Thursday, October 29, 2026
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Patrick Stewart didn’t share a lot about his childhood before his death on Wednesday following a battle with Alzheimer’s disease. He was 86. But before he garnered fame as Captain Jean-Luc Picard on Star Trek: The Next Generation, or on the big screen as Marvel’s Professor X, Stewart grew up in a poor, coal-mining town in West Yorkshire, England and literally climbed out of the rubble to become one of our most beloved actors. When he wrote his memoir in 2023, he told Esquire why he was finally ready to look at the full arc of his life, which you can read below. —Josh Rosenberg, editor, news & entertainment
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If I had started therapy earlier, it would have benefited me sooner. Now I’m no longer afraid of talking about my childhood."
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For years, I never spoke about my childhood—or my home life, or my education—because I was embarrassed by it. I wanted Patrick Stewart to be my own adult creation, not the product of my actual childhood. But the fact that I hid so much was doing more harm than good.
Our home was called a one-up-one-down, with a living room downstairs and a bedroom upstairs, where my brother and I slept together in a small double bed for five years. He was a wonderful boy, and he was patient with me and kind. When he died 18 months ago, he was the one person who had known me for my entire life.
My advice to young actors, which may sound corny and trivial but nevertheless means something very potent to me, is to be brave and trust others. If I had done that earlier in my life, maybe everything would have changed.
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As a number of members of this government may well find out, the discovery process in the courts is a wonderful invention. According to a new report from Wired, ICE is operating a mass surveillance operation on the left. The rest of the story is a walk through the horror show that is federal law enforcement under the reign of morons. It is my considered opinion that every single person who accepted a job with this administration be banned from public service for life.
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Prior to this month I was beginning to worry there was something wrong with me. In a year of new waves, record-breaking hits, and extreme Anne Hathaway saturation, I was overwhelmingly feeling numb at the movies. Sure, there were plenty of things I liked—even liked very much. But overwhelmingly, my enthusiasm was lacking. Oh, how I yearned to be knocked off my feet, to float out of a theater with a glow that led strangers to ask what drug I’d taken. There were a few films at this year’s New York Film Festival—my go-to fall fest—that provided a solid high. But leave it to Nathan Fielder to really send me soaring into the stratosphere. You Can See Everything, the Elizabeth Holmes doc that Fielder co-directed with Lance Oppenheim, is a surprisingly heartbreaking, utterly staggering work of—yes, I’ll say it—genius.
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