. The San Andreas actor, lip sync champion and diet guru posted a photo of his mother on Instagram with a caption that would warm the cockles of even the coldest heart.

In the picture, The Rock’s mother, Ata Johnson, is crying, but not because she is disappointed in her son. Johnson explains in the caption that when he was 14 years old, he and his mother were evicted from their apartment in Hawaii because they couldn’t afford the $180/week rent. Now his mother, who survived a head-on collision with a drunk driver last year, is being served breakfast on a plane, all paid for by her very successful son. Not that Johnson is gloating in the photo, rather he seems truly thrilled to be able to share his success with his mother—and his big heart with the rest of the world. Now let’s just hope that his mother doesn’t kill him for posting that photo.

Cool Mother’s Day story.. early am flight and I’m sittin’ across from my mom when out of the blue she looks around the plane, then looks at me and says “Son, I can’t believe the life I have.. grandma and grandpa would be so proud.” I asked her, “Are you happy ma?”. Just then the flight attendant placed my moms breakfast down on the table and my mom said to me, “Am I happy?.. I used to worry about how I was going to buy groceries for us and now I just had my breakfast placed down in front of me”. She bursts into tears and says “Yes, son I couldn’t be happier”. This is the woman who when I was 14yrs old we were evicted out of our apartment in Hawaii ’cause we couldn’t afford the $180 per week rent. At this moment Im shaking my head and smiling quietly (as my mom blows her nose;) ’cause she just told me she’s happy. And y’all know when our parents tell us they’re happy, its so satisfying for us, ’cause it means we’ve done a good job for them as their kids. Happy Mother’s Day to all the deserving amazing mamas out there. And Happy Mother’s Day to my amazing mom who will no doubt kill me for posting this crying pic. #EnjoyBreakfastMom #GratefulTears #TryNotCryInTheEggs

A photo posted by therock (@therock) on May 10, 2015 at 1:17pm PDT

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