It is impossible to separate out the transphobia, the homophobia, the misogyny, the quasi-Nazi sentiments, the extreme heteronormativity, and the overt support of child abuse and neglect from the "good bits." What you'd be left with is fragments.

(I mean. Fragments is enough to build fanfic empires, and some people have. But some of us like a bit more canon in our fic than that.)

Rowling has fallen into that pit where she believes everyone critical of her work or her public statements is anti-woman, anti-poor (because nevermind where she is now; she started poor), anti-creativity. And that's not going to change because she's never going to take a break long enough to perceive the arguments from a different perspective.

Other than that... the books themselves are packed with cliche tropes which is why they caught on so well. Mass popularity does not come from groundbreaking, innovative work; it comes from works that resonate with millions of people who agree on nothing but "wouldn't it be awesome if everyone married their high school sweethearts and they stayed married for life."

I don't blame anyone for liking it. I haven't sorted out my own level of "like." But the problematic starts early in the series and just never lets up. The only reason it works at all, is that it's told from a young, unreliable narrator POV--once Rowling speaks up and starts confirming details, that's lost.

I suspect a whole lot of why we all didn't drop the series as soon as the first wave of essays hit, going over, "hey this is... a bit problematic," is that the POV starts with a preteen boy who's been neglected to the point of abuse, lied to, and gaslit his entire life, and we could tell ourselves, "he doesn't really understand what's going on; he's interpreting it through the filter the Durselys have taught him." And because he's a preteen and then young teen boy with no sensible adult guidance, trying to understand a complex world of powerful machinations.

The more JKR gets involved with the storytelling, the harder it is for that to hold. But the sense of learning the story with the awareness of that filter sticks around. We don't remember the misogyny as much as we remember Harry's cluelessness.

Of course, by late in the story, JKR's limits as a writer started making themselves known. She kept talking about the importance of choice and then arranging the plot so that choice didn't matter. Talked about Harry being a hero but didn't let him do anything but show up - and he required a lot of help for that. So we're stuck trying to reconcile those contradictions - and we were better at coming up with coherent reasons for them than she was, because she didn't see them as contradictions at all.