MuggleNet Academia: Rights, Copyright, and Playwrights!

Copyright authority and Potter Pundit Heidi Tandy joins Keith Hawk and John to talk about ‘The Cursed Child’ and how Rowling’s various agreements with movie moguls, merchandisers, and thespian companies may have shaped her decisions to write (outsource?) the ‘Eighth Harry Potter novel’ and Fantastic Beasts screenplays.

Join us for a fun and heavily speculative discussion and guesswork about the financial backstory of Rowling’s Potter franchise!

Cursed Child: Three Accio’s and a Whole Bunch of Reducto’s.

Theatre and fans
As Hogpro readers know, the book that was waited for with such fanfare was the “rehearsal script” of Harry Potter and the Cursed Child. Changes may have already been made to the current version playing in London, and more will undoubtedly come about before the next big premiere, presumably in a year or two, on Broadway.

If I was a producer, there are multiple points I’d take out and at least three I’d add.

OOTP-Screencap-Reducto-ginervra-ginny-weasley-1628131-1024-768Parts to Reducto:

Swearing by Dumbledore’s name. If there is one thing all parties should agree on, 20-odd years after the battle of Hogwarts, it was that Dumbledore, no matter how respected, was an imperfect and highly flawed man. There is no way Harry’s family, or anyone else in the wizarding world, would be evoking his name as if he were some sort of canonized saint. And if one of his portraits overheard it, he’d tell them to knock it off; it’s the last thing in the world our dear departed Headmaster would want. He has only been deceased for twenty years or so; tt would be like a Republicans today walking around saying “Oh, thank Reagan the rain has stopped.” Besides, in the book epilogue, Ron said to Rose, “Thank God you’ve got your mother’s brains.” Not, “Thank Dumbledore you have your mother’s brains.” In short, there is no precedence for any witch or wizard to do this, so the script should lose it immediately.

Sappy relationship conversations. Part of what was great about the original 7 books is that people our Trio did not spend a lot of time discussing their friendship. We knew how much Ron and Hermione meant to Harry when he rescues them from the Black Lake, or uses his memories of them to summon his Patronus. Too often, the play drifts into sappy conversations rather than simply showing how strong a relationship is. The dialogue between Scorpius and Albus, for instances, has led multiple readers to speculate that they are “more than friends,” even though both clearly have crushes on girls.

A particularly bad example is Act 4, Scene 4, when Harry has the long chat with Dumbledore’s portrait, and yells at him for leaving him at Privet Drive, and his various other failings. Then they (figuratively) kiss and make up and tell each other how much they loved each other. That seemed out of place, especially after McGonagall had already reminded him (and us!), the portrait isn’t Dumbledore, it’s a shadow of Dumbledore, paint and memory. Harry should have made his peace with Dumbledore, and what he did and didn’t do for him back at King’s Cross. Rehashing all that with a painting, 22 years later, when he should be focusing on making peace with his son was a pointless distraction. Besides, Harry would never address the painting as “Dumbledore”— we’ve never seen him call his Headmaster anything but “Professor” to his face. [Read more…]

Polyjuicing in the Cursed Child

Polyjuice_potionAnd I’m not just talking Delphi, Draco and Albus trying to break into Hermione’s office.

Rowling has said Harry Potter and the Cursed Child was for the fans, and when it comes to treasured glimpses of our favorite characters, it delivers in spades. But some of the most fun moments for me came from seeing old characters in new bodies.

Rose-Granger-WeasleyTake Rose. She’s clearly her mother all over again, even to the extent of being mistaken for young Hermione (and played by the same actress) at the first Triwizard task. The only addition is  that she is also a champion Quidditch player, like her aunt Ginny and most of the other non-Percy Weasleys. But, there is, ironically, a pretty big streak of Hermione’s nemesis Draco Malfoy running through her. On her first Hogwarts express trip, she’s the one who seems a bit puffed up with family pride with her  tumblr_lofpzpsG3u1qahisxo1_500“I’m a Granger-Weasley and you’re a Potter–everyone will want to be friends with us” as she makes elaborate plans to “rate them all and make a decision.” And after Scorpius introduces himself, she suggests to Albus they go sit somewhere else, and Albus elects to stay with Scorpius and share his candy, Rose reminds him she “won’t wait” for him to make her fabulous new friends. She may not use the same words, but the meaning is the same:

“You don’t want to go making friends with the wrong sort. I can help you there.”
“I think I can tell who the wrong sort are for myself, thanks.”

Young ASP is a bit more like his dad than he realizes. [Read more…]

MuggleNet Academia: Four Hogwarts Professors Discuss ‘Cursed Child’

Hogwarts Professors Louise Freeman, Elizabeth Baird-Hardy, Emily Strand, and John Granger spoke with Managing Editor Keith Hawk last week to share our first thoughts about the “Special Rehearsal Edition Script” of Harry Potter and the Cursed Child. It was a full faculty meeting of your favorite serious reader web site and it was as much fun as you’d have guessed.

Is Cursed Child canon or just Store Brand Meta Potter? What was Rowling thinking to accomplish by putting her name on this time-traveling travesty and then declaring it was the last Harry Potter story, full stop? Would the script pass a computer literary analysis for Rowling syntactic or thematic signatures?

Download and listen to the show — and let us know what you think in the comment boxes below!

Meta-Potter: Is ‘Cursed Child’ Harry Potter Canon or Something Else?

by Emily Strand

Wait. Harry’s afraid of pigeons? And the Trolley Witch has a scary side? And Voldemort had a what…?

As fans ingest the newly-released rehearsal script from the hit play Harry Potter and the Cursed Child, they’ve moved past confusion over the work’s genre (to quote a friend’s 10-year-old daughter, as she opened the play on her Kindle: “Mom. This is a play”). They’ve moved on to a more important, more fundamental and perhaps more troubling question about the work: is this canon?

The play’s publishers and authors have been clear: the answer is “yes”. Fan sites have quickly added it to their lists of what we must consider when we consider Harry Potter. All this, despite that Rowling is not the primary author of the script itself, but merely contributed to the creation of the story on which it’s based.

Cover 2I knew this when I picked up my copy of Cursed Child. And I like to respect authors’ wishes on such matters, when they’re not outlandish. Before I picked up the play, I had accepted the idea that, no matter what I thought of its contents, I would need to at least try to fit them into my imagination’s understanding of Harry’s story.

In small ways, incorporating Cursed Child into canon isn’t difficult. Readers can surely hang with the rabid Trolley Witch. Hey, she’s kind of fun, in a macabre way. I personally loved it when grown-up Harry admits to being afraid of pigeons, because, well, I am too. And I’m sure it was never the authors’ intention to cause my mind to envision Voldemort in a compromising position with Bellatrix Lestrange (no, no, no mental picture, please no mental picture, please no… dammit, too late).

None of these individual quirks of Cursed Child causes me to reject it as Potter canon, nor all of them together. Still, I’m not adding Cursed Child to my Potter headcanon. Sorry Jo. Sorry other guys whose names are on the cover. This is not Potter.

It’s meta-Potter.

John Granger has written about the many postmodern characteristics present within the Potter books. He says postmodern stories, which tend to encourage suspicion of the traditional narratives that have held societies together for millennia, are, as a result, self-conscious and self-referential. They have a sense of humor about themselves; they wink and nudge the reader, encouraging them not to take any story too seriously, the present one included.

The seven-book Potter narrative mostly does this by showing how wizarding society is, despite our attraction to it, imperfect. In giving us an alternate, magical universe, Rowling isn’t saying “over here everything is just fine.” Hardly. Through institutions like the Ministry of Magic and the Daily Prophet, and characters like Dolores Umbridge, Cornelius Fudge and even Snape, Rowling is, in a characteristically postmodern way, saying: “Hey, look! This magical story has corruption, prejudice, and adults who never finished growing up too! So don’t trust it either!”

The seven Harry Potter books demonstrate postmodern self-consciousness on a “macro” level, that is, at the highest level of story-telling. It makes her story quite enjoyable to read, at the same time it is challenging and thought-provoking to the reader.

Most importantly, the seven Potter books’ self-consciousness is never self-indulgent. Potter is self-referential not simply because it can be, but in order to draw the reader’s attention elsewhere: to more important places, like the parts of our own society which need to be questioned. Once in a while you’ll find a self-referential moment that doesn’t serve this more magnanimous end – Ron’s exclamation of “ARE YOU A WITCH OR NOT!” to Hermione in Philosopher’s Stone comes to mind. But when this happens, the reference adds humor, or gives the reader a more complete sense of immersion in the world.

Cursed Child is a different story. I’m calling it “meta-Potter” because, unlike the seven Potter books, which tell a story that comments on stories themselves, Cursed Child seems primarily concerned with commenting on Potterverse itself. And this habit of the play becomes very self-indulgent, very quickly.

Ron Hermione and RoseIt starts benignly on page 23 when Harry suggests Albus Severus make more friends, and the boy tells his father, “I don’t need a Ron and Hermione”. The article “a” before “Ron and Hermione” is telling; it shows their names have become a trope for a trio-making pair of friends: the sidekicks a hero can’t do without. Of course, I found Ron and Hermione far more interesting when they were just an unlikely pair of kids whom circumstance pulled together to do something great alongside the hero, not a trope of same.

Cursed Child’s self-consciousness ramps up on page 187 when Severus Snape wonders if he’s just quoted Dumbledore. Hermione assures him that his profound (not really that profound) statement was “pure Severus Snape.” Problems with Hermione’s statement range from character consistency to questions about its application in the alternate universe in which they stand at the time. Those aside, my problem with the statement is that it is self-indulgently referential to the place of Severus Snape in Muggle Potter fandom, instead of in the wizarding world.

Then we have the worst incident of this kind of self-referential self-indulgence on page 261 when Draco Malfoy tells Harry how “exceptionally lonely” it is, “being Draco Malfoy.” Reader, I’d like you to try something, if you please. I want you to try referring to yourself in this way. Out loud. Come on, this’ll be edifying. What is it like to be you? Lonely, like poor Draco? Frustrating? Exciting? Tedious? Pick one. Now, say it out loud. “It is exceptionally _______, being [your name].”

Now, do you feel silly? Yes, so does Draco. Or he should, anyway. As Harrison Ford once reportedly said to George Lucas, “You can write this [stuff], George, but you sure as hell can’t say it.” Let’s hope, for the actor’s sake, poor Draco’s line was improved in the finalized script, the way Harrison Ford improved many of Han Solo’s lines.CC

I, for one, don’t plan to spend the money to find out. It’s not just because of these relatively minor examples of the self-absorbed nature of Cursed Child. These are mere symptoms of the play’s greater self-indulgence, which is likely what many fans are referring to when they say the play reminds them more of Potter fan fiction than authentic Potter.

Yes, the overarching plot of the play can also be considered meta-Potter. As Albus and Scorpius discover what happens if they change a seemingly insignificant part of history, the story becomes an extended reflection on all the tiny details that went into determining the victory of the wizarding world over Voldemort in books 1-7. Cursed Child is not Albus and Scorpius’ story (which is unfortunate, because their dialogue and rapport are the most satisfying parts of the script). It is Harry’s story, re-examined, even re-lived and re-imagined in many ways, several times over.

It’s Potter about Potter. It’s meta-Potter.

On page 122, Professor McGonagall cautions Harry, regarding Dumbledore’s portrait, not to “mistake the painting for the person.” This is good advice that, sadly, Harry does not heed. Readers of Harry Potter and the Cursed Child: please don’t make the same mistake. Because it’s good advice for us, too. Cursed Child is not Potter, it’s a portrait of Potter. It’s a monument to Potter. It doesn’t tell us a new story; it reflects deeply on the primary story: the story of Harry and company’s victory over Voldemort, and (less deeply than it could) of love’s victory over death. So treat it as a monument: something to help you remember, reflect and process an important moment from the past. Let it bring you comfort, pride, and a sense of fond familiarity.

But if it offends your Potter headcanon, go ahead and ignore it.