HarperCollins UK cuts ties with David Walliams amid harassment allegations and internal probe

HarperCollins UK has decided not to publish any new titles by David Walliams, a move publicized amid claims of inappropriate conduct toward junior female employees and a broader pattern of alleged misconduct that has unsettled publishers and television partners. The publisher issued only a brief statement saying it does not comment on internal matters, but people familiar with the decision described it as responsive to the allegations and a 2023 internal review. Walliams’s representatives said he has not been informed of any allegations by HarperCollins and that he denies any improper conduct, adding that he is seeking legal advice.

Walliams, 54, remains one of Britain’s best-known children’s authors, with more than 60 million copies sold in 55 languages and titles such as The Boy in the Dress, Gangsta Granny and Billionaire Boy that have been adapted for television. He also rose to prominence as a judge on Britain’s Got Talent from 2010 until 2022. A leaked off‑air clip in 2022 captured misogynistic remarks about contestants; Walliams apologized publicly and later sued Fremantle for misuse of private information and breaches of data laws. Fremantle apologized, and Walliams is believed to have received around £5 million as part of a settlement. The episode, which followed years of high visibility, soured some relationships in show business, and several networks pulled back from closer associations with him.

Industry insiders describe Walliams’s reputation as having suffered a long decline. An ex-staff member from Britain’s Got Talent recalled him as “hideously rude” toward staff, while others said he wielded considerable power and believed he could behave as he pleased. In recent years, Simon Cowell — once a close collaborator — has distanced himself, and Cowell no longer follows Walliams on social media. A broader environment of increased scrutiny around workplace conduct has amplified attention to Walliams’s behavior and its impact on his professional network. Some show-business reporters have been told to avoid negative coverage, and in the years since his departure from BGT, a number of television opportunities have failed to materialize. A former colleague described the mood around Walliams as one of growing disquiet within the industry. The consensus among several insiders is that his influence waned as networks and publishers recalibrated risk in light of persistent rumors and publicized incidents.

Details of a reported past encounter with a young woman also feature in coverage. In 2020, a woman in her early 20s (she was 17 when they met) described to a reporter a series of troubling experiences with Walliams after he connected with her on X/Twitter. She supplied text messages, a Christmas card and a letter from Schillings, the celebrity law firm, warning her not to discuss her relationship with the press and noting the potential civil costs and damages she could face. The documents were cited by various outlets as part of a broader pattern of conduct that insiders say culminated in the publisher’s decision not to publish more work. Walliams’s ex-wife, Lara Stone, mother of their son Alf, is said to have contacted the woman in 2020 to check on her after Walliams invited the young woman to work experience at his firm, King Bert, and to attend Britain’s Got Talent events in London and Birmingham. Stone has not publicly commented on the matter.

The industry response to Walliams’s fall from favor has been swift and mixed. A showbusiness source said Walliams was “utterly despised” in some corners of the television business, reflecting a broader sense that powerful figures can be difficult to hold to account. Another insider noted that for years Walliams leveraged protection from high‑profile publicity teams, a pattern that included handling media inquiries through aggressive publicists. The author’s ties to established figures in show business, including executives at ITV and other networks, have cooled, and opportunities at prime-time venues have grown scarce. Yet some colleagues have emphasized that Walliams remains a commercially successful author whose works continue to be read by children around the world, complicating assessments of his career trajectory. Walliams’s agent said he denies the allegations and is pursuing legal avenues, and HarperCollins has not disclosed specifics beyond the decision not to publish new titles. The organization said it would not comment on internal matters, citing standard confidentiality.

Looking ahead, the industry faces a period of reassessment around how to balance creative collaboration with accountability. The HarperCollins decision signals a shift in how publishing houses approach a once‑untouchable status among top-tier authors, especially when allegations involve potential harm to junior employees. Walliams’s future projects—whether in publishing, film, or television—remain uncertain as publishers and broadcasters weigh reputational risk, legal exposure, and audience expectations. For readers and fans, the question now is whether the author’s body of work will endure in the public sphere or whether new investigations and disclosures will redefine his legacy. The story continues to unfold as more details emerge from ongoing discussions inside publishing houses and media organizations, and as courts and settlements potentially shape the final contours of this high-profile case in the entertainment industry.