Podcasts about gryffindor

Zum wahren Gryffindor heranwachsen…Dieser Podcast wird durch Werbung finanziert.Weitere Podcasts, Infos und Angebote unserer Werbepartner:https://linktr.ee/WikiPodsDiese Episode basiert auf Inhalten von:https://harrypotter.fandom.com/wiki/Neville_Longbottomhttps://harrypotter.fandom.com/de/wiki/Neville_Longbottomhttps://harry-potter-compendium.fandom.com/wiki/Neville_LongbottomDieser Inhalt wurde mithilfe künstlicher Intelligenz erstellt oder bearbeitet.CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0/) Hosted on Acast. See acast.com/privacy for more information.

Von Kobolden geschmiedetes silbernes Erbstück…Dieser Podcast wird durch Werbung finanziert.Weitere Podcasts, Infos und Angebote unserer Werbepartner:https://linktr.ee/WikiPodsDiese Episode basiert auf Inhalten von:https://harrypotter.fandom.com/wiki/Sword_of_Gryffindorhttps://harrypotter.fandom.com/de/wiki/Gryffindors_Schwerthttps://harry-potter-compendium.fandom.com/wiki/Sword_of_GryffindorDieser Inhalt wurde mithilfe künstlicher Intelligenz erstellt oder bearbeitet.CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0/) Hosted on Acast. See acast.com/privacy for more information.

Send us Fan MailIn this episode, we discuss episodes five and six of season five of Tea Leaves, our version of the Harry Potter TV show. Harry wins a victory on the quidditch pitch, but it's a short lived victory. He has some of his darkest dreams to date and comes face to face with a challenge that will continue to stare him down until the end. Enjoy!Topics/Summary:·      1:44 The first quidditch match of the season! Gryffindor wins, but Harry and George are banned from playing quidditch ever again by Umbridge after they beat up Malfoy. Malfoy was sour over his loss and began throwing insults at Ron.·      16:45 Hagrid's back. They see his light on at the edge of the forest after many months. They rush out to speak to him and he tells them about his journey through the mountains and the giants. The next day, Umbridge attends his class and he has to lie about where he was.·      22:24 Harry has a dream, and it's not a good one. He sees Mr. Weasley get attacked through Nagini's eyes, and he then embarks on a journey back to number 12 to visit him. Harry begins to worry if he's been helping Voldemort without knowing it. Has he been possessed?·      37:23 Occlumency takes over Harry's life. This whole episode is defined by the several lessons they have together. Snape is intruding into Harry's mind and seeing memories and other things he would never share. The last lesson, Harry deflects the spell and goes into Snape's mind. That's the end of their lessons, to say the least. ThePotterDiscussion@gmail.comthepotterdiscussion.comNox

A conversation with Ada Palmer about building the future with humility, the process of creating a science fiction world, and many spoiler-heavy deep dives into the world of Terra Ignota. Mentioned in this episode Books and works. Ada Palmer, Terra Ignota — Too Like the Lightning, Seven Surrenders, The Will to Battle, Perhaps the Stars · Ada Palmer & Jo Walton, Trace Elements: Conversations on the Project of Science Fiction and Fantasy · Ada Palmer, And Loki in His Prison (forthcoming) · "Somebody Will" (song) · Bill Bryson, At Home · Giorgio Vasari, Lives of the Artists · Ursula K. Le Guin, A Wizard of Earthsea · Shakespeare, Romeo and Juliet · Boccaccio, Decameron. People and places. Tyler Cowen · Teresa Nielsen Hayden · Johannes Gutenberg · Francis Bacon · Michelangelo · Villa I Tatti (Florence) · Worldcon · the Terra Ignota Discord. Transcript Ada: Stop telling stories about a thing as if one person did it. Tell the story of how a whole team of people did this. And when we look at the major innovations of the past, recognize their plural and often anonymous origins and shapers — and ask: will we be content if we end up being the anonymous contributor to future generations having this wonderful thing? Introduction [00:00:26] Ben: Today I'm excited and grateful to share my conversation with Ada Palmer. Among many other things, Ada is a professor of history at the University of Chicago and the author of several books, including the science fiction series Terra Ignota, which now lives rent-free in my head. In the words of the inimitable Tyler Cowen, this is the conversation that I want to have — which means the vast majority of it is an extremely nerdy, extremely spoiler-heavy discussion of the Terra Ignota series. The spoiler warning comes around the one-hour mark, but rather than making you stop then, I'd recommend stopping right here, going and reading the entire series, and then coming back. We'll still be here. A podcast about the unwritten workings of a fictional future is a vaguely legitimate segue to noting that I've brought Idea Machines back after a very long hiatus, for a fairly specific reason. I'm still going to dig into the people and systems that turn ideas into reality, but with a particular focus on knowledge and stories that are in people's heads and aren't yet written down or recorded anywhere. Even in the age of the internet and LLMs, there is so much that can only be discovered through conversation — and that, I think, should be the point of podcasts. So with that, here's my conversation with Ada Palmer. "Somebody Will," and making peace with not seeing the end [00:01:57] Ben: This is actually a very selfish question. Your song "Somebody Will" is one of my favorite songs. Ada: I had to practice for six months before I could sing it without crying while singing it. It still requires great concentration. Ben: I sometimes cry a little when I listen to it. If you're listening to this and you haven't heard the song, you should stop and listen to it, because it's amazing, and we will be here when you get back. Okay — assuming everybody has now listened to the song. I think it captures the fact that ambitious projects take many lifetimes and the labor of many people who are only contributing indirectly, in a way that I feel nothing else does. And that fact feels very at odds with the cultural milieu today, where — at least for me — it feels like you personally need to be working on the thing, and if you can't get it done within your lifetime then you're a failure. So how do you internalize that personally? I constantly feel this tension: I believe the message of "Somebody Will" is true, and at the same time I cannot feel satisfied with it. And how would you get more people to internalize it? I feel like the world would be better if more people did. Ada: I have the advantage, as a historian, of being used to thinking on century and multi-century timeframes — of looking at how many of the things we celebrate or think of as important were multi-generational projects, and how few people, even among the ones we talk about as if one person achieved the thing, actually saw that achievement bear fruit, or even near-full fruit, within their lifetime. Lately I've been asked about Gutenberg a lot. From Gutenberg's perspective: I invented the machine, I used the machine, the machine worked great, the sales didn't, I went bankrupt, and I died in poverty. In the later part of his life he got to see other people starting to build printing presses and trying to print — and also going bankrupt. The books were starting to circulate, and everyone was saying, "I don't know about these new weird books, they're different from the old ones." So if he judges himself on his lifetime achievement, he judges himself negatively. The ongoing effects of the Gutenberg revolution mostly happen well after his death, and after the deaths of his first generation of apprentices, in the mid-1500s and moving toward the 1600s — and there are stages of it still happening in the 1700s as it democratizes access to knowledge, which is something one could anticipate it would do, but not see. So many of our best and biggest projects are like that. In fact, you very rarely have a project that comes to fruition within its beginner's lifetime. But it requires us to look at history to feel that. Another factor is that we're so often pressured not just to look short term, but to look very short term. My friend Teresa Nielsen Hayden, a brilliant editor, has a very apt saying that I think about a lot: we always overestimate what we can accomplish in a year, but underestimate what we accomplish in five years. If you look at yourself and ask, "What did I do this year?" you'll always judge yourself harshly and be disappointed. But if you make the list of "What did I do in the last five years?" you'll say, "Oh, wow, I accomplished a lot" — even though each individual year felt like you didn't meet your own standards. And another part of it is that yes, there is a melancholy to "Somebody Will." It's about a kind of surrendering acceptance: that you will not be there to enjoy the thing, that you are working on something so that others will enjoy it in the future. That requires remembering that the same is true of the people in the past who worked to give us what we enjoy — that there is a teamwork across the diaspora of time, in which we all have to love the future generations we are helping and accept that they will get benefits we will not. Because otherwise, what are we doing? Ben: Let me poke at this one more time — and the answer might be that it's impossible. How do you get to serenity with the fact that we're working on a very long-term project that needs many people who are not going to be the person remembered for the thing, and that this is important and worthy? What actually goes on in your head? Ada: Again, there is a mournful side to it. And we therefore need to encourage a culture that celebrates all the contributors. Stop telling stories about a thing as if one person did it. Tell the story of how a whole team of people did this. And when we look at the major innovations of the past, recognize their plural and often anonymous origins and shapers — and ask: will we be content if we end up being the anonymous contributor to future generations having this wonderful thing? Because what matters to me isn't that I get thanked for X. What matters to me is that I helped make sure X happens. That separation of credit is important. I remember thinking vividly about this after reading a book called At Home — by, I think, Thomas Madden, although I may have the name wrong [it's Bill Bryson] — which is a fun popular history about all the objects in your house and how they developed. The history of the table knife, and the chair, and the chest of drawers, and the kitchen; how houses were originally one room and came to be subdivided into multiple rooms, and what the front hall is. It's a really fun, light history, essentially a string of delightful anecdotes. But I noticed that he would sometimes talk about the inventor of something we have — the inventor of the egg whisk or whatever — and then, if the inventor of this useful thing didn't end up rich and famous as a result, he described that as a tragedy. His definition of tragedy was: somebody contributed something that benefited the human race, and they didn't become rich and famous as a result; they lived an ordinary life as X, Y, or Z. Ordinary life was the tragic outcome. I snagged on that. What are we doing if living the life that most people live, having also contributed to the sum total of human happiness, is your definition of tragedy? He had this very strong sense that it was an injustice for someone's name not to travel with their invention, and for someone not to become rich as a result of their invention. And it was such a narrow portrait of what it could mean to contribute to human thriving — one that assumes only the inventor contributes, and not the hundreds of thousands of people involved in the distribution and manufacture and improvement of the egg whisk, who also bring things that help our daily lives. It felt so un-Baconian and unscientific. Bacon, when first arguing for the scientific method, says there is no greater act of charity and love than to do something that helps every human being after you live a better life. In its original articulation, that is its own reward. But the idea that it should be a ladder to fame and social rise, as opposed to something one achieves and is proud of — I think that's where we get snagged, and where we get these stresses. To contribute to humans reaching the stars is to contribute to humans reaching the stars. It is not to be the name that becomes famous. Whose labor counts [00:11:27] Ben: It's an open question to me how you make more of a culture of that. Ada: Part of it is that we have to start evaluating contributions more equally, because we have a really unfair way of thinking about labor, where some types are celebrated and high status and others are low status. This goes way back. It's true in the Middle Ages: any job you do with your hands is low status, and any job that is intellectual work is high status. This is why Michelangelo's father was absolutely rabid against Michelangelo being a sculptor. They came from a banking family, and Michelangelo's father did intellectual work — banking — and it would be a shame upon the family for his son to work with his hands and be an artist. The outcome of this over the course of the Renaissance, via things like Vasari's Lives of the Artists, is that they make the argument for art being intellectual labor — for an artist like Michelangelo to shift status from being thought of as manual labor, like a carpenter, to being thought of as intellectual labor, a peer of a doctor or a scholar. And we now consider art to be a high-status intellectual occupation. But we still have these horrible terms like "unskilled labor." Go watch anybody doing so-called unskilled labor for an hour and you think: holy moly, this person is really good at this. The speed and the elegance with which they have optimized this set of skills is incredible. It takes many kinds of labor to do something. But at an academic institute, we do not celebrate the people maintaining the site or preparing the food in the kitchen as contributors to the thing — even though it's absolutely essential, and without it the thing can't happen. That is a terrible problem. And more and more I see people talking about the world as if only a tiny elite are serious contributors and everyone else is just a dot moving around. An NPC. I was being interviewed about the singularity — this idea of trying to maximize the computing power that Earth produces in order to speed up how quickly we create an AI god. The interviewer asked what one thing would contribute most to maximizing Earth's computing power. And I said: well, obviously it would be UBI, or another way of solving poverty. Because right now the majority of computing power on Earth is human brain cells, which vastly outnumber the computational power of computers. And a large share of that computing power belongs to people living in poverty, whose capacity is being diminished and sidelined onto worrying about where tomorrow's meal is going to come from. When you provide a safety net at a reasonable standard of living, so that people don't have the anxiety that poverty causes, people become way more creative and generative, and start new businesses. All of our UBI experiments show outpourings of art, discovery, entrepreneurship, increased generation — all of which contribute, second order, to Earth advancing. And the crowd who thinks about this was just blown away by thinking of, A, the human brain as computing power, and B, poverty as the largest drain upon the computational powers of the Earth. Ben: People don't think about second-order effects enough, period. Ada: There is no symphony hall without its janitor. There is no symphony hall without the workman in addition to the architect. And we celebrate one of these arbitrarily and not the others. Why is that? Is it because the construction worker is doing something athletic and manual? Well, we celebrate sports people, and they're doing something athletic and manual. It's a totally cultural construction, which of these occupations are celebrated and which are not. Ben: So we just need to celebrate everybody. Ada: Celebrate ninety percent of the occupations — and identify the ten percent where it's actually, this is a waste of a human being. Ben: This is a waste of a human being, and we should not have a human being doing this. That's where we bring in a robot. Ada: Right. But there's all this discussion of "let's have the robots replace everything everyone is doing." No — when human beings are doing things that are stimulating and creative and make them happy, leave it alone. But if we have a robot that cleans out the gutters, that would be great, because nobody is stimulated by cleaning out gutters. Ben: Or does boring paperwork. Ada: Oh, that's the dream. Where the Hives came from: a lunch table in Florence [00:16:44] Ben: Shifting toward Terra Ignota — but not yet to the spoilers. You spent a lot of time in Italy. How did that affect the creation of the Terra Ignota world? Ada: A lot, specifically via Villa I Tatti, an institute owned and run by Harvard but quite independent, in the outskirts of Florence. It's not on the hill where the Decameron takes place; it's on the hill next to the hill where the Decameron takes place — to anchor it in literary geography. It has fellowships, so scholars from all over the world come there, about two dozen a year, for a year-long residency. And one graduate student at a time. I was the graduate student. You're sort of there as a bright-eyed, bushy-tailed mascot. Ben: So it's a bunch of senior scholars and you? Ada: A lot of them are postdocs — they're starting their careers, they've finished their PhDs recently. There are usually two or three senior scholars resident, and then two dozen who are at the next stage from where you as a PhD student are, and from whom you can learn exciting stuff. Some are later career. And they're from all over the place — and they've usually gone all over the place, on similar postdocs and for research. I remember vividly being at a group lunch. There was a married couple there having a conversation with a couple of other people. The mom was Australian and the dad was Spanish. They had two kids, one of whom had been born in the US and another in the UK. They'd lived in France while the kids were little, and now the kids were medium-sized and in Italy, attending a polyglot school. And the parents were discussing the different citizenships the two kids were eligible for, and the benefits and drawbacks of each. "You get this with a UK citizenship, but you can't have that. You can have UK and then US, but you can't have US and then UK. These benefits versus those benefits. And if the kids have two different citizenships, is that bad for them relative to each other? Does it make them feel envious, or unspecial, or special compared to their sibling?" It was such a buyer's-market conversation about citizenship. They were strategically sitting down and asking: which ones do we want to apply for, which ones do they already have, what are the utilities of each one, how do we feel about the governments and the values that they advance? And it made me think: what if everybody had that conversation? What if it were normal, when you're coming of age, to sit down, think about all the citizenships in the world, decide which ones you think are best, and choose — rather than having it fall upon you by accident of birth? It made sense to me using the EU, where people have free movement, as the model. When you're in the EU, you may have been born in France, but your family is Polish and you feel Polish because you grew up with them and visited family and learned the language — or you don't, and you feel French, and that's up to you. That freedom of movement, where who you are isn't where you live, it's what group you identify with, felt so plausible for a future in which technology means mobility is getting faster and more natural, and we choose jobs and homes based on location rather than being limited by geography. Plotters, pantsers, and the tyranny of past you [00:20:42] Ben: I don't know that I've ever heard you talk about your writing process in any detail. Fiction writers — some are plotters, some are pantsers, some are in between. Where do you fall? Ada: I have an essay on Tor.com arguing that the difference is less binary than it feels. For those listening who don't know the definitions: a plotter is somebody who plans ahead, outlines, has a whole plan for the story before they start writing it. A pantser is somebody who plunges in and figures out the story, or the characters, or the details, as they're writing. Here's my argument that these are less different than they sound. If you're a plotter, you're spending extra time planning at the beginning — making your outline, revising your outline, thinking about order and structure, rereading the outline, getting a sense of how it flows and fixing that. Then you implement it, and you do comparatively less revision at the end. Whereas a pantser will plunge into writing six months earlier, figure out those structure questions as they go, get to the end, and then often do more revision — doing to the manuscript the revisions that the plotter would do to the outline. So you're doing the same steps, you're just doing them in a different order. Everybody still does the "hmm, let's think about the pacing; this character has too many chapters where they appear all together and then they don't appear for a long time; I have to think about the balance of that." Everybody does that step. But do you do it before you write the first draft or after? That's the real difference. And you can have a very meticulous story where you figured it out as you went and then went back and put things in earlier to make it all work. I am at the far extreme end of planner. I world-build for at least five years, and then I spend six months doing the outline before I sit down to write the first sentence. I outlined the entire series — chapter by chapter, all four books — and had a complete plan for the whole thing before I wrote the first sentence of the first chapter of the first book. I then followed that outline incredibly precisely. Often when I'm writing I'll get to a point and think, maybe this bit of the outline is wrong, maybe I should do this other thing instead. And I'll start doing the other thing, and work on it, and get more and more frustrated, and wonder why it's going wrong, and whine to my bash'mates about it. And then I'll go back to the outline and realize: oh, of course. Past me is always correct. And I repent of having strayed from the outline. Because past me was in the middle of six months of being zoomed out, looking at the whole structure, really understanding everything being set up short term and long term. Whereas present me, in the middle of writing something, is very immersed in that one chapter and its valences and its emotion, and can lose sight of the work it's doing to continue things from five chapters ago and set things up for five chapters later. I was fully aware of all that when I did the outline, and I might be less aware of it in the act of writing. Which is why the version of me that was outlining is always more correct about what the chapter needs than the version of me sitting down to write the chapter. That's what the outline is for. Five years of worldbuilding, mechanically [00:24:18] Ben: What do you actually do, mechanically, for the five years of worldbuilding? What does that entail? Ada: A lot of it is that I'll have a notion. I'll be sitting at that table at Villa I Tatti listening to the conversation and think, wouldn't that be neat — that would be a really cool thing to explore in a story. I will then take the worlds I'm building, because I'm always building several at once, for several successive series. I'm currently doing the worldbuilding for the series after the series after the series of which the first book comes out next summer. Ben: That's so cool. Ada: I've already fully done the worldbuilding for this series and the series after it, and I'm worldbuilding the series after that, and a couple of others. They're sort of on a conveyor belt: the most assembled, the medium assembled, and the less assembled, as they move forward. I'll take the notion and go to my most assembled world, the one I intend to do soonest, and ask: does this notion fit? Does it combine well with the other stuff I already have in this world? Do they synergize? Are they compatible with each other? And if they are, I'll plop that new idea into the world. So I'll be working on a world where the key ideas are the flying car network, and voluntary citizenship, and a kid who can bring toys to life with a touch, and a revival of eighteenth-century ideas about gender. And then I'll independently get the notion of somebody being a professional living doll. And I'll ask: could that happen in that world? Yes, it could. What would that mean? Well, celebrity culture in a global world would have neat characteristics; the stuff I'm doing with gender would intersect with it in nifty ways. Neat. That notion, totally independent when I came up with it, can live in that world. Or I might have another idea, look at it in that world, and say: you know what, this isn't compatible with this world. The society of Terra Ignota — it doesn't fit. I'm going to take this idea and move on to the next world. And the first world it can go in is where that idea then lives. So worlds accumulate multiple different seeds. You'll notice that it's not that the living doll is derived from the other stuff — it's an independent idea. But once put in, the two connect to each other, the way trees in a forest develop shunts that send sugar to each other and keep each other alive and support the entire forest ecosystem, even though they began as individual and indeed competitive trees. The whole world develops from multiple different central seeds. Ben: Sorry, I'm very interested in the details of this. Are you writing these down on index cards? Ada: A lot of it will just be in my head. I also use OneNote, where I'll jot things down. There will be notes in OneNote that are sometimes a whole table with a chronology that develops over time, but also just a list of words I found evocative, or a reminder note to myself. I also email myself ideas so that I remember them, and there they are, searchably, in my email. I also sometimes write them on Post-it notes and leave them around the house. Sometimes something came to me and felt evocative from a picture — a work of art, or a postcard, or an image. Ben: You have your mood board. Ada: I'll put those by my bed, or in other places, and they'll make me chew on those ideas over time. But the majority of this will be in my head. Nobody could reconstruct the world from those notes. The notes are chaos, until I get to the late pre-outlining stage. I was probably working on the Terra Ignota world for four years before I started writing down the chronology. I do have a long timeline of events, from the present to the completion of the terraforming of Mars, with the dates of when everybody was born, when different cultural movements happened, when this or that historical war that's mentioned began and ended, and so on — a long, color-coded timeline. I'll probably share it at some point, but it's in OneNote, which is hard to export. I also have a custom Google Map which shows the Hive majorities in every major city on the globe, so you can see the distribution of the population. One thing I did deep into the worldbuild, preparing to think through the latter half of the series, was go through all the cities with a population above — I think it's ten million — that exist on Earth now, to figure out the future of each one, and then create several new cities that would be above that threshold by then. Making sure I wasn't skipping any cities. That I did Africa. That I did the Pacific Rim. That I had a global plan for this and not a non-global one. OneNote lets you combine text and note-taking with images, so for example there's one page that is a map of ancient Rome with my own notes on what is in each building in the reconstructed version of Rome in Romanova, where so many events take place. So the note-taking is extensive, but chaotic in my case. Ben: That is incredibly cool. I feel like there's a through-line in great artists and makers of things, where the thing that you see is the tippy-tip of an iceberg. Ada: It has to feel like that — especially for a built world. It has to feel real, it has to feel deep, it has to feel like it has all those things. Big beats, connective tissue, and the management of mood [00:30:35] Ada: Another thing about outlining, briefly. A word I've known a number of authors to use, that I kind of use too: when you're developing the story, there will often be a point at which you know what the big beats of the story are. Let's imagine we're outlining Romeo and Juliet. A big beat is when they meet. A big beat is when they get together. Then there's a sort of midpoint crisis, when the deaths of Mercutio and Tybalt result in crisis and Romeo has to be kicked out. And then there's the dramatic ending in which they die. And then you ask: okay, what other stuff do I want in this story? Well, I need to develop the characters of Mercutio and Tybalt, and that has to happen before the midpoint. And I need some comedy scenes — this is Shakespeare — so I need to put those in at some point. So you can imagine Shakespeare saying: I know what the big beats are. Where am I going to fit the Mercutio characterization scene? Should it be right before his death, or earlier, so that we're invested in his character for a while? I want a comedy scene between this sad major serious beat and this sad major serious beat, to vary the mood. Who can be in that scene? I need a lighter scene between Romeo and Juliet meeting and Romeo and Juliet getting together — what can I put there that will change the mood, so we don't have two passionate romantic sequences in a row? So you figure out the big beats, and then you figure out the in-between connective tissue. And sometimes you'll be aware that there must be a speech: I have this idea for Mercutio making this passionate, weird speech about Queen Mab, it's a lot of fun, where do I put it? There's some flexibility — it can be at any point before his death. It can be early, it could be at the beginning, it could be just before his death. How does the audience — or in my case the reader — feel about Mercutio's death differently if we've just come to love him right before, versus if we came to love him really early on and we like him almost more than Romeo because he had more character for half the play before this crisis comes? Many technically-pantser authors I know have figured out the big beats before they start, and then are filling in and improvising the in-between stuff, and might move it around at the end. So if Shakespeare were a pantser, he might have been writing along, and then: Mercutio's dying soon, I get to give him a speech — oh, this speech is so awesome, I want to move it earlier. And he'd move the Queen Mab speech from right before his death to substantially earlier, so that we care about this character for a longer period of time. That's exactly the kind of revision that a pantser does, and that I would do at the outline level, where I have everything on screen in front of me and I'm thinking: these three Mercutio scenes are really all in a cluster. Do I want that? Do I want a character who gets introduced and then, the moment we love them, they're gone? Or do I want to stretch this out, so this is a character with whom we have a longer emotional relationship? So that's core to the outlining process. We have these big beats. At some point we need to meet Saladin — when do we meet Saladin? Is it before or after the revelation of what Mycroft really did? How does it feel if it's before? How does it feel if it's after? Let's settle that. Because many things that happen in a story are not causally related. Some are: Romeo committing murder has to be before the Romeo banishment scene; those can't be reversed, because one causes the other. The "Juliet is sad because Romeo has been banished" scene follows from those. Those have to be in an order. But Romeo meeting Juliet versus the Queen Mab speech — those can be reversed. They aren't causally related. They're independent, except inasmuch as they both have to be early. And then the author gets to think through which is first and which is second, and what the effects of that are. So a lot of the outlining process is putting in the big beats, figuring out what has to be before and what has to be after, and what can go at any point, and then situating it in the right place — and also realizing when mood needs to alternate. One principle of reading is that we notice changes in mood and tension much more than we notice the absolute level. If you write a book with five super-high-stakes action chapters in a row, the reader gets tired of super-high-stakes action. It all feels homogeneous. It doesn't feel exciting anymore. The beginning will feel exciting, but it will then flatline experientially. Whereas if you have a high-paced action sequence, and then a low-mood piece where people are relaxing and something silly happens, or we cut away to the cooks preparing the banquet who are not at all invested in the action that's going on — then when we return to that high-stakes thing, it feels high-stakes again. You need to alternate sad with happy. You need to alternate tense with relaxed. You need to alternate fast-paced with slow-paced, so that people feel all of them more, compared to having a homogeneous mood. So sometimes I'll be going along and think: we've just had three or four chapters in a row where Mycroft, our narrator, is freaking the heck out and overwhelmed and in despair. We need a nice, calm Martin Guildbreaker chapter here, where he's patiently investigating something and explaining his investigation, because that will let us escape the mood — so that when we return to it, the grief being experienced by our narrator is vivid and exciting again, because we had a break. And also so that the complexity of trying to understand what the hell this narrator is actually saying is enjoyable again, in a puzzle-box way. If you do a puzzle box, you want to then coast and not do a puzzle box next — have something as a break, and then do the next puzzle box. I don't want to give you nothing but puzzle-box chapters in a row. I'm also going to give you a nice linear fidget-toy chapter, where you're enjoying manipulating the thing but there's not a puzzle challenge goal. Ben: Noticing the change in mood rather than the mood itself — I see that across many areas of how people notice things. People notice a thing changing more than the absolute level. Ada: You notice color in places where there is very little color. You notice beauty in places where there's very little beauty. Ben: Or changes in prices. People don't go around thinking "ah yes, this is expensive" all the time while the price stays the same. But all of a sudden a price changes and people react. Ada: Exactly. We very much operate logarithmically, and notice the change — the integral rather than the absolute amount, or the absolute speed at which something's moving. Designing the Hives [00:38:20] Ben: Related to worldbuilding — and if you've talked about this somewhere and I missed it, I apologize — how did you come up with the Hives in the first place? They feel so specific. Ada: When I had this idea at Villa I Tatti of "what if you choose your citizenship," I was thinking about it as deriving from transit — transit becoming easy. And then I thought: okay, what kinds of organizations would these be? If transit is suddenly really easy, if you can go anywhere on Earth in two hours, people are not going to want to put up with the frustrating, slow passport system. They're going to want that streamlined. I was thinking about the Global Entry program. This is a thing you sign up for, and it vets you, and it's trusted, and it's a third party but semi-governmental and semi-not, and it facilitates you being able to go much faster through the border. What if one of those became even more so, so that when you're a member you really can skip everything and zip around the Earth really easily? Well, if one of those developed, competitors would develop. What other kinds of focuses might a transit thing have? One of the things people would want to travel for is sports matches — people already do that. So there would be something whose whole shtick is: do you want to go see that game on another continent? We will facilitate that so it's easy. I also thought about CouchSurfing, which — I think people do it less now — but you sign up to say "I've got a couch," and others sign up to say "I'm traveling to a place," and the thing itself facilitates being friendly, and there's trusted-person vetting. And that idea became the Cousins: the idea of having a cousin in that town, who you may never actually have met, but they're not going to be too weird, because they're your cousin. You have this slight bridge of trust. So what if there was a company that stepped in to capitalize on what CouchSurfing is, but make it more formal, and called itself the Cousins network, and its motto was "what if you had a cousin in every town — we will hook that up"? I could see that company having started out more like CouchSurfing, where it's about where you're staying, and then branching into facilitating your ticket. And then Gordian being the one that really was just like Global Entry — a simple profit-seeking company that would do this. And then when the moment of the Great Renunciation comes — this is all background to the book, of course — these suddenly become political associations, when they had just been memberships. The way you might have a membership in Costco. The European Union is already this. But if people have a membership in Costco, often that means they have certain values, as well as desiring to buy cheap bulk things. So you could imagine that if suddenly there were a major global crisis, and Costco said, "Okay, everybody who has a Costco membership — we kind of trust you, and we believe you share our values of paying people a living wage and making sure things flow. Do you want to transition to being a politically active group?" And everybody who has a Costco membership would say, "Well, actually, yeah. In fact, it does make sense at this weird juncture in human history to transition my Costco membership into being part of a political association that's in favor of a living wage and making sure people eat." And you could see Costco transforming itself in a real crisis into a big series of pop-up mutual aid and new community kitchen things. That could totally happen. Ben: They already make a lot of hot dogs. Ada: The infrastructure is there, and the number of people with a connection to this thing is there. So it's the sort of thing that in the moment of the Great Renunciation could do that. And I imagined lots of other Hives being born like that. And then I asked: what new ones would be born, when suddenly this is political? Well, one of them would be the Masons — because there's always this sort of "oh no, I'm not in any of these groups, I feel left out," among the large slice of the population that feels drawn to strength and claims of tradition and claims of strong authority. And here are all of these legends about this being that. So if somebody cunning steps in and mobilizes it, they could make the Masons be born at that moment. And meanwhile, science fiction nerds are really well connected with each other. We all have community groups that organize Worldcon and all of this, and authors who can speak up and say, "Hey, all my fans — this thing, it's time to act." So it was plausible to me that Utopia could form very quickly in that moment of crisis as well. So part of it was: what groups and corporations and things that already exist could do this? And I remember wanting a really corporate one — this is the Mitsubishi in the end. What kinds of things last over time? The obvious choice would have been to be like Google or something. But when you look over time at corporations that really last multiple centuries, they tend to do very plural things. They tend to be consortia of multiple corporations rather than one. And they tend to be defined around a market or a world ethic rather than a product. Look at IBM, which has not become one of the giant Earth-owning corporations, but has sure steadily existed and never had a crisis. A big part of that is that IBM defines itself as: we make products for corporations. Whatever new thing needs to be made for corporations, we will start making that. If people develop a completely unprecedented new technology, that is what we will do, and we will orient it around having an established, clear relationship with corporations. So even if the computer ceased to matter economically tomorrow because it was replaced by the genetically modified super-eggplant, they would transition into corporate-focused genetically modified super-eggplants. And they would make that transition fine, in a way that Apple — which defines itself as an electronics company — would have struggled with at the time. Though Apple now is also a media and entertainment company, which is broader. So the Mitsubishi Group, which is not one corporation but dozens and dozens of corporations that make a wide variety of things and are a consortium with each other, is a corporate structure that's likely to withstand multiple multi-decade, multi-century tech tumults and still be coherent. That's why I picked that. Ben: Were there any Hive ideas that got the chopping block? Any that almost made it in? Ada: None got the complete chopping block, because of course one of the structures of this is that there have been fewer over time and they've merged. So the other ideas are the ones that are mentioned briefly as existing — like OBP, which stands for One Big Party. Ben: Which merged with the Humanists. Ada: They merged with the Humanists. But that was globe-trotting so that you could go to concerts and parties and get-togethers, rather than sports matches. There's enough overlap between those ideas — because you're traveling to enjoy an event — that it makes sense those two could merge, with a focus on both sports and art, concerts and performances: a focus on wanting to go enjoy and behold a human being doing something excellent. So you could see how they'd share a compatible ethic. Similarly Greenpeace, merging later with the Mitsubishi — but not fully yet. Would there be a group that would form centered on environmental custodianship, and wanting to take care not of people but of baby elephants? What would that be like? What countries would it have — not just a bunch of enthusiastic members, as it would anywhere, but massive, systemic, big cultural buy-in as opposed to small cultural buy-in? In the same way that sports fandom is bigger in some countries than others, or science fiction fandom is bigger in some countries than others even though it's present everywhere, personal investment in land and the value of land and land custodianship varies a lot. I was interviewing friends from all over the place, and it sounded, from talking with them, like India was the place where people had a very strong cultural investment in land. One interesting quality of India in the international world is that people in India are much more reluctant to sell land to a foreign owner than in most cultures. There is lots of land in India owned by corporations, but they're Indian corporations much more so. And people are likely to turn down a foreign buyer making an offer on property — whether it's large-scale property or even just a house or a bungalow — because of this sense that India's land should belong to India's people, which is stronger than in many other cultures. And this isn't a "we don't want foreigners dwelling here." We'll happily rent to a foreigner. It's the idea that the land should stay in the hands. I thought that would be an interesting place for Greenpeace's big nest of power to be centered, as it values land and land custodianship. And then I was thinking through: in this global future, who inherits all the national parks? If the nation-states are giving way to successor states, do the national parks dissolve, or does one of these say, "We're going to be the one" — and have what become global parks, and a huge portion of the unpopulated world in their ownership and custodianship? [Sponsor break — Seedhouse. "Buying a house is a big decision. Planting one isn't." Seedhouse grows carbon-negative homes from a single architect-designed seed: choose your floor plan, check your soil, and in twelve weeks you're ready to move in. The house faces the morning sun — and also turns toward the morning sun, which takes some getting used to. Need another bedroom? Order the right clipping, graft it, and wait. Visit seedhouse.com and use code IDEAMACHINES for a free guesthouse acorn. Seedhouse: put down roots. Literally, quite extensive roots.] The fandom, and the people who stop after book one [00:49:24] Ben: Last unspoiled question. How do you feel about the Terra Ignota fandom? Ada: It's great. I've never had anything but the most positive interactions with readers, and I love discussing the big meaty questions. A story that is as big and meaty as this one means really thoughtful, interested, eager people who want to chew on ideas. Ben: It feels like it's really touched something in the zeitgeist that even other good science fiction has not. Ada: I think it holds up an example of a future worth having and worth living in, with lots of exciting things one can push for. And a future of strong and respect-worthy values. One of the things about Terra Ignota is that, with very few exceptions, all the characters are philosophically self-examined and noble and have good ideals — ideals worth fighting for. And even though people come into strong conflict with each other, you respect and love both sides, because these are great people and they're fighting for great things. Ben: It's not a "there's a bad guy," which is so common. Ada: It's a neat vision of the future: what if everybody, even the people we fiercely disagreed with, was awesome, and we were disagreeing about important implementation or values — but underneath that, everybody was great? What if we have this high portrait of what humanity is and could become? Because one metric of progress is how rich we are, and another is how long we live. But what if another metric of progress is how excellent our conflicts are — so that we only have conflicts when it's about some really important, worthwhile cause? We don't have conflicts about grievance, or oil, or profit, or moral panic. We have conflicts about important philosophic principles and fundamentals. Wouldn't that, even though there's still conflict, be a form of progress? Ben: Peace is one form of progress, but moving to "this is a war worth fighting" is another form of progress. That's fascinating. Ada: And "I respect my enemy" is a form of progress. I love when Terra Ignota readers embrace and really want to live by some of these principles. I do sometimes feel like we could organize into a political advocacy group and crowdfund a lobbyist who advanced the values of this. Ben: Let's do it. I think that would be really cool. Ada: I would love to see it happen, because there are very important values in it — including the "what if we love the future and work for the future, but aren't vain about it, and do so with humility?" Now, one thing I sometimes run across— Ben: No, say what you were going to say first. Ada: No, I want to hear yours. I'll say what I was going to say anyway. Ben: Okay. The thing that also almost surprised me is how it really has something for everybody — there's a Hive that everyone feels kinship with. The obvious opposite would be Harry Potter, where of course you want to be in Gryffindor; Gryffindor is awesome, maybe Ravenclaw, but everybody else is kind of meh. When I interact with other people who love Terra Ignota — I'm a Utopian, and at first I assumed everybody else who likes this is going to be a Utopian. But no. I've run into people who identify with every Hive. Ada: And also sometimes people who say they would be a Graylaw, or who say "my religious identity is so core to me, I think I'd live in a reservation." I do run into that as well. And — great, there's space for you in this cool world. The world needs to respect you too, and have room in it for that, and needs that population, and needs to interface with them more as the narrative unfolds. I worked hard for there to be breadth. And I worked hard to think through: if these Hives were the Hives that formed from other Hives merging with each other, if there used to be dozens and now there are seven— Ben: What's the spanning set? Ada: Exactly. And what bigger and bigger ideas came together under umbrellas? Ben: Okay — what was the thing you were going to say? Ada: I sometimes run into people who say, "Oh, I'm a big fan of Too Like the Lightning," and who haven't read further. It's a little perplexing to people who are completionists and read the whole thing, but there's a not insignificant swath of people who read book one and haven't read the rest, who are very excited by the glimpse it shows of this future, but didn't continue on to see the way it then critiques the imperfections in this future — and shows the future recognizing its own problems and critiquing itself and becoming dynamic, and by the end being on the path to incremental improvement. I find it interesting talking with people like that, a lot of whom are Silicon Valley people. When you're an author, one thing that's the case is that you can log into Amazon and it'll show you this little map of America with how many copies of your book have sold in each region. So I know how many copies of Terra Ignota have been bought in New York City versus Arkansas versus elsewhere. For practically all books, the largest sales are New York City — New York City is very big, very populous, and they read a lot of books — and usually Silicon Valley is second. With Terra Ignota it's the other way around. So it is disproportionately popular among a world of people who see their technology transforming our lives and want an apparatus for thinking about what its future will be — one that is not just yet another cautionary tale about how the thing they're making could be used by a dystopia to make the world worse, but also how it could be used by a positive future to make the world better. I love that it's popular there, and I love talking to tech people who are eager to talk to me about it. But every so often I'll get this chilling thing, where one of the things in the world-build that for me is definitely negative and should be raising your alarm bells, they will have seen as positive. Ben: I'm sure you know the meme: "Ah yes, we have built the Torture Nexus from the book, Do Not Build The Torture Nexus." Ada: Yes. With its much-needed sequel, No, I Meant Don't Build the Torture Nexus. I had a conversation not long ago with a person who said they loved how Terra Ignota was basically a world without crime — an interesting thing for them to observe, because of course we know that's not the case— Ben: That's not the case, and that's not the mechanism by which it's not the case. Ada: And this was, in their reading, because of the trackers and universal surveillance: that it was an exploration of how universal surveillance could be great and could cause the end of crime. And I said: well, firstly, there is crime. But secondly, the reason the universal surveillance isn't that bad in Terra Ignota is that the governments are so good — because the buyer's market for citizenship holds governments to great degrees of accountability. If they misused this data, there would be public outcry, and then a mass movement against the government that did it, as citizens switched to other Hives. That accountability means that when the data is misused — as indeed it is, as we see over the course of book two — there is a consequence, speedily, for that misuse. The governments, being accountable, cannot abuse it. And the person just looked really sad. Because clearly, to this person who worked for a surveillance tech company, this was a hope that a surveillance tech future could be good, not bad. They hadn't thought through that it's the political change and the levels of political accountability that make it plausible that in such a future, surveillance tech would not do the harm it can do in a future where governments have a lot of power and not a lot of accountability. So I always find it interesting to see people who see a particular thing they're looking for in a future in Terra Ignota — at least in book one — and then didn't follow that journey forward to be challenged by it. But I love the people who read all of the books and followed me through the journey of: what if we have this future, and it's a great future, but it's not a perfect future, and it recognizes that, and it has to go through growing pains and work to become even better? Because one of the things about a utopia in the classic sense is that it's static. It's achieved this perfect state and it's unchanging. A book that is a true classic utopia basically feels like you have arrived in the city and they say, "Hello, stranger! Would you like to learn about our perfect public transit system? Now would you like to learn about our perfect public education system?" Welcome to Finland — we would like to lecture you on the superiority of all of our social and technological institutions. And you're like: actually, Finland, you're really great at all these things, and I wish we could elect you to rule the world and implement all of these things in most of our countries in many ways. But it feels weird getting these tours of perfect worlds that then aren't also self-examining and dynamic. So Terra Ignota is a hopeful future, but not a utopian future, because it has flaws. I remember when the first book came out, a lot of the initial discourse — the first blog posts of its earliest readers — was arguing about whether it was a utopia or a dystopia, trying to put it in one bucket or the other. "It has to be a utopia, everyone's happy, the lifespans are long." "No, it has censorship and surveillance, it has to be a dystopia." People would talk with each other before thinking through that it's an in-between. It has a lot of things that are better than our present and a few things that are worse than our present, and a lot of great achievements and a lot of stuff that still really needs to change. And a realistic future is one that is still changing. ⚠ The spoiler line [01:00:44] Ben: I'm going to transition us to speak about that realistic future. So — this is the spoiler warning. Anybody listening after this point: we expect you have read all the books. You will learn what happens in them. We will not explain anything. This is the part I'm very excited about. Also, sidebar: the fourth book is actually my favorite one. Ada: It's the best one. I needed all the other stuff before I could do that. Ben: The speech about the Trunk War, and the in-path and the out-path — that got me. Ada: Like the composer of a symphony, I needed to introduce all the leitmotifs and establish everything so that I could then do the final movement, in which everything happens at once. So I do setup, and I do more setup, and I do more setup — and then I have the full resources of those three books' worth of background, so that I can jump in and do things with an enormous complexity and depth that can only work when you have built that far. How the economy works [01:01:51] Ben: Something you don't talk about very much in the books, but that I assume exists in the giant iceberg: how does the economy work? There are little hints — clearly there are still black markets, clearly there's some form of buying and selling — but beyond that it's really not explained. And we get hints that it works a little differently for different Hives. Ada: We also know that the Hives resolve police conflicts with each other: when a member of one Hive has committed a crime against a member of another, the Hive that the person in the wrong came from pays the other Hive, and then punishes their own person by their own techniques. So a Mason receives the punishment a Mason normally gets, which might be much harsher than what the Cousins would normally do — but the Cousins get a certain amount of money that is standardized for the crime. So money is used among the Hives to balance out their frictions. That means Hives are incentivized to discourage crimes by their members against other members, because it costs them a certain amount of money. But they're not super-mega-over-the-top incentivized. They would never spend half their budget on policing, because it's resolved. Within that, the economy works quite differently for different Hives. The Mitsubishi and Humanists are on a very capitalist, more corporate model. The Utopians are space communists. Everything you earn goes to space, and you receive back what you need to live. The constellations process things around, and there is enough for everyone to live in comfort, but you do not have private assets and private income. It's set up the way a monastery runs. If you have a job and are a monk, this is just true: if you're a monk and you also have a professorship, your salary goes to the monastery, and you still receive the same meals and support and housing and stipend that any other monk does. It doesn't matter whether you're in a high-profit or low-profit job — you're doing a worthwhile job, therefore the Hive supports you, or the monastery supports you. So they're fully space communists: everything goes into the Hive and comes back out. The Cousins have much more of a safety-net thing, where everybody has a guaranteed income, but you can also have additional income on top of that. And if you do have earned income, the Cousins take a very large slice of it in taxes, because they pay for so many services which both you and the world benefit from — and you feel good that, in a charitable way, you have funded schools and hospitals all over the world in a massive transformation. So that also appeals to somebody who, if they had supplementary income, would choose to give a lot of it to charity. You're sort of signing up in advance to have your income largely routed to charity, while you keep enough to live on and some more, so there's an incentive to earn more, but not a huge one. The Masons have a complicated thing — this is why it's not in the book. It's calculated: the value of your contribution to the empire. How valuable a subject are you to Caesar? A number is put on that. And if you have a job or occupation that earns less than that, then you receive a stipend from the empire in credit for the services you've done to the empire. And if you're working directly for the empire, as the Guildbreakers do, then you receive a stipend from the emperor. What it means is that a lot of Masons will fluctuate during their lifetime between "100% of my income is coming from a salary" and "now half my income is coming from a salary and half from the fact that I am a Masonic traffic guard, or whatever it is, working for Caesar." So Caesar pays this slice of my income, and my salary for something else pays another slice. And it's a point of pride to have more and more of it be your value from the empire — because then you're serving the empire better and doing more. Though there's also a point of pride in having a hundred percent from salary, so that you're not draining Caesar's purse. Ben: I bet there are the two different groups of people — the one high status and the other high status — and they beef a little bit. One currency, and the currencies underneath it [01:07:06] Ben: All of that implies some kind of single cross-Hive currency. Ada: You'll notice all the prices are in euros throughout the book. Whenever any price is named, it's in euros. And the presumption is that Romanova administers a kind of central bank — and that the Censor's office is key to the administration of that central bank. The Censor's office is fundamentally doing economic analysis as well as social analysis. Ben: Which sort of implies that Hives cannot operate like a lot of modern governments, where they print their own currency. Ada: They can and they can't. You can still do currency exchange with the reservations, which are very intentionally not discussed very much in the first three books, so that we're sort of curious and slightly alarmed. And then they become so vividly present at major key moments in the last book, and you have this sort of backwards — I've been thinking of this as the marginal barbarians. Wait a minute, that's the United Nations. That's me. We are those marginal remnants — that's the evolution of the way we live now. The other thing is that Hives can create internal fiat currencies of different sorts, that are tradable only among them and that only they would really care about. So for example, the Mitsubishi have this: you get one vote for owning different amounts of property. Property and votes move together, and there's a unit which is one vote's worth of property — a significant value of a thing. And the Mitsubishi pay a lot of attention to those circulating. So it's not a small currency, in that you would never buy a sandwich with it. It's a currency in which the smallest unit is $300,000 or $200,000, because it's the value of a condominium, basically. But people pay a lot of attention to it, care about it. They can't just generate more without building architecture — but they can generate more by the act of building architecture or buying property. And if Mitsubishi buys property, that transforms it from a thing that has cash value to a thing that has cash value and a vote's worth. And then it moves around. So it operates in a complex way, like a non-fiat currency — a currency where there is a real thing attached to this unit of currency — but they only change hands for big deals, not small deals. And then people commit their vote to a voting bloc, which supports a higher voting bloc, so you're delegating your voting power rather than exercising it independently. The campus system [01:10:26] Ben: I feel like I could talk about this for a very long time, but I have more spoiler questions. How does the campus system work? Ada: A campus is referred to a number of times but never really explained. It's not quite a university, because it's a cluster in one area of multiple educational options. A campus might have a major research university, and three different colleges with different focuses, and several trade schools. So you might choose to go to that campus to attend a research university. Or you might choose to go to that campus to get a trade school degree as an artisan and be a master glassblower. Or you might choose to go there and say: I like the mood of this campus. This is the Romanova campus, so everybody who goes here really cares about politics — but they want to do different things in politics. Some want to go to journalism school, some want to be lawyers and complete law school, some really want to be politicians, some really want to observe, some might want to be architects but are interested in political thought and how it informs architecture, so there's an architecture school there. And you might be going for different lengths of time, because you might be doing different successive degrees. You might say: I really love political thought, I want to be in the city where it happens, I want to be in the community of other people where all my fellow students are into politics. So even though I want to be a doctor, I'll choose to go to medical school there, and make friends with somebody who's there to do architecture, and another friend who's there to get a polylaw degree and wants to be a polylaw. But we get to mix and mingle and enjoy debating and discussing and observing politics, united by that shared ethic for my bash'. And then I made another place that's like: this is a campus designed for people who really love water sports. We're going to have fifteen different educational options — there will be a medical school, and a law school, and small liberal-arts-focused colleges, and a large research university here also — but all of them are structured around a bay that has really good surfing and where there are lots of boats. So if you're somebody who loves that kind of thing, and you think you probably want to have a bash' with people who share that passion, then you might choose to go to that campus. You choose based on the campus and its mood, not based on which school is best for law. You can choose any campus and get a law degree there. So it's more about expecting that this is a personally formative phase of your life, in which you're going to find your bash' and find your bash'mates. So you go to the campus where you expect shared interest with those bash'mates. And there are a few campuses that are dominantly Masons, where you go — you grew up a Mason, you're expected to be a Mason, you want all of your bash'mates to be Masons, and they do Masonic things, and probably you're going to join a hereditary Masonic bash'. But you still do need to go about finding your bash'. You might therefore choose to go to one that's dominantly Masons. But you could also go to the Romanova campus and be in the college that's a Masonic college at the Romanova campus, where one part of your social world is mostly Masons and another part is very mixed. Ben: Administratively, are they all one organization, or just a bunch of co-located organizations? Ada: Co-located organizations, with a central organization that maintains the campus as a whole. That organization doesn't do the admissions, or decide who's there, or what programs there are. But they collect money from all of the schools that benefit from the presence of this campus, and use that to maintain the grounds and the infrastructure and the safety and the boats. Or, in the case of the Romanova one, to have lecture series where they bring in statesmen to talk to the students. So the central organization organizes the infrastructure and incentives that make the campus desirable, but it doesn't run the individual universities and schools. Those are still independent. When a new campus is formed, it buys up a bunch of land and then either sells or leases that land to individual schools that want to develop there. Most often the format would be a hundred-year lease. And then after a hundred years we'll evaluate whether this school actually still is a major contributor to the thing or not — so that it's not constantly uncertain. There's a symbiosis between the campus umbrella organization and the individual schools, but the individual schools are themselves separately run. Ben: I love that. Ada: There are already parts of the world where there are three or four colleges really near each other — like Cambridge, Massachusetts, where there are people from Harvard and people from MIT mixing with each other, and one of the things the two schools do is benefit from each other. And the more your educatio

Critical Magic Theory takes on Lily Potter, the first Muggleborn episode of the season. Working through 202 listener survey responses, Professor Julian Wamble asks whether Lily was a good person, mother, wife, Muggleborn, Gryffindor, friend, and hero, then turns the question around: why do we only ever get her secondhand, filtered through Snape, Slughorn, and Harry himself? A close read of her Muggleborn identity, her friendship with Snape, and the sacrifice that swallows her whole character, framed as a Harry Potter story about who gets to be known and who gets reduced to what they did for someone else.

Send us Fan MailIn this episode, Umbridge takes the stage as one of the worst people ever. She gives Harry detention, and it's one of the worst he's had. Hogwarts turns on Harry as his story surrounding Voldemort's return is under fire, despite Dumbledore's support. Enjoy!Topics/Summary:·      1:15 Classes at Hogwarts are underway! Harry and Umbridge lock horns in their first DADA class, and she gives him detention. The episode opens up with some shots of the grounds to engrain the idea of nature in magic into the audience. The Gryffindors sit through one of the worst defense classes ever. ·      17:44 Harry goes through the worst detention he has ever experienced, and we begin to understand just how horrible Umbridge is. Umbridge forces Harry to miss keeper try outs, but Ron still makes the team.·      29:50 Harry writes to Sirius about his scar. The Gryffindor team has their first practice where the Slytherins are watching and jeering along.·      34:26 Episode four begins with the mass meeting at the Hog's Head. Dumbledore's Army is created in that meeting, even though Harry feels like he has nothing to share. Everyone in the bar writes their names down on the parchment and the group is officially formed.·      41:56 Dobby tells Harry about the Room of Requirement. Harry asks him because he can't think of anyone else who might know. Dobby tells him and the trio goes to check it out. It's perfect, so that's where the first meeting takes place. The DA assembles and Harry tells them how useful the disarming charm is. Many don't believe him, but he tells them about how it has saved his life many times. They have a very successful first meeting, and for the first time that year, hopes are running high. ThePotterDiscussion@gmail.comthepotterdiscussion.comNox

Nick and John get together to discuss three HogwartsProfessor posts about the All New Hogwarts House Emblems and Rowling's commentary via three emojis about the recent trailer for the Bronte Studios adaptation of Harry Potter and the Philosopher's Stone. You can read those posts via these links:The HBO+ Potter Trailer: The Meaning of Rowling's Heart, Owl, and Lightning BoltHBO's Harry Potter and the Alchemical SymbolsThe New Hogwarts House Emblems and Their Alchemical and Plant SymbolismOr you can just jump right into the conversation via the questions, notes and links below!Hogwarts Professor is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.The Ten Questions Guiding this Conversation: Nick in Red, John in Blue1. G'day, John! Great to see you, your chin, and hairline again! You posted a short piece over at the HogwartsProfessor weblog this week about a seemingly meaningless Rowling tweet that shared a new trailer for the HBO+ adaptation of Harry Potter and the Philosopher's Stone. She only ‘wrote' three emojis, but, even though you wrote was only several paragraphs long, it said a lot. Why do such a deep-dive into these perhaps offhand fan-servicing signals?* All the signals or emojis are traditional symbols, so, offhand or not, they're markers of the choice a serious reader has to make about understanding Rowling's work properly;* Is it literary sacred art as her Shed tool choices suggest or just creative personal expressions for our diversion and entertainment? * Rowling is signaling us, as you say, that it is the former with these three emojis.* T. S. Eliot, ‘The Dry Salvages' (InterNet Poem)We had the experience but missed the meaningAnd approach to the meaning restores the experiencein a different form2. Let's take a closer look, then! The Heart, the Owl, and the Lightning Bolt -- what does the Rowling fan, from “ten years old to seventy,” see right away before they stretch for the traditional meaning?* Heart – Rowling is pleased; we should be, too; heart as sentiment, love token. * Owl – Hedwig in Stone, important message being delivered, ‘pet' project of Rowling's. * Lightning Bolt – The Boy Who Lived's signature mark, news out of the blue or ‘news flash'3. And there's more? What traditional meanings do these emojis have?* The Heart to Rowling is a lot more than a token of sentiment. It is a Golden Thread in her work that the Heart is a pulsing symbol of the human spiritual capacity. Only the Eye does as much heavy freight of meaning lifting in her work and I think the Heart surpasses the Eye ultimately in importance except insomuch as she elides their meaning. Read The Heart is Not About Emotions and Affection but the Human Spiritual Center for discussion of the symbolism and the Golden Thread.* The Owl, too, is an ancient and dynamic symbol, the reason frankly there is a Hedwig rather than Hedwig being the meaning of the token. Rowling clearly draws on her experience of owls in Greek mythology (and reading of C. S. Lewis' Narniad drawing on the same source) in making the owl the vessel of communication and supernatural perception in her Wizarding World. None of the letters written by her witches and wizards need to be addressed because an owl is so attuned to everyone and everything that it is able effortlessly to understand where it needs to go, God's own GPS. What is usually described as a symbol of Wisdom is clearly much more a revelation of a mind able to grasp the great interconnectedness of things which in turns takes us back to the Eye and the Heart — and what Rowling is trying to bring to readers in her transformative literature. (Contrast this Greek mythology symbolism with what owls represent in Christian scripture; quite the gulf between Athens and Jerusalem there!)* But the wisdom piece is there, too! Rowling is writing at four levels of story that correspond with the four ways of human knowing, of which the last and most important is gnosis or wisdom, the so-called anagogical layer of meaning that no less a light than Flannery O'Connor said was the whole point of writing and reading. If you're writing for the Heart or to illumine the Eye of the Heart, the goal is transformative imaginative experience fostering wisdom.* And the Lightning Bolt? The forehead scar, the mark of Orestes, the Greek hero who avenged his father's betrayal and murder, is another polyvalent and profoundly spiritual cipher as a lightning bolt. In it simultaneously the reader experiences simultaneously as we do in a thunder storm albeit imaginatively (1) sudden illumination or enlightenment, (2) from above, the heavens, the super-conscious realm, and, most important, (3) a reorientating shock, a cathartic shaking, the jolting moment that jars us out of our psychological rut and cage to see the world afresh with our ‘eye of the heart.'* Rowling's three emojis on her tweet about the fun trailer below can be read as fan servicing variations on the ‘thumbs up' and ‘hand-clapping' using tokens associated with the books. No doubt about that reading.* I think it as important to note, however, the possibility that Mrs Murray is signaling to the HBO+ audience as well as the international of readers that this adaptation is about trying to reproduce as much as is possible in an iconoclastic medium some replica of the imaginative and transformative experience to be had in the books. The Heart, the Owl, and the Lightning Bolt all point to that experience and depth of meaning.4. Which segues nicely to your brief post, Nick, on the HBO+ adaptations and its choices in how to represent the four Hogwarts Houses: Gryffindor, Ravenclaw, Hufflepuff, and Slytherin. (”Nitwit, Blubber, Oddment, Tweek,” anyone?) Can you review what the books say are the proper representations, the heraldic glyphs most appropriate to each house?5. Has Rowling added content or context for why she chose those specific representations?[Anelli-Spartz Interview discussion of four elements]JKR: But they're not all — don't think I don't take your point, but — we, the reader, and I as the writer, because I'm leading you all there — you are seeing Slytherin house always from the perspective of Death Eaters' children. They are a small fraction of the total Slytherin population. I'm not saying all the other Slytherins are adorable, but they're certainly not Draco, they're certainly not, you know, Crabbe and Goyle. They're not all like that, that would be too brutal for words, wouldn't it?ES: But there aren't a lot of Death Eater children in the other houses, are there?JKR: You will have people connected with Death Eaters in the other houses, yeah, absolutely.ES: Just in lesser numbers.JKR: Probably. I hear you. It is the tradition to have four houses, but in this case, I wanted them to correspond roughly to the four elements. So Gryffindor is fire, Ravenclaw is air, Hufflepuff is earth, and Slytherin is water, hence the fact that their common room is under the lake. So again, it was this idea of harmony and balance, that you had four necessary components and by integrating them you would make a very strong place. But they remain fragmented, as we know.More on Elements and Humours at HogwartsProfessor:* Ben Jonson's Every Man and His Humor* The Crimes of Grindelwald Group Portrait: A Study in Temperaments6. Where did the Warner Brothers film adaptations depart from and stick to the page-and-interview House heraldry?* The animal representations as often as not are facing in the wrong direction, sinister rather than dexter and vice versa; AND* The Ravenclaw eagle of the books became a raven and their House colors become dark and light shades of blue rather than blue and copper.7. But those corrections aren't the most interesting changes or corrections in these new House shields, are they? What are the extras we're given that weren't suggested in the original texts but implicit in the interview material?[Hat Tip to Sad-Ad-9273 at r/HarryPotteratHBO for these screen catches!]* Note the vegetation in the Banners and the Emblems: the acorns in the Gryffindor mean the Oak tree is its symbol; the white berries in Slytherin suggest holly, per Sandra Miesel Kopec, the laurel tree seems a match for Ravenclaw and ivy for Hufflepuff;* Check out a website devoted to these things, ‘What Do Leaves Represent on a Coat of Arms,' for the meaning of these plant associations with each house or share your own ideas in the comment boxes below!8. What is with the ornamentation on those triangles? The Slytherin circle, the sideways line and paleolithic horse on Gryffindor, the Ravenclaw ‘V,' and the Hufflepuff cup and ‘V'? Are these Founder's treasure tokens that become Horcruxes? If so, are there traditional meanings as well as plot points, e.g., Tarot Card qualities?[Hat Tip to LightAngel452 at r/HarryPotteratHBO for the brilliant graphic! LightAngel also picked up on the alchemical symbols.]* The Emblems material that gets heady involves the melange of symbols and signs in their respective headboards; * Slytherin has an easily discerned ‘S,' the suggestion of the House's signature serpent, and the Horcrux locket of Salazar Slytherin;* Ravenclaw's header with a little head turning and squinting has an ‘R,' the V inserted looks like a diadem, and simultaneously it has what looks like an eagle in flight from a distance;* Gryffindor does not seem to include the ‘G' we'd expect, but the Sword of Gryffindor, and the paleolithic horse a Medieval knight be riding are evident;* Hufflepuff gets the best of the lot, though, with its distractingly obvious cup obscuring how the ‘V' within the inverted triangle and its bisecting line yields both the stripes of a badger and Helga Hufflepuff's initials!* That's great stuff, Nick, but the real catch, I think, was what you shared in your post about the alchemical symbols for the Four Elements, the triangles illustrated in the Wikipedia page for such things and in The Book of Alchemy (Chapter 9, ‘The Four Elements,' pp 111-128 [pdf numbering]; Air triangle 119, Water, Fire, Star of David 115, Earth “no predetermined figure” 113-114)* The meaning of those triangles, especially their direction and the bisecting lines in the symbols for Earth and Air, can be found in Titus Burckhardt's Alchemy: Science of the Cosmos, Science of the Soul, a book we can be pretty sure Rowling read because the Penguin paperback available when she was a Comprehensive student featured Rubeus Hagrid, hermaphroditic giant, with a dragon, both astride a Golden Snitch, on its cover:* Burckhardt explains that the symbols are understood correctly in their harmonious combination or elision as the Seal of Solomon (‘Star of David') [pp 74-75];* The bisecting lines of the Earth and Air symbols is from the base lines of the triangle in the Seal that brings the whole into balance;* Which representations align perfectly with Rowling's attempt to explain the Four Houses as the Four Elements and how the goal or telos of each is its harmonious integration with the others, i.e., the Seal of Solomon;* We may not be able to say that Rowling told Bronte Studios to use these symbols on their respective Hogwarts House emblems, but its undeniable I think that the HBO+ adaptations are going to be risibly rich in traditional symbolism that most readers may or may not notice but which they will not ‘get' without some serious study.9. And, John, you're putting up a post later today about the New Potter Mania and how it will look like the old Potter Mania and still be qualitatively different. We'll probably do a whole show to talk about that but what are the highlights? * Not today, but very soon!10. And I see you're putting up material for the Paid Subscribers on just that subject? * Paid Subscribers will be receiving chapters from the Perennialist PhD thesis draft I wrote that Dimitra Fimi rescued from the fireplace;* I'm meeting with an online course platform owner today that I'm all but certain will be hosting the Wizard Reading Formula classes I gave in 2017 which will be free to Paid Subscribers;* And which will serve as a run-up to and acid test for our ten week week ‘Lake, Shed, Golden Thread' course that will launch in 2027, maybe even at Christmas time 2026 for folks to give themselves their friends and family as presents* Stay tuned! Hogwarts Professor is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

Potter Revisited Episode #117 George with a Knife AKA Harry Potter and the Order of the Phoenix, Chapter 19 "The Lion and the Serpent" We hate Umbridge so so much Harry is feeling so good about the work he is doing in the DA Hermione creates a way for Harry to relay DA meeting dates secretly which is really cool It seems wrong that Hogwarts doesn't encourage students to be friends with others outside their house Confirmation that Hermione was almost put in Ravenclaw  Would Ravenclaw been a better fit for Hermione, especially at the beginning of the series? Hermione using the Death Eater dark marks for inspiration shows how lucky we are that she is on the good side Minerva's dedication to ensuring the Gryffindor Quidditch team wins is admirable  Snape is not putting a stop to the Slytherin's cursing members of the Gryffindor Quidditch team, +1 Sucks Point  Harry is used to the ridicule and attacks from the Slytherin's before a Quidditch match but poor Ron is not handling it well  Ron needs to remember he has punched Malfoy before and he can do it again  Luna's Gryffindor Hat is so cool! Luna is obviously very creative and very talented with magic  Tori recalls her fangirl moment when Hermione kisses Ron for good luck  Malfoy has made badges for the Slytherin's to wear - very foreboding  Who is making all these badges for Draco? Tori hates the badges, Malfoy and the fact he is a nepo baby Crabbe and Goyle have made the Slytherin team as beaters, goon Quidditch at its finest  We have missed Lee Jordan's commentary Tori struggles reading the Quidditch game, and feels so bad for Ron  Draco appears to have written and taught all the Slytherin's a terrible song about Ron to sing during the game  What song makes you want to die of embarrassment more, Ginny's singing Valentine to Harry or the Weasley is our King song? Imagine if Draco applied himself to other tasks instead of harassing Harry and Ron  Ron is not able to play well understandably, but Harry catches the snitch and is able to win the game for Gryffindor  Draco cannot let this go and continues to say disgusting things about the Weasley's to Harry and the team  George and Harry basically jump Malfoy, and it is deserved  Shay thinks they should of waited to jump Malfoy when their were no witnesses  Draco has gotten away with far too much, what he is saying is vile  Tori goes back to all the times Malfoy was hit in the series and a new counter has been made! Talk Shit Get Hit will count all the times Draco gets hit (which he deserves) Is Hogwarts (and Dumbledore) partly responsible for why Draco is the way he is?  Is Draco more emboldened in OOTP due to Lucius being in both Fudge's inner circle and Voldemort's? Was Draco surprised to be attacked? Play stupid games, win stupid prizes? George with a Knife is the new Harry with a Gun  Would you trust the Weasley twins with a spoon? McGonagall is not happy with Harry and George and plans to punish them but Umbridge arrives to make this worse Umbridge is SO petty  Umbridge confirms that she tried to stop the Gryffindor team from reforming because she has a vendetta against a fifteen year old  Umbridge gives Harry, Fred and George a lifetime ban from Quidditch unjustly, and Fred wasn't even involved in the fight  Tori hates Umbridge, and gives her +3 sucks points for being petty, being bias, being power-hungry and for being a huge bitch  How does a lifelong ban even work? It seems wrong for Umbridge to confiscate Harry and the Twins brooms since they are their property that they paid for  Harry needs a lawyer Umbridge gets another sucks point for the unfair Quidditch ban +1  Ron hasn't been seen since the game and comes back so sad and wanting to resign Harry has also had a terrible day and refuses to let Ron resign  What would Oliver Wood have to say about Harry's lifelong Quidditch Ban? Hermione tries to cheer the boys up by letting them know that Hagrid is back  Hagrid save us all!! Tori probably sweared more than Shay in this episode - a new record! Snape Sucks count for Chapter 19: 1 Umbridge Sucks count for Chapter 19: 4 Talk Shit, Get Hit Counter: 4 Email any thoughts, questions or feedback to  potterrevisitedpodcast@gmail.com Music: Shelter Song by Alexander Nakarada (www.serpentsoundstudios.com) Licensed under Creative Commons BY Attribution 4.0 License https://creativecommons.org/licenses/by/4.0/ Links:  Trans Lifeline https://translifeline.org/ The Trevor Project https://www.thetrevorproject.org/ Follow Us:  Facebook  https://www.facebook.com/potterrevisited Twitter https://twitter.com/potterevisited Instagram https://www.instagram.com/potterrevisited_/ Youtube https://www.youtube.com/channel/UC4v2Xt0OIQ8_LCVYhKf2S5A TikTok https://www.tiktok.com/@potterrevisited  

Knock knock, who's there? Just the Minister for Magic, and he has questions about these 'random' things that Dumbledore has left behind for the Trio. Even after death, Albus knows how to mess with the Ministry, and we're here for it! Join us as we discuss Chapter 7 of Deathly Hallows, "The Will of Albus Dumbledore". Welcome Slug Club member, Sara! She gets extra points for remembering her Ilvermorny House even though we didn't ask for it. Ron has a birthday gift for Harry, but what is his intention behind it? Is he trying to genuinely be helpful, or is he just giving his bro a gag gift? Ron also admits to having barged in on Harry and Ginny. Is this appropriate behavior? Who ultimately should Ron try to be loyal to? Knock knock! The Minister is pulling into the Burrow with Arthur, and he has questions for Harry. Predictably, Scrimgeour handles this meeting with the Trio poorly. Could he have actually gotten some answers out of the Trio had he been different? Foreshadow alert! Hermione says she does NOT want to work in Magical Law after Hogwarts. We learn about the Snitch's 'flesh memory' as well as Scrimgeour's theory about the Sword of Gryffindor, and he's not too far off. Harry figures out the trick much sooner than expected. Turns out Norbert is a girl. How did Hagrid NOT know this sooner? Lynx Line: Which of Dumbledore's belongings would you have wanted? Quizzitch: What's the original name for the Deluminator? Learn more about your ad choices. Visit megaphone.fm/adchoices

In dieser Folge widmen wir uns "Weasleys Zauberhafte Zauberscherzen", dem Laden mit den Produkten von Fred & George. Wir haben eine Auswahl der angebotenen Scherzartikel genauer unter die Lupe genommen, zum Beispiel die Minimuffs, den Langziehohren und natürlich auch die Nasch- und Schwänzleckerein. Es gibt neuen Merch: https://www.seedshirt.de/shop/schokofroescheshopIhr wollt uns FanArt schicken oder Sticker von uns bekommen?Schreibt uns an:Postfach 71053281455 München

Week 171! What does the way you deal with a locked door say about your personality? Apparently, quite a lot — especially if your answer is “break it down.”This week on Deaf Dialogue, Davi, Wes VA, and Quiet K somehow turn a simple locked-door hypothetical into a full-blown Hogwarts house personality test. Would you knock? Search for a key? Pick the lock? Or just destroy the damn door? The answers lead to an unexpected debate over Gryffindor, Slytherin, Ravenclaw, and Hufflepuff — and, naturally, everyone immediately forgets what Slytherin is actually supposed to represent.The conversation also gets a little more serious as Wes talks about his ongoing back problems, the frustrations of trying to get medical care, and his upcoming MRI and specialist appointment. Then L'Oreal shares a scary experience involving flashes and dark spots in her vision that sent her to the ER and ultimately revealed a change in the vitreous of her eye.Throw in some ridiculous guessing games, random tangents, and the usual Deaf Dialogue chaos, and you've got another episode that somehow manages to go from Harry Potter to back pain to eye anatomy without making any sense at all — which is exactly how we like it. Enjoy!

Wir spielen in dieser Folge Schokotratsch ein neues Spiel, in dem wir verschiedene Harry Potter relevanten Dinge schätzen müssen, zum Beispiel wie viele Filmminuten hat Draco Malfoy, wann wurde der Themenpark eröffnet und wie groß ist Hagrid. Spielt mit! Es gibt neuen Merch: https://www.seedshirt.de/shop/schokofroescheshopIhr wollt uns FanArt schicken oder Sticker von uns bekommen?Schreibt uns an:Postfach 71053281455 München

This week, make sure you know the difference between spattergroit and spaghetti, because we're squeezing the family ghoul into a pair of Ron's old pajamas. Join Andrew, Eric, Micah and Laura as they dodge wedding chores from Mrs. Weasley and get a crash-course in destroying Horcruxes from Professor Granger! Chapter-by-Chapter continues with Deathly Hallows, Chapter 6: The Ghoul in Pajamas 7-Word Summary: Upstairs resides a creepy groaning nasty Weasley With Mad-Eye gone, who should step and up and lead the Order? What exactly was Dumbledore's plan for the adult Order members once the Trio departed? Sit patiently until the Battle of Hogwarts? Mrs. Weasley is doing her best to keep Harry, Ron and Hermione apart: is she actively doing more harm than good? Despite Harry's best efforts, Ron and Hermione are making plans to join him on his Horcrux Hunt! Hermione makes the ultimate sacrifice: modifying her parents memories! Ron, Arthur, Fred and George transform the family ghoul to have spattergroit (a condition Ron was mistaken to have at St. Mungo's in Order of the Phoenix) Having the ghoul pretend to be Ron sounds like a good plan, but hold on a minute! Why has it been allowed to just hang out in the Weasley's attic all these years? Ruh Roh! Dumbledore was an active member of the Banned Booked Club! Hermione has become quite the Horcrux expert (after pilfering Dumbledore's office) We get a double-dose of Sword of Gryffindor foreshadowing! Lynx Line: If you were Mrs. Weasley, what is the most outrageous task you would give Harry to keep him away from Ron and Hermione? Learn more about your ad choices. Visit megaphone.fm/adchoices

Wie schrecklich die Familie Gaunt ist, wissen alle, die die Bücher gelesen haben. Trotzdem beleuchten wir in dieser Folge Marvolo (Vorlost) und Morfin Gaunt nochmal genauer. Was hat es mit Tom Riddles Großvater und Onkel auf sich? Es gibt neuen Merch: https://www.seedshirt.de/shop/schokofroescheshopIhr wollt uns FanArt schicken oder Sticker von uns bekommen?Schreibt uns an:Postfach 71053281455 München

This show is sponsored by BetterHelp – Go to http://betterhelp.com/super  This show is sponsored by Raycon – Go to https://buyraycon.com/supercarlin to get 20% off the Everyday Earbuds Classics! What Hogwarts House would every Disney Princess be sorted into?  Today we're putting Disney's princesses under the Sorting Hat and deciding who belongs in Gryffindor, Hufflepuff, Ravenclaw, and Slytherin! Some are easy. Belle? Come on. Others are WAY more complicated. Is Jasmine actually a Slytherin? Is Merida the most Gryffindor princess ever? And then there's Mulan… who somehow has a legitimate case for ALL FOUR HOUSES. #Disney #HarryPotter #DisneyPrincesses

Die allerletzte Folge "Spion der Nächte". Das war alles, was Antonia damals abgetippt hat. Was glaubt ihr wie es weiter gehen könnte? Es gibt neuen Merch: https://www.seedshirt.de/shop/schokofroescheshopIhr wollt uns FanArt schicken oder Sticker von uns bekommen?Schreibt uns an:Postfach 71053281455 München

Wir haben viel zu lang nicht mehr über Ron Weasley gesprochen, also wird es höchste Zeit, dass wir 5 Momente von ihm in allen Büchern besprechen. Dabei haben wir uns auf seine mutigsten, beleidigsten, cleversten, traurigsten und lustigsten Momente fokussiert. Hat euch ein Moment gefehlt? Es gibt neuen Merch: https://www.seedshirt.de/shop/schokofroescheshopIhr wollt uns FanArt schicken oder Sticker von uns bekommen?Schreibt uns an:Postfach 71053281455 München

Chapter 25 - Shell Cottage, covered by Abby!Harry and Griphook broker an uneasy deal — the sword of Gryffindor in exchange for help breaking into the Lestranges' vault. Amid the tension there's real joy too: Teddy Lupin is born and Harry's named godfather, though Bill's private warning that goblins don't forgive double-crosses leaves Harry (and us) wondering just how reckless this plan really is.Trust issues, tiaras, and a new baby werewolf-or-not⚡️

Odds and Ends: Honoring the dead for sure for real; we talk about the recent Apple TV hit Widow's BayFeature Film: Dipping back into Korean cinema with Kim Jee-woon's send up to spaghetti westerns, most specifically Sergio Leone's classic of almost the same name. It's like that turned up to 11 and way more anime, it's what Jee-woon himself calls a "kimchi western" which is, I have to say, very clever, my good sir. Twenty points to Gryffindor, here's your Reddit gold, tip of the fedora, all that. Now, if that doesn't make you want to listen to the episode, I don't know what will.Next episode's movie: Troy (2004) and The Odyssey (2026) with returning guest Josh from Learning About MoviesYou can join the conversation Wednesdays at 7pm EST! Available in podcast form on all your favorite podcatchers!Socials:linktr.ee/ThereWillBeDudsTwitch // ThereWillBeDudsYouTube // There Will Be DudsTwitter // @ThereWillBeDudsFacebook // There Will Be DudsInstagram // ThereWillBeDudsTikTok // @ThereWillBeDuds(0:00) Show start(19:00) The Good, the Bad, the Weird(51:17) Widow's Bay(1:14:39) Next episode's movie

Professor Julian Wamble returns to the Half-Blood Showdown listener mailbag to dig into three of the community's sharpest debates: whether Dolores Umbridge outranking Voldemort as the series' worst villain says more about misogyny than about her actions, whether Peter Pettigrew's placement in Gryffindor holds up under real scrutiny of what bravery and courage actually mean, and what it says about Hogwarts as an institution that it never teaches its students to think critically. Pulled straight from the Critical Magic Theory Patreon and Spotify comments, this episode is a masterclass in taking fandom seriously.

Ein Film - eine Folge neigt sich dem Ende zu. In dieser letzten EFEF - Folge besprechen wir den letzten FIlm "Heiligtümer des Todes Part 2". Diesmal ist nicht nur Kritonia am Start, sondern auch Amber ist genervt - aber sie hat auch ein bisschen Pipi in den Augen. Aber hört selbst ... Es gibt neuen Merch: https://www.seedshirt.de/shop/schokofroescheshopIhr wollt uns FanArt schicken oder Sticker von uns bekommen?Schreibt uns an:Postfach 71053281455 München

Episode SummaryIn this episode of the People of Packaging Podcast, host Adam Peek sits down with Adam Page, VP of Reports at Smithers, to dive deep into the world of packaging market research. With over 25 years of experience in the industry, Adam Page shares valuable insights on why true market intelligence requires human expertise, the limitations of relying solely on AI, and how rapid changes in e-commerce and sustainability regulations are reshaping the packaging landscape.Key Takeaways & Timestamps* 01:40 – Global Footprint: Discover where Smithers is located—spanning London, Akron (Ohio), and Suzhou (China)—and their legacy stemming from PIRA (Printing Industry Research Association).* 02:50 – The Hogwarts Debate: A quick detour into the magical world of Harry Potter. Is it Gryffindor or Hufflepuff? * 04:45 – The Real Value of Human Research: Why desk research and AI aren't enough. Adam explains the art of “triangulating” data from multiple industry stakeholders to uncover the real truth.* 06:30 – The Paradox of the Consumer: Consumers say they want sustainability, but they also want it cheap and delivered to their doorstep in 24 hours. How do brands navigate these conflicting demands? * 10:40 – E-Commerce & Corrugated Trends: How the rise of AI-driven “right-sizing” packaging technology at companies like Amazon is actually shifting corrugated volume demand.* 11:50 – The PCR Crunch: Major brands have massive goals for Post-Consumer Recycled (PCR) content, but the global recycling infrastructure can't keep up with the demand. Where will the material come from?Notable Quotes“AI is wonderful for problems that have already been solved and already understood... But when you're trying something that is unknown, where there are ambiguities and uncertainties, AI falls into the mistake of being too certain about its answer.”— Adam Page, Smithers##

Wir nehmen mal wieder Albus Dumbeldore unter die Lupe - wir sind wieder bei "ein Buch - eine Folge" und zwar besprechen wir den 6. Teil: der Halbblutprinz. Und mit dem steckt Dumbledore unter einer Decke. Wieso die Vorbereitung von Harry nicht ganz gelingt und wen er dies mal alles opfert, das hört ihr in dieser Folge. Es gibt neuen Merch: https://www.seedshirt.de/shop/schokofroescheshopIhr wollt uns FanArt schicken oder Sticker von uns bekommen?Schreibt uns an:Postfach 71053281455 München

Um die warmen Temperaturen auszuhalten, haben wir für euch ein Sommer Special mit unterschiedlichen Spielen und einer Fan Fiction vorbereitet. Womit wir unseren Koffer packen und mit wem wir zum Freizeitpark fahren, hört ihr in dieser Folge! Es gibt neuen Merch: https://www.seedshirt.de/shop/schokofroescheshopIhr wollt uns FanArt schicken oder Sticker von uns bekommen?Schreibt uns an:Postfach 71053281455 München

Harry Potter's heroism is contagious — in the best way and the most literal one. This episode tackles the back half of the Harry Potter survey, working through good half-blood, good Gryffindor, hero, and free will with listener data and a few new voices who snuck into the results. Along the way, the conversation turns into something bigger: why fans are quick to excuse Draco Malfoy's worst behavior as a product of his upbringing, quick to hold Ron Weasley fully accountable for his, and somehow never apply either lens to Harry, even though all three boys are the same age, shaped by the adults around them, and navigating circumstances more similar than the fandom likes to admit.Behind the Cloak Pre-OrderPatreon

Potter Revisited Episode #112 Parentified Children and Emotionally Stunted Adults AKA Harry Potter and the Order of the Phoenix, Chapter 14 "Percy and Padfoot" Everyone needs therapy in this series  Harry and Cho finally are able to have a moment  Harry's conversation with Cho is so important for his survivor's guilt  Filch trying to read Harry's mail is shady and we know Umbridge is behind it  Tori and Shay debate who Cho had feelings for first - Harry or Cedric Sirius has been outed as being in London - he really has no regard for his safety and how much Harry worries about it It would of been nice if Fred and George could of been more encouraging to Ron at his first Quidditch practice, knowing how insecure he is  Draco and co have nothing better to do with their time so they crash the Gryffindor practice  Percy's owl shows up in the Gryffindor common room - a bad omen?  Percy's letter to Ron... is not great It's nice that Percy wants to congratuate Ron on being Prefect, but then doubling down on cutting out Harry...  Was Percy persuaded to write this letter, as he urges Ron to confide in Umbridge about Harry Percy glosses over the estrangement with his family in this letter quite a bit  It's got to be so hard for Harry to see this as Percy was someone he was close to for four years prior to this  Shay thinks as a Slytherin, Ron should of pretended to cut Harry off and speak with Umbridge to find out what she was up to  Sirius randomly pops up in the Gryffindor common room fire - despite the Ministry knowing he is in London Sirius gives the trio the lowdown on Umbridge - and how racist she is  Fudge thinks that Dumbledore is training students for combat against the Ministry - is this dumb?  Sirius has no regard for his safety or how much Harry and co worry about him - planning to turn up in Hogsmede?? Sirius saying that Harry isn't like his father feels like such a low blow and immature for Sirius  Does Sirius have an idealized version of James he remembers? We think married, father James in wartime was a lot more responsible that teenage James  Harry really has to parent Sirius which is so annoying.  Snape Sucks count for Chapter 14: 0 Umbridge Sucks count for Chapter 14: 2 Email any thoughts, questions or feedback to  potterrevisitedpodcast@gmail.com Music: Shelter Song by Alexander Nakarada (www.serpentsoundstudios.com) Licensed under Creative Commons BY Attribution 4.0 License https://creativecommons.org/licenses/by/4.0/ Follow Us:  Facebook  https://www.facebook.com/potterrevisited Twitter https://twitter.com/potterevisited Instagram https://www.instagram.com/potterrevisited_/ Youtube https://www.youtube.com/channel/UC4v2Xt0OIQ8_LCVYhKf2S5A TikTok https://www.tiktok.com/@potterrevisited  

Wir sprechen dieses Mal über Fawkes, Dumbledores treuen und intelligenten Phönix. Er hat sagenhafte Kräfte, die durchaus nützlich sind und hilft Harry nicht nur einmal. Außerdem ist es seine Schwanzfeder die in Harrys und Voldemorts Zauberstäben enthalten ist. Was wusstet ihr noch nicht über Fawkes? Es gibt neuen Merch: https://www.seedshirt.de/shop/schokofroescheshopIhr wollt uns FanArt schicken oder Sticker von uns bekommen?Schreibt uns an:Postfach 71053281455 München

In dieser Runde Stadt / Land / Harry suchen wir Begriffe zu einer neuen Regel von Umbridge, Dinge, die in Hogwarts nicht funktionieren, typisch Hermine und einigen weiteren! Spielt unbedingt mit und sagt uns, wie viele Punkte ihr hattet! Es gibt neuen Merch: https://www.seedshirt.de/shop/schokofroescheshopIhr wollt uns FanArt schicken oder Sticker von uns bekommen?Schreibt uns an:Postfach 71053281455 München

Send us Fan MailIn this episode, we discuss Harry's patronus lessons with Lupin. Gryffindor continues to dominate on the quidditch pitch and Sirius Black breaks into Hogwarts again. The trio go on their Shrieking Shack adventure and Harry tries and fails to protect himself and Sirius from the descending dementors at the lake. Enjoy!Topics/Summary:·      1:31 I went to Scotland! Here is one of the tour guides I really loved who showed me around the Harry Potter world in Edinburgh.·      7:26 Quick recap and Harry and Lupin's lessons. The boggart dementor should be smaller than the actual thing so we can have some differentiation. When Harry is falling through his memory in the presence of the dementor, I don't like the film version of the fade to black. I would rather see it through Harry's eyes and watch the memory bleed into his reality. Lupin is there every step of the way, and we should really begin to trust Lupin in this opening.·      26:18 Gryffindor vs. Ravenclaw quidditch match. More dementors get on the field, but it turns out to be Malfoy. Lupin is still impressed with his production of a patronus. Afterward, they return to their dorms and celebrate. Black breaks back into Hogwarts when they go to bed, and he and Harry have a dramatic chase through the castle. We look into his eyes for the first time.·      41:06 Episode seven opens with studying for OWLs. Harry and Ron are trying ot study for divination, but it's hopeless. Harry goes into for his OWL and Trelawny has a real prediction. There is clearly something afoot…·      43:26 The Shrieking Shack. This is the final sequence of this episode, and it is of course the famous Shrieking Shack chase. This scene should have the audience hating Sirius and turning on Lupin. We should see the horrible image of Lupin helping up Sirius and hugging him like a brother, but we soon learn the truth. Lupin transforms and the black dog defends the trio. Sirius collapses at the lake and Harry tries to defend him against the hundreds of dementors, but it's no use.  ThePotterDiscussion@gmail.comthepotterdiscussion.comNox

Wir widmen uns der lieben, einsamen Bathilda Bagshot. Zu Lebzeiten war sie bekannt, aber im Alter war ihr Leben eher trostlos. Jedoch dürfte ihr Tod einer der schrecklisten der gesamten Reihe sein ... Es gibt neuen Merch: https://www.seedshirt.de/shop/schokofroescheshopIhr wollt uns FanArt schicken oder Sticker von uns bekommen?Schreibt uns an:Postfach 71053281455 München

Send us Fan MailIn this episode, we discuss episodes four and five of season three, Harry Potter and the Prisoner of Azkaban. After Sirius Black's break in, the air in the castle in intense. Harry plays a quidditch match against Hufflepuff where he sees dementors and the Grimm. He gets the Marauder's map and goes to Hogsmeade where he learns the truth about Sirius. Episode five follows the Marauders at Hogwarts. We watch their relationships grow and develop, and how they go off into the world. We spend the last few minutes from Peter Pettigrew's point of view as he betrays James and Lily. Enjoy!Topics/Summary:·      1:35 Quick recap and the tense atmosphere at Hogwarts. After Sirius broke into Hogwarts, the air in the castle is tense. There's no telling where Sirius could be now, and the illusion of Hogwarts' safety is broken. Snape teaches DADA in Lupin's absence, his first lesson being werewolves. How interesting…·      18:07 Gryffindor vs. Hufflepuff. This is the most intense quidditch match to date. Harry and Cedric are battling for the snitch through the impossible storm and cold. Eventually, Harry sees the great Grimm appear in the clouds, and then the dementors flying through the air. He falls from his broom and the screen fades to black.·      32:34 Harry recovers in the hospital wing. He slowly comes to with his team all around him. They bring him the remains of his Nimbus 2000. Lupin is his final visitor. Lupin offers Harry lessons to defend himself against dementors, who agrees. ·      34:45 The Three Broomsticks. Harry gets the Marauder's Map from Fred and George, and he immediately uses it to get into Hogsmeade. He overhears a conversation in the Three Broomsticks where he finds out that it was Sirius who betrayed his parents and got them killed. Harry returns to the castle furious, devastated, and confused. The episode ends with Hagrid telling the trio that Buckbeak has been set for trial. The last shot is Harry staring at the Map in his bed, reflecting on the awful day he has had.·      38:38 We open episode five with James Potter walking through the Hogwarts grounds. The first half of this episode should be spent with James, Sirius, Lupin, Peter, Lily, and Snape. They have a complex series of relationships that make a huge difference for the story to come.·      44:50 They all go off and live their happy lives. We see everyone go off and continue being great friends. However, the whispers of Voldemort are spreading, and soon the conflict arises. We'll take a closer look at the first war in later seasons, but we will visit the wreckage of the Potter's house yet again in this season. Instead of following Sirius afterward, we follow Peter and his guilt. We end this episode with Sirius and Peter's confrontation from Peter's POV. ThePotterDiscussion@gmail.comthepotterdiscussion.comNox

In dieser Folge stellen wir uns gegenseitig Rätsel: Wer oder was passt nicht? Es gibt mehrer Antwortmöglichkeiten und eine davon passt nicht rein - was haben die anderen wohl gemeinsam? Es wird spannend und lustig und am Ende gibts auch noch das beliebte Spiel Legilimens. Es gibt neuen Merch: https://www.seedshirt.de/shop/schokofroescheshopIhr wollt uns FanArt schicken oder Sticker von uns bekommen?Schreibt uns an:Postfach 71053281455 München

Send us Fan MailIn this episode, Harry explores Diagon Alley after escaping from 4 Privet Drive. He learns that Sirius Black escaped from Azkaban to find him, but he hopes that Dumbledore will keep him safe at Hogwarts. The trio meets a dementor for the first time on the Hogwarts Express, and Professor R. J. Lupin is there to help them. They go through the first few classes of their time at Hogwarts, and episode three ends with Sirius Black's break in to Hogwarts. Enjoy!Topics/Summary:·      2:22 Quick recap and Harry in Diagon Alley. He gets to explore a little bit and we get to go along for the ride. He spends a lot of time admiring the Firebolt. Ron and Hermione arrive after a while and they all go around buying their books and supplies. The night before they leave for King's Cross, Harry hears Mr. and Mrs. Weasley talking about Sirius Black's true goal being to find Harry.·      17:53 Off to Hogwarts! They get Ministry cars from the Leaky Cauldron to King's Cross. On the platform, Mr. Weasley takes a confused Harry aside to tell him not to go looking for Sirius Black. On the train, they have their first terrifying encounter with a dementor. They arrive at Hogwarts and the episode ends with the welcome feast.·      32:36 Episode three begins with divination class. We learn about the wild predictions of Professor Trelawny, and then McGonagall dispels them. We have our hippogriff class with Hagrid, then off to the bogart. Lupin jumps in front of Harry when his time comes to face it, and Harry asks Lupin about it later. This episode ends with Sirius Black's first entrance into Hogwarts, the Gryffindor dormitory door slams shut, and the castle is in chaos.  ThePotterDiscussion@gmail.comthepotterdiscussion.comNox

Wir wollten unbedingt nochmal ein paar Ships näher betrachten und starten natürlich mit Harry x Ginny (Hinny) - dabei finden wir heraus, wieso die beiden perfekt zueinander passen, aber trotzdem eine sehr unangenehme Beziehung führen. Es gibt neuen Merch: https://www.seedshirt.de/shop/schokofroescheshopIhr wollt uns FanArt schicken oder Sticker von uns bekommen?Schreibt uns an:Postfach 71053281455 München

What does it mean that the number one word listeners used to describe Seamus Finnigan was Irish? In Critical Magic Theory history, no character has ever been described by their nationality before. That single data point opens an episode that goes far deeper than one minor Gryffindor. Professor Wamble moves through the Arithmancy questions, good person, good friend, good Gryffindor, good half-blood, hero, before landing on the episode's central argument: that JKR's construction of "Irish McIreland" is a case study in how white supremacy operates within whiteness itself, how stereotype substitutes for characterization, and why representation requires more than presence. Featuring listener voices throughout, this episode asks what Seamus Finnigan deserved versus what he got, and what the difference tells us about who gets to just be in the wizarding world.Harry Potter Survey

Snapes magisches Heilmittel.Ooooha. Hagrid hat einen kleinen Brudi. Und dem sollen Harry und Hermine jetzt Manieren beibringen, is ja klar. Dieser Brudi hat n Mondgesicht und Knöchel wie Cricket-Bälle. Und Sophia lernt, dass Cricket und Croquet völlig unterschiedliche Sportarten sind. Was dachtet ihr zu wissen, das sich als völlig falsch rausgestellt hat? Sophia erzählt von einer Fanfiction und traumatisiert Martin. Für immer. Diese Folge ist vielleicht nicht uuuuuunbedingt für Kinder gedacht. Kleine Vorwarnung. Auch nicht für Kinder gedacht: Die Pflege eines illegal in den Wald geschmuggelten Riesen. Ist Hagrid aber egal. Und nach der ersten Vorstellung, die absolut reibungslos verläuft, ist ja genügend Vorarbeit geleistet, dass Harry und Hermine nächstes Mal allein zu Grawp gehen können. Gar kein Ding. Hagrid nimmt die beiden wieder mit zurück, doch unterwegs treffen sie noch auf die Zentauren und Sophia und Martin nehmen das zum Anlass für eine Ethik-Diskussion. Am Ende des Kapitels gibt es noch eine schöne Überraschung - Der Seed-Song wird jetzt von Gryffindor gesungen und Ron Weasley hält den Quidditch-Pokal! (So wie er es im Spiegel Nerhegeb gesehen hat!!!)Und jetzt viel Spaß beim Zuhören!Hier geht's zu unserem Whatsapp-Kanal: https://whatsapp.com/channel/0029VbB8C00CRs1obJUivo2ZWir haben auch eine Patreon-Seite!Schaut doch mal vorbei, es gibt Bonus-Episoden, Sticker und andere aufregende Dinge! Besucht uns auf den sozialen Netzwerken, unserer Webseite und erzählt euren Freunden von uns! Vielleicht haben die ja auch Lust auf einen Harry-Potter-Podcast!Patreon: www.patreon.com/happypotterDiscord: discord.gg/QpJfFSXY73Facebook: www.facebook.com/happypotterpodcastInstagram: @happypotterpodUnd wir haben jetzt auch Playlists mit unseren Lieblingssongs:Martins Playlist:https://open.spotify.com/playlist/2IBxDsPVm1UdNBiW2QkgEJ?si=rU6HLkoFQfGGjvab8g8yEQ&pi=e-bKuIHap7RWCuSophias Playlist:https://open.spotify.com/playlist/0kuOP0TujMhrqOWzLwUH1O?si=9LIZkc2nQTOajHPaqpP_RA&pi=e-tc6w0NgQRo-WAragog empfiehlt diesen Podcast! (Angeblich.)Wer das liest, ist bezaubernd.

Chapter 15 - The Goblin's Revenge, covered by Abby! The sword of Gryffindor is real, the resistance at Hogwarts is alive, and maybe Dumbledore had a plan all along? But none of that matters right now, the trio is broken, Hermione is sobbing in the rain, and Harry is alone with a locket around his neck.⚡️

Harry Potter und die Umbenennung des Verbotenen Waldes​Es ist endlich mal wieder Quidditch-Zeit. Diesmal spielen Gryffindor gegen Ravenclaw. Wenn Gryffindor gewinnt, könnten sie sogar den Gesamtsieg erringen. Aber anstatt sich das Spiel anzuschauen, werden Harry und Hermine von Hagrid abgefangen. Er bittet sie, mit ihm tief in den Verbotenen Wald zu gehen. So häufig, wie die beiden schon dort waren, sollte man wirklich mal darüber nachdenken, ihn in den „nicht ganz so verbotenen Wald“ umzubenennen. Oder vielleicht doch in einen ganz anderen Namen?​Aber was will Hagrid eigentlich im Wald mit den beiden? Tja, das bleibt lange verborgen. Stattdessen erfahren wir, dass Firenze fast von einem wütenden Zentauren-Mob zerstückelt worden wäre und nur noch dank Hagrids Einschreiten lebt.​Aber warum sind sie denn jetzt in diesem Wald? Am Ende kommt es dann doch heraus: Da gibt es nämlich einen „großen Felsen“, um den sich Harry und Hermine an Hagrids statt kümmern sollen. Wie dieser „Fels“ wirklich heißt und warum das alles Hagrids Ansehen bei Umbridge dramatisch sinken lässt, erfahrt ihr in der neuen Folge.Und jetzt viel Spaß beim Zuhören!Hier geht's zu unserem Whatsapp-Kanal: https://whatsapp.com/channel/0029VbB8C00CRs1obJUivo2ZWir haben auch eine Patreon-Seite!Schaut doch mal vorbei, es gibt Bonus-Episoden, Sticker und andere aufregende Dinge! Besucht uns auf den sozialen Netzwerken, unserer Webseite und erzählt euren Freunden von uns! Vielleicht haben die ja auch Lust auf einen Harry-Potter-Podcast!Webseite: www.Happy-Potter.netPatreon: www.patreon.com/happypotterDiscord: https://discord.gg/4abpmA3UFacebook: www.facebook.com/happypotterpodcastInstagram: @happypotterpodUnd wir haben jetzt auch Playlists mit unseren Lieblingssongs:Martins Playlist:https://open.spotify.com/playlist/2IBxDsPVm1UdNBiW2QkgEJ?si=rU6HLkoFQfGGjvab8g8yEQ&pi=e-bKuIHap7RWCuSophias Playlist:https://open.spotify.com/playlist/0kuOP0TujMhrqOWzLwUH1O?si=9LIZkc2nQTOajHPaqpP_RA&pi=e-tc6w0NgQRo-WMadame Rosmerta empfiehlt diesen Podcast! (Angeblich.)Wer das liest, ist bezaubernd.

On this week's episode, don't get on Harry's bad side! Join Andrew, Eric, Micah, and Laura as they discuss the bathroom duel between Draco Malfoy and Harry Potter. This week we're discussing Half-Blood Prince Chapter 24, “Sectumsempra” What did Harry hope to achieve in barging in on Draco? Would it have been smarter for him to have waited and developed a plan? Given the escalation in severity of the spells cast, was Harry right to use Sectumsempra on Draco? What made Harry's casting of the spell so successful the very first time he tried? Was it his being in imminent danger? Was Snape tailing Draco and therefore able to get to the bathroom so quickly? Why else might he have been nearby? Snape calls Harry a liar. Does he KNOW from which source Harry learned that particular spell? We notice that the Prince's diary is hidden right next to a Horcrux, and feel it fits. Is the Room of Requirement more, or less, secure becoming the same room for everyone that wants to hide or dispose of their valuables? Is Harry's punishment of weekly detentions fitting for the circumstance, or too much? Ginny and Dean split up! She's single. Harry is free! Andrew asks: would the hosts ever date the sibling of a friend? Lynx Line: What would you hide in the Room of Requirement and why? Quizzitch: In this chapter Gryffindor has to succeed over Ravenclaw by at least 300 points, which they do. In US College Football, a record-holding October 1916 match ended in Georgia Tech scoring 222-0 over their opponent. Who was that match against? In Bonus MuggleCast, we discuss the state of MuggleNet.com, which has removed all of its volunteer-generated content and is the subject of new litigation from its former staff members. Topics such as these arend others relevant to Harry Potter fans can always be found on our Patreon, located at Patreon.com/MuggleCast! Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us Fan MailIn this episode, the hidden force within Hogwarts continues to roam the castle, petrifying students and ghosts alike. Tensions on the quidditch pitch rise, and suspicions of who this heir could be rise with them. An unexpected suspect rises to the top of the pool: Harry. Enjoy!Topics/Summary:·      Listen to Tea Leaves S2 E4 here!·      1:44 Quick Recap and Dumbledore's office. They are examining Mrs. Norris, trying to decide what happened to her. The air is intense, with little conversation and noise. Lockhart is of course trying to break in to offer his well-traveled advice, but they won't hear of it.·      8:08 The Gryffindor vs. Slytherin Quidditch Match. We should see more of Harry and Draco's complex relationship with intense searches for the snitch. In addition, Dobby's bludger is on a mission to take Harry out of commission. Harry crashes and Lockhart takes all the bones out of his arm.·      16:51 The Hospital Wing. Dobby reveals to Harry that it was him that blocked the platform, and that he enchanted the bludger to go after Harry. We aren't too happy with Dobby at this point. We also see Dumbledore and McGonagall bring in Colin Creevey, also petrified. This is getting real.·      24:35 The trio decides on using poly-juice potion to continue their investigation, then go dueling. Lockhart's Dueling Club isn't exactly a raging success, seeing as Snape wiped the floor with him. When Draco and Harry duel, Draco summons a snake and Harry speaks parcel tongue to it, though it doesn't know it. Justin Finch-Flechley thinks he was almost attacked. ·      30:52 Justin got attacked! Harry found him and Nearly Headless Nick petrified in a hallway, just when classes get out and the entire student body sees him. Now Harry is seen as a threat and the need to investigate these attacks grows.  ThePotterDiscussion@gmail.comthepotterdiscussion.comNox

On Episode 500 we discuss...→ Remembering Caleb Graves→ Discovery of self in the afterlife space→ "Baby Mort"→ Dumbledore's complexity→ "Do not pity the dead, pity the living”→ The uncertainty of Dumbledore's presenceBecome a supporter of this podcast: https://www.spreaker.com/podcast/alohomora-the-original-harry-potter-book-club--5016402/support.

On Episode 499 we discuss...→ Phoenix's song→ Emotional responses to Dumbledore's death→ The significance of disarming→ Fleur's strength, and parental love→ Lupin and Tonks' relationship→ The importance of individualityBecome a supporter of this podcast: https://www.spreaker.com/podcast/alohomora-the-original-harry-potter-book-club--5016402/support.

On Episode 498 we discuss...→ The significance of Harry's achievements→ House elf magic, loyalty, and the allegory of slavery→ Plot holes and unresolved questions about Horcruxes→ Harry's relationship with Hedwig→ Magical law→ Dobby's perceived rebellionBecome a supporter of this podcast: https://www.spreaker.com/podcast/alohomora-the-original-harry-potter-book-club--5016402/support.

On Episode 497 we discuss...→ Is It Evil?→ Champion of the Muggleborns!→ Stolen Glory→ High-Minded Idealism→ Complexities of Trust→ Snap Back to RealityBecome a supporter of this podcast: https://www.spreaker.com/podcast/alohomora-the-original-harry-potter-book-club--5016402/support.

On Episode 496 we discuss...→ The magical abilities and symbolism of centaurs→ The role of divination and nature magic in Hogwarts→ Patronus symbolism and mythology→ House elf loyalty and conditioning→ Magical plants and their creative uses→ Dumbledore's Intentions and Student PerspectivesBecome a supporter of this podcast: https://www.spreaker.com/podcast/alohomora-the-original-harry-potter-book-club--5016402/support.

On Episode 495 we discuss...→ Weird Baby Form→ "He's British"→ Dumblestore→ Disney discussion galore→ Harry's dreams underwhelm→ Tropical bird delivery→ Unsubtle expositionBecome a supporter of this podcast: https://www.spreaker.com/podcast/alohomora-the-original-harry-potter-book-club--5016402/support.

On Episode 494 we discuss...→ The Aural Library→ Exploring Harry's Recklessness→ The Complexity of Patronuses→ Harry's Recklessness and Emotional State→ Snape's Cruelty and Its Impact→ Legilimency and Misunderstandings→ The DADA Curse and Harry's ReactionsBecome a supporter of this podcast: https://www.spreaker.com/podcast/alohomora-the-original-harry-potter-book-club--5016402/support.

On Episode 493 we discuss...→ Unforgivable Casualties→ The Power of Aberforth→ Looks like a chicken wing→ People die every day→ Overstimulation and Chaos in Battle→ Visual Storytelling and SymbolismBecome a supporter of this podcast: https://www.spreaker.com/podcast/alohomora-the-original-harry-potter-book-club--5016402/support.

On Episode 492 we discuss...→ Writing Style Evolution in Harry Potter→ Dementors and Horcruxes: A Unique Connection→ Harry's Growth and the Power of Friendship→ Aberforth's Duality→ Ariana's Story→ The Greater Good and Personal SacrificeBecome a supporter of this podcast: https://www.spreaker.com/podcast/alohomora-the-original-harry-potter-book-club--5016402/support.

This show is sponsored by BetterHelp – Sign up and get 10% off your first month at BetterHelp.com/SUPER  This show is sponsored by Shopify – Go to shopify.com/scb to sign up for your one dollar per month trial! Today Ben dives into the Wizarding World of Harry Potter to ask: What if Snape was in Gryffindor?  Dumbledore says he thinks they may have sorted him too early, and Harry calls him one of the bravest men he ever met. Would being sorted into Gryffindor make him one of the Marauders? Would he ever become a Death Eater? Would the prophecy ever be overheard?