Latest / Revelio: A Wizarding World Podcast / Episode 9: What's Travel Without A Little Risk?

Transcript

Episode 9: What's Travel Without A Little Risk? · Revelio: A Wizarding World Podcast

• 0:09
  Speaker 1: Hello, and welcome to episode nine of Revellio for December
• 0:13
  Speaker 1: twenty sixth, twenty twenty four. I'm Amy, I'm Nicole, and
• 0:33
  Speaker 1: I'm Tom and it's Nichole's birthday.
• 0:38
  Speaker 2: Comes well, not at the time of recording, but the
• 0:42
  Speaker 2: time that you all are listening to this. I am
• 0:44
  Speaker 2: another year older day.
• 0:46
  Speaker 1: Yay, early birthday.
• 0:47
  Speaker 3: Won't say happy birthday because it's bat luck, but thank you,
• 0:50
  Speaker 3: thank you.
• 0:52
  Speaker 2: Another year around the sun.
• 0:55
  Speaker 1: Hey, it's an accomplishment.
• 0:58
  Speaker 2: It is twenty twenty four, or my thirty third year
• 1:01
  Speaker 2: of life. Came with a lot of challenges, but also
• 1:04
  Speaker 2: some very good memories.
• 1:06
  Speaker 1: Yeah, exactly, the birth of this show being one of them.
• 1:12
  Speaker 1: And you're getting to spend an hour and a half
• 1:15
  Speaker 1: every other week talking to us.
• 1:18
  Speaker 2: That is one on the positive side of my list.
• 1:22
  Speaker 2: You guys are right up there with some travel I
• 1:24
  Speaker 2: did with Taylor. You're in good company.
• 1:28
  Speaker 1: Yeah. So, before we dive in too much, I wanted
• 1:34
  Speaker 1: to give a quick shout out to our newest Patreon supporter, Carmen. Yay,
• 1:40
  Speaker 1: thank you, car Thank you Carmin.
• 1:41
  Speaker 3: Thank you Carmen. Okay, So in today's episode, we'll be
• 1:46
  Speaker 3: discussing wizarding transportation but first.
• 1:54
  Speaker 1: Listening to w W in the Wizarding Wireless Network.
• 1:59
  Speaker 2: Now for the latest headlines. So there is a bit
• 2:02
  Speaker 2: of news this week. So we've learned that Harry Potter
• 2:07
  Speaker 2: and the Curse Child is going to be coming to
• 2:09
  Speaker 2: Brazil in twenty twenty five and the Netherlands in twenty
• 2:13
  Speaker 2: twenty six. Both of the shows are going to be
• 2:16
  Speaker 2: performed in those countries official languages of Portuguese and Dutch, respectively.
• 2:21
  Speaker 2: This is the first time that the show is going
• 2:23
  Speaker 2: to be performed in those languages, which is really exciting.
• 2:27
  Speaker 2: And the two new productions are of course going to
• 2:29
  Speaker 2: be that new reimagined one part version of the play
• 2:32
  Speaker 2: that we've talked about.
• 2:34
  Speaker 1: This is the first time it's been performed in any
• 2:37
  Speaker 1: language other than.
• 2:38
  Speaker 2: English, right, I think so, I.
• 2:41
  Speaker 3: Think so that's pretty cool. Yeah, nice, nice representation for
• 2:45
  Speaker 3: Latin American countries too, Like South America gets to have
• 2:48
  Speaker 3: a Chrischild, so that's that's nice, very cool.
• 2:53
  Speaker 2: I feel like before we know it, we'll have it
• 2:54
  Speaker 2: on like every continent, like except for in America obviously.
• 3:00
  Speaker 2: So yeah, that's really cool. And I think this too
• 3:02
  Speaker 2: also like bridges that gap for them to possibly do
• 3:05
  Speaker 2: more translations of the show in other countries, so very exciting.
• 3:13
  Speaker 2: And then we also got quite a bit of new information,
• 3:16
  Speaker 2: I'd say quite a bit of information about the Harry
• 3:19
  Speaker 2: Potter TV show. So there was an interview with director
• 3:24
  Speaker 2: Mark and showrunner Francesca, and during this they both talked
• 3:29
  Speaker 2: about their own love for the Harry Potter stories. Francesca
• 3:34
  Speaker 2: was quoted saying, I'm a mega fan, like crazy. This
• 3:39
  Speaker 2: is obviously really good to hear because we want fans, Yeah,
• 3:42
  Speaker 2: we want fans of the series to be running the show.
• 3:47
  Speaker 2: We also learned that the first book is going to
• 3:50
  Speaker 2: be told over eight hours, so I'm assuming this means
• 3:53
  Speaker 2: we'll probably get eight episodes that will be hour long episodes.
• 3:58
  Speaker 1: Yeah. Here if as this goes on and we get
• 4:02
  Speaker 1: to the later books, if this is going to be
• 4:04
  Speaker 1: more episodes because there's more content.
• 4:07
  Speaker 2: I think so, because it was very specifically say, like
• 4:11
  Speaker 2: they very specifically said the first book, Yeah, we have
• 4:15
  Speaker 2: eight hours to tell the first book.
• 4:17
  Speaker 1: Which that seems like a good amount of time for
• 4:19
  Speaker 1: the first book. Like that seems just right in my opinion.
• 4:24
  Speaker 2: You can pack a lot into an hour long episode,
• 4:27
  Speaker 2: especially when you're on something like HBO and you're not
• 4:29
  Speaker 2: burdened by commercial breaks.
• 4:31
  Speaker 3: Yeah, it's not even one hour. It's probably forty three
• 4:34
  Speaker 3: forty four minutes long.
• 4:36
  Speaker 1: Right, splitting a book one into eight parts, that just
• 4:39
  Speaker 1: seems like a good, good amount.
• 4:44
  Speaker 2: Yeah, And part of me, which is it was a
• 4:46
  Speaker 2: little bit longer, like I met, Do you remember, like
• 4:48
  Speaker 2: years ago we used to get like twenty twenty five
• 4:51
  Speaker 2: episode long seasons of shows, And now I think it's
• 4:55
  Speaker 2: like after the pandemic and production had to change for
• 4:58
  Speaker 2: a lot of people, and now all of a sudden,
• 5:00
  Speaker 2: they're like, hey, we can actually do this in eight episodes.
• 5:03
  Speaker 2: We don't need twenty. But I miss those like longer
• 5:07
  Speaker 2: seasons of shows.
• 5:08
  Speaker 1: For sure. The world adopted the British model of TV.
• 5:14
  Speaker 2: I mean now not fully because Doctor Who used to
• 5:17
  Speaker 2: always be a lot a lot of episodes, so they
• 5:21
  Speaker 2: definitely but yeah, definitely that kind of like Doubt and
• 5:23
  Speaker 2: Abbey style of like we can tell this, yeah, probably
• 5:28
  Speaker 2: saves the studios a lot of money. And you know,
• 5:32
  Speaker 2: but I'm hoping that, like you said, Amy, that as
• 5:35
  Speaker 2: we get obviously into these longer books, I mean, I
• 5:38
  Speaker 2: don't if you're going to include all these extra details,
• 5:40
  Speaker 2: like you can't have like Order of the Phoenix in
• 5:43
  Speaker 2: eight episodes, I.
• 5:44
  Speaker 1: Don't think it would need to be like at least fifteen.
• 5:47
  Speaker 1: I would think mm hmmm.
• 5:51
  Speaker 2: So they also confirmed that we will be getting characters
• 5:55
  Speaker 2: who didn't make the films, like Peeves, so of course
• 5:59
  Speaker 2: we've I think we've aculated that obviously with this longer
• 6:02
  Speaker 2: form we will get a lot of that stuff that
• 6:04
  Speaker 2: we didn't get in the movies. But it's also just
• 6:06
  Speaker 2: nice to hear them say, yeah, are going to get
• 6:09
  Speaker 2: these things.
• 6:10
  Speaker 3: Yeah. And I also think I remember Jake Rowling saying
• 6:13
  Speaker 3: that it was the main reason she did was doing
• 6:18
  Speaker 3: this because of Peeves.
• 6:20
  Speaker 1: So yeah, justice for Peeves.
• 6:25
  Speaker 2: Well, and I think if you think about it, like
• 6:27
  Speaker 2: it makes complete sense why they had to cut Peeves
• 6:29
  Speaker 2: from the film. But at the same time, Peeves is
• 6:33
  Speaker 2: a very good character to translate into a visual medium
• 6:39
  Speaker 2: at the same time, so and it's that.
• 6:42
  Speaker 1: Great comic relief too that I feel like really helps.
• 6:46
  Speaker 2: For sure. We also phoned out that of course iconic
• 6:52
  Speaker 2: locations will return. They stated, we don't want to mess
• 6:56
  Speaker 2: with the likes of the Great Hall, which kind of
• 6:59
  Speaker 2: made me certain, thinking like what does this mean, Like,
• 7:01
  Speaker 2: does this mean that they want to keep the likeness
• 7:05
  Speaker 2: in the design, or they're just saying, because of course,
• 7:09
  Speaker 2: how can you have a Harry Potter show. How can
• 7:10
  Speaker 2: you have Harry Potter anything without the Great Hall? Right,
• 7:14
  Speaker 2: So I feel like they're not saying like, well, don't worry,
• 7:16
  Speaker 2: the Great Hall will be there, because like, of course
• 7:18
  Speaker 2: it has to be there. But I thought it was
• 7:20
  Speaker 2: very interesting that they like pointed out that, like, hey,
• 7:24
  Speaker 2: we don't want to mess with some of these iconic locations.
• 7:30
  Speaker 2: What do you guys think?
• 7:34
  Speaker 3: I think, I mean it's very I think the same
• 7:38
  Speaker 3: way in the Healthwards Legacy kind of like kept the
• 7:42
  Speaker 3: core of how the Great Hall looks, but at the
• 7:45
  Speaker 3: same time made it its own thing. So I think
• 7:47
  Speaker 3: that's where they're going. And obviously they're not going to
• 7:50
  Speaker 3: be using the same sets they will be using. They
• 7:54
  Speaker 3: will have their own backlot, they will have like their
• 7:58
  Speaker 3: own studio, and they're probably coming up with new designs
• 8:02
  Speaker 3: and concepts and to make a new fresh, a new
• 8:05
  Speaker 3: fresh take on this, on this new interpretation. But I
• 8:09
  Speaker 3: think the Great Hall all in all, in all of
• 8:11
  Speaker 3: its depictions that we've seen over the years, illustrations and
• 8:14
  Speaker 3: books and films and video games, I think it's always
• 8:17
  Speaker 3: kind of kept the same likeness. It's kind of like,
• 8:20
  Speaker 3: you know, there's not much you can do to the
• 8:22
  Speaker 3: Great Hall to make it that different. So maybe that's
• 8:26
  Speaker 3: what they're referring to.
• 8:28
  Speaker 1: Yeah, and I think you have in your notes here
• 8:30
  Speaker 1: too about they said something else about changing some architectural
• 8:38
  Speaker 1: elements of the castle. Yeah, so I do feel like
• 8:41
  Speaker 1: they are going to try to switch it up, but
• 8:44
  Speaker 1: like Tom said, keep some of those really iconic areas
• 8:49
  Speaker 1: pretty similar. Like I don't think like the Great Hall,
• 8:55
  Speaker 1: I don't think will look super different.
• 8:59
  Speaker 3: I could see.
• 9:03
  Speaker 1: Like the common room area looking similar, and like the
• 9:09
  Speaker 1: entry to Dumbledore's office, Like, I feel like those are
• 9:12
  Speaker 1: some that you just can't really mess with the imagery there. Yeah,
• 9:16
  Speaker 1: But everything else, I'm like, yeah, I want to see
• 9:20
  Speaker 1: something new and different, and.
• 9:23
  Speaker 2: I think either way, it'll still have that familiar likeness
• 9:27
  Speaker 2: to it, Yeah, even if it's different. But I think
• 9:29
  Speaker 2: that what's what is exciting about it is they also
• 9:32
  Speaker 2: talked about how, you know, they do want to explore
• 9:35
  Speaker 2: new places of Hogwarts that we've never seen before, and
• 9:39
  Speaker 2: they actually particularly mentioned the Hogwarts staff.
• 9:42
  Speaker 1: Room, Yeah, which I love, love that.
• 9:45
  Speaker 2: And I'm so curious to see, like what scene they're
• 9:49
  Speaker 2: planning to film like in that staff room, Like right, yeah.
• 9:57
  Speaker 1: Yeah, all those scenes I can think of in the
• 10:00
  Speaker 1: staff from or in the first book.
• 10:03
  Speaker 3: Did they say they want to focus it more also
• 10:05
  Speaker 3: on the adult characters as well, not just Harry. They
• 10:08
  Speaker 3: want to try to like give it this new perspective
• 10:11
  Speaker 3: and point of view from the adult side of the schools,
• 10:15
  Speaker 3: like the staff and the teachers. So there might be
• 10:19
  Speaker 3: some you know, nuances, some new things put into Because
• 10:26
  Speaker 3: it's eight hours, there's a lot of time to tell
• 10:28
  Speaker 3: the story. Like even the film in two and a
• 10:30
  Speaker 3: half hours managed to do a very faithful adaptation of
• 10:33
  Speaker 3: the book. So if you multiply that like three times,
• 10:37
  Speaker 3: it's like you have more than enough room. Yeah, So
• 10:39
  Speaker 3: they could they could even add like backstories that we've
• 10:42
  Speaker 3: seen in pot or more you know, elements of that.
• 10:46
  Speaker 3: They could add more depth into these other characters that
• 10:49
  Speaker 3: we don't get to see in the books because it's
• 10:51
  Speaker 3: all told from Harry's perspective, right, So could it could
• 10:55
  Speaker 3: be going there?
• 10:58
  Speaker 2: That's exactly I was just thinking that because one one
• 11:00
  Speaker 2: of the big limitations of like the books is that,
• 11:06
  Speaker 2: right it's through Harry's perspective, and so there's all these
• 11:08
  Speaker 2: other things that are obviously happening when Harry's not there
• 11:13
  Speaker 2: or that Harry's not present for, but you don't necessarily
• 11:16
  Speaker 2: get to like see that or read it specifically because
• 11:21
  Speaker 2: Harry's not there and he's not listening to that conversation
• 11:24
  Speaker 2: or you know. So that kind of like has me
• 11:30
  Speaker 2: excited but also worried because obviously they're really focusing on
• 11:33
  Speaker 2: this being like a very truly based on canon, really
• 11:38
  Speaker 2: following the books, but right there is that big limitation
• 11:41
  Speaker 2: of the books or from Harry's perspective. So I wonder
• 11:46
  Speaker 2: like even what role having like JK. Rowling be on
• 11:50
  Speaker 2: there as a producer, like if there's going to be
• 11:53
  Speaker 2: new perspective that she will lend to them of like
• 11:58
  Speaker 2: this is a type of conversation that maybe Snape and
• 12:02
  Speaker 2: McGonagall would be having in the Hogwarts staff room or
• 12:05
  Speaker 2: like that does not seem like them at all.
• 12:09
  Speaker 1: Yeah, do you think it's going to get more fleshed
• 12:12
  Speaker 1: out with Quirrel? And maybe those are some scenes that
• 12:17
  Speaker 1: will be the staff room so.
• 12:18
  Speaker 2: Well maybe well not the staff room, but I would
• 12:21
  Speaker 2: love to see the scene like when like Hagrid like
• 12:27
  Speaker 2: meets Squirrel, like doesn't know that it's squirrel. Yeah, you
• 12:32
  Speaker 2: know in the pub And like I think of those scenes, right,
• 12:35
  Speaker 2: Like we know about that because Hagrid tells Harry and them,
• 12:41
  Speaker 2: you know about it, but we don't get to see that.
• 12:45
  Speaker 2: Like we know he gets this dragon egg. We know
• 12:48
  Speaker 2: all this stuff. But there's a scene that could be
• 12:52
  Speaker 2: played out there. So that's still keeping it cannon because
• 12:56
  Speaker 2: we know what happened, but actually could do almost like
• 13:00
  Speaker 2: a flashback ye type of sequence. Yeah, or even a
• 13:05
  Speaker 2: flashbackie type of sequence of like Valtimore like attaching Albania
• 13:16
  Speaker 2: ye and that whole how that came about kind of.
• 13:18
  Speaker 1: Thing that'd be really cool.
• 13:21
  Speaker 2: Yeah, hm, interesting and so yeah, like you had mentioned before, Amy,
• 13:29
  Speaker 2: So director Mark also talked about how they really want
• 13:32
  Speaker 2: to examine the changing aesthetics of the school. They really
• 13:35
  Speaker 2: want to explore the different architectural themes of the castle
• 13:39
  Speaker 2: and how those would evolve over time. And we also
• 13:43
  Speaker 2: learned in this conversation there's going to be elements of
• 13:45
  Speaker 2: Georgian architecture and attempts at naturalism as well. So Director
• 13:53
  Speaker 2: Mark seems to be very much into aesthetics and architecture
• 13:56
  Speaker 2: and all of that.
• 13:57
  Speaker 3: So yeah, I think that that's where I get the
• 14:01
  Speaker 3: feeling that this will be a new, a new interpretation
• 14:04
  Speaker 3: of the castle because Georgian architecture, I don't think it's
• 14:10
  Speaker 3: present in the film version of the castle. It's I
• 14:12
  Speaker 3: think it's one Gothic. It's all based on Gothic cathedrals
• 14:18
  Speaker 3: and and so it's a very specific and peculiar design.
• 14:23
  Speaker 3: So I'm curious to see how much of it they're
• 14:27
  Speaker 3: willing to, you know, take this leap of faith and say, hey,
• 14:30
  Speaker 3: you know, we're actually going to make this completely new
• 14:33
  Speaker 3: adaptation from the book to the small screen, and we
• 14:38
  Speaker 3: want to make it our own thing. We wanted to
• 14:40
  Speaker 3: stand alone on its own. We wanted to, So I
• 14:44
  Speaker 3: think it's the way to go because the fact that
• 14:47
  Speaker 3: it's not animated, the closer they keep it to the films,
• 14:50
  Speaker 3: the more comparison comparisons are going to draw. And so
• 14:55
  Speaker 3: they need to make this this TV show its own,
• 14:58
  Speaker 3: its own entity, which is what I said the first episode, Like,
• 15:01
  Speaker 3: I think that's important. And the fact that they are,
• 15:04
  Speaker 3: you know, they they are also hiring a new costume designer,
• 15:08
  Speaker 3: so we're gonna get new costumes. We're gonna get uh
• 15:10
  Speaker 3: you know, new new sets, new designs, new props most likely,
• 15:15
  Speaker 3: which I think is is a smart way to move forward.
• 15:21
  Speaker 3: So I'm curious to see what they do. I'm I'm
• 15:24
  Speaker 3: sure they will keep some of the Castle's likeness. Uh,
• 15:30
  Speaker 3: there are parts like the tower, like the the the
• 15:34
  Speaker 3: big tower that we you know, like the most iconic
• 15:37
  Speaker 3: tower of the of the series where you have the
• 15:40
  Speaker 3: grand staircase. So I'm thinking that might still be there
• 15:44
  Speaker 3: in some capacity. But I feel like it's going to
• 15:48
  Speaker 3: be a very different world from what we know.
• 15:53
  Speaker 1: M Yeah, I'm excited to see new uniforms. I think
• 15:59
  Speaker 1: that's gonna be interesting.
• 16:01
  Speaker 2: Well, we know that they can like do it successfully
• 16:04
  Speaker 2: because obviously the uniforms and Curse Child are a new
• 16:07
  Speaker 2: take on the uniforms. But nobody ever questions like them
• 16:12
  Speaker 2: not being Hogwarts uniforms. You know, they still have the likeness.
• 16:15
  Speaker 2: They still have. They're not It's not like they want
• 16:17
  Speaker 2: ahead and change the house colors and that, like mathcots
• 16:21
  Speaker 2: like that stuff obviously is so can't like that can't change,
• 16:25
  Speaker 2: but it's so familiar that you can play with it
• 16:28
  Speaker 2: a little bit but still have it be very familiar,
• 16:31
  Speaker 2: and I love the.
• 16:33
  Speaker 1: Curse Child house emblems. I think they're I do too,
• 16:38
  Speaker 1: I would do.
• 16:39
  Speaker 3: But at the same time, they don't wear uniform forms
• 16:41
  Speaker 3: per se on the books. They just wear a house
• 16:44
  Speaker 3: robe on top of their you know, muggle clothes. So
• 16:48
  Speaker 3: it's I mean, if we are talking about a faithful adaptation,
• 16:51
  Speaker 3: they should really be doing that. So I think this
• 16:55
  Speaker 3: is a perfect opportunity to show that that part of
• 16:59
  Speaker 3: this this you not you, this classic. Let's say, the
• 17:03
  Speaker 3: first idea we had at the Wizarding World before the
• 17:07
  Speaker 3: films came out that were very like accurate to the books.
• 17:10
  Speaker 3: I think it's a good opportunity to do that because
• 17:13
  Speaker 3: we already have the school uniforms, like the British school
• 17:16
  Speaker 3: uniforms and the films and even in Chursechild. So I mean,
• 17:20
  Speaker 3: I'm curious to see how much they're willing to like
• 17:23
  Speaker 3: go for this faithful adaptation, not just in the storyline
• 17:27
  Speaker 3: point of view, but from an aesthetic point of view
• 17:29
  Speaker 3: as well.
• 17:30
  Speaker 2: Yeah, and so kind of speaking of being like accurate
• 17:38
  Speaker 2: to canon, Mark and Francesca also talked about really wanting
• 17:42
  Speaker 2: to stay accurate to the ages of certain characters and
• 17:46
  Speaker 2: specifically mentioning like Snape. So obviously, you know, we all
• 17:51
  Speaker 2: love Alan Rickman and Alan Rickman's portrayal of Snape, but
• 17:56
  Speaker 2: you know, Alan Rickman was aged like did age Snape
• 17:59
  Speaker 2: up And you know in Sorcerer's Stone, Snape's only thirty
• 18:03
  Speaker 2: one years old, which is younger than me right now,
• 18:10
  Speaker 2: so you know, they really want to have that part
• 18:16
  Speaker 2: of canon be reflected in the series. So of course,
• 18:20
  Speaker 2: like you know, we don't have to get into this
• 18:23
  Speaker 2: a lot, but there's obviously been no official casting announcements
• 18:26
  Speaker 2: that have been made at this point. There are so
• 18:28
  Speaker 2: many rumors and speculations of casting that have been going
• 18:32
  Speaker 2: around the internet, causing a big stir to the point
• 18:36
  Speaker 2: that I think HBO maybe came out and made a
• 18:39
  Speaker 2: statement about it that was like pretty much saying like, hey,
• 18:44
  Speaker 2: we we love the enthusiasm here, but like you know,
• 18:48
  Speaker 2: we haven't made any official casting announcement yet. And the
• 18:54
  Speaker 2: British actor, I'm not going to try to pronounce his
• 18:57
  Speaker 2: name because I'm sobervous, no't butcher it. But the actor,
• 19:00
  Speaker 2: I'm pretty sure you've all seen the stories that's been
• 19:02
  Speaker 2: in consideration for the role of Snape. Lots of talk
• 19:06
  Speaker 2: from people that you know, he's too good looking for Snape.
• 19:10
  Speaker 2: I've seen that a lot. But you know, I think
• 19:14
  Speaker 2: makeup can go a long way, and just acting can
• 19:18
  Speaker 2: go a long way like as well. But even just
• 19:23
  Speaker 2: visually looking at this actor, you can tell, like, if
• 19:26
  Speaker 2: there is any truth to this casting rumor, he's obviously
• 19:30
  Speaker 2: looks a lot younger than Alan Rickman. Did you know
• 19:33
  Speaker 2: when he was cast as Snape? So definitely, even though
• 19:37
  Speaker 2: there hasn't been a no official announcement, kind of those
• 19:41
  Speaker 2: casting rumors that are going around do seem to reflect
• 19:44
  Speaker 2: this wanting the characters to be more accurate to canon
• 19:49
  Speaker 2: in terms of the ages and the ages that they look.
• 19:53
  Speaker 3: Yeah, it's funny that you mentioned Alan Rickman because I think, well,
• 19:57
  Speaker 3: they even said that Alan Rickman cannot be replaced, and
• 20:01
  Speaker 3: the fact that they're choosing that they might be choosing
• 20:04
  Speaker 3: someone who's physically so different from him, I think can
• 20:08
  Speaker 3: only help the cause because it will make them, you know,
• 20:11
  Speaker 3: have its own it's going to be its own interpretation
• 20:14
  Speaker 3: a Snake. The same thing happened when you know, Black
• 20:16
  Speaker 3: Hermione was cast. This whole whirlwind of you know, people
• 20:20
  Speaker 3: talking and being like no, she wasn't she was white.
• 20:23
  Speaker 3: She was always white. And Jackie Rowing was very straightforward.
• 20:26
  Speaker 3: She was like, Hey, a lot of people you know auditioned,
• 20:30
  Speaker 3: this is the person, this is the actress who stood
• 20:32
  Speaker 3: out the most and who I think was the best.
• 20:35
  Speaker 3: It had nothing to do with their skin color, and
• 20:38
  Speaker 3: she just went for it. And I think it's it's
• 20:40
  Speaker 3: good that they're trying to make it more diverse, not
• 20:43
  Speaker 3: just for the sake of being Oh, we have to
• 20:44
  Speaker 3: be diverse, we have to be inclusive, we have to
• 20:46
  Speaker 3: you know, wokeism, you know, like but it's actually about
• 20:50
  Speaker 3: giving people a chance to interpret a character from a
• 20:53
  Speaker 3: different perspective, from a different you know, standpoint, and have us,
• 20:58
  Speaker 3: you know, appreciate it from a different place. Because if
• 21:01
  Speaker 3: we had someone who's very much like the Snape in
• 21:04
  Speaker 3: the books, or that looked like Alan Rickman, we would
• 21:06
  Speaker 3: be not stop comparing each all the time. And I
• 21:11
  Speaker 3: think that's something that's going to be They know it's
• 21:14
  Speaker 3: going to be very hard to top. But at the
• 21:16
  Speaker 3: same time, that's why I think they're going for these
• 21:18
  Speaker 3: different approaches.
• 21:20
  Speaker 2: I think that sometimes too, when you're trying to cast
• 21:24
  Speaker 2: for like looks to like match something, you're possibly limiting yourself,
• 21:29
  Speaker 2: but you're possibly limiting yourself into right, we're casting this
• 21:33
  Speaker 2: actor because they look the part, but maybe their acting
• 21:37
  Speaker 2: skills aren't up to the part. And I think, like
• 21:40
  Speaker 2: what you were mentioning, Tom, I'm pretty sure we've talked
• 21:42
  Speaker 2: about this another episode, Like you know, every time that
• 21:45
  Speaker 2: I saw kirst Child with Nomah and actually every I
• 21:49
  Speaker 2: think I've seen Noma and maybe one other actress. Now,
• 21:52
  Speaker 2: like I never questioned that that was Hermione because of
• 21:56
  Speaker 2: the acting. The acting was so on part with Hermione,
• 22:00
  Speaker 2: And so I think that, you know, I think initially
• 22:04
  Speaker 2: as these casting as official casting announcements come out, I
• 22:09
  Speaker 2: think we're are the Internet is just going to explode
• 22:13
  Speaker 2: with comparisons or you know, this person doesn't look the part,
• 22:17
  Speaker 2: or they don't you know, Alan Rickman is this character,
• 22:20
  Speaker 2: and that's how I'm going to always see this character.
• 22:24
  Speaker 2: But I think that or I hope that, you know,
• 22:27
  Speaker 2: people will be pleasantly surprised when it actually comes out.
• 22:33
  Speaker 2: And if they are hiring people based on their acting ability,
• 22:37
  Speaker 2: that should be really what matters the most. I think
• 22:40
  Speaker 2: if a character is like and not just Harry Potter,
• 22:46
  Speaker 2: I think in anything, if say, the appearance of somebody
• 22:50
  Speaker 2: is so vital to the plot, then then obviously then
• 22:55
  Speaker 2: you might need to try to cast to fill that role.
• 22:58
  Speaker 2: But I mean, as we learned, I mean Dan Radcliffe
• 23:02
  Speaker 2: did not have the color of Harry's eyes and could
• 23:05
  Speaker 2: not wear the contacts, and Harry's eye color is vital
• 23:09
  Speaker 2: to the plot, and we still did it.
• 23:12
  Speaker 3: Without that, right, Yeah, even though it was it was
• 23:17
  Speaker 3: more about him having his mother's eyes, you know, it
• 23:22
  Speaker 3: was it was I think that's what Jakie Rowling said,
• 23:25
  Speaker 3: was like, as long as he has his mother's eyes,
• 23:29
  Speaker 3: that's what we need. We know, we we we are
• 23:32
  Speaker 3: good with you know, we can change the contact lenses.
• 23:34
  Speaker 3: She felt miserable because of Dan having to use those
• 23:37
  Speaker 3: contact lenses and having that reaction to them, so she
• 23:40
  Speaker 3: was like, let's just let him be.
• 23:41
  Speaker 2: Let's just see he's got the shape of her eyes.
• 23:44
  Speaker 1: Yeah, there you go.
• 23:46
  Speaker 2: They both have an almond eye shape.
• 23:48
  Speaker 1: They both have, and there's two of them. How about that? Yeah, right,
• 23:53
  Speaker 1: very much.
• 23:56
  Speaker 2: But yeah, it'll be definitely interesting. I think as we
• 23:58
  Speaker 2: do get official casting andnouncements, But for right now, everything
• 24:03
  Speaker 2: that's out there is purely speculation and rumors. There have
• 24:07
  Speaker 2: been no official casting announcements yet. So speaking of like casting,
• 24:14
  Speaker 2: we also learned that over thirty thousand people auditioned for
• 24:19
  Speaker 2: the roles of Harry, Ron and Hermione during that open
• 24:21
  Speaker 2: casting call that they put out. That's insane, insane, but
• 24:29
  Speaker 2: at the same time also shows that, like, you know,
• 24:33
  Speaker 2: people aren't afraid to take on the challenge, like I
• 24:35
  Speaker 2: know we talked about like and we obviously we kind
• 24:38
  Speaker 2: of just mentioned it here too, the challenge of anyone
• 24:41
  Speaker 2: who's cast to step into such an iconic role. And
• 24:45
  Speaker 2: I mean, this just shows like there's a lot of
• 24:47
  Speaker 2: people that are up for that challenge and are not
• 24:49
  Speaker 2: afraid of that challenge. So I mean, hopefully in that
• 24:53
  Speaker 2: thirty thousand they found three that worked.
• 24:57
  Speaker 1: That's a lot to sit through. How on earth so
• 25:00
  Speaker 1: many thirty thousand people?
• 25:03
  Speaker 2: Well, children, they were children because it's for the trio.
• 25:09
  Speaker 3: Yikes.
• 25:11
  Speaker 2: So I thought that was really cool. And then we
• 25:16
  Speaker 2: also learned that we learned this outside of this particular interview,
• 25:21
  Speaker 2: but that they are going to be returning to the
• 25:24
  Speaker 2: Warner Brothers studio in Leavesden, which is obviously where the
• 25:27
  Speaker 2: Harry Potter films were made for filming and that production
• 25:31
  Speaker 2: is slated for mid summer in twenty twenty five.
• 25:37
  Speaker 3: Yeah. Yeah, that's where they film all HBO shows. By
• 25:40
  Speaker 3: the way, Like I think the spin off, the Game
• 25:44
  Speaker 3: of Thrones spin off House of Dragon is filmed there,
• 25:50
  Speaker 3: so I think it's where HBO. It's not, it's not.
• 25:53
  Speaker 3: I think it's not so much about saying, hey, you know,
• 25:55
  Speaker 3: we're filming in the same studios that's the Harry Potter films.
• 25:57
  Speaker 3: It's more about you know, them filming at the HBO.
• 26:01
  Speaker 3: They used leasend for most of the UK productions, so
• 26:06
  Speaker 3: it's not that much of a surprising news. It seems
• 26:09
  Speaker 3: more like a kind of like a nostalgia grab somehow.
• 26:12
  Speaker 3: This announcement like kind of making you know, deceiving people
• 26:15
  Speaker 3: thinking that, oh, we might be using the same sets,
• 26:18
  Speaker 3: but you know, yeah, this is still someone.
• 26:22
  Speaker 2: Back to the roots though. Tom.
• 26:25
  Speaker 1: Yeah, yeah, and this makes sense. Twenty twenty five in
• 26:31
  Speaker 1: the summer kind of figured because when they were looking
• 26:35
  Speaker 1: for the trio, didn't they say the ages needed to
• 26:39
  Speaker 1: be a certain thing in like April twenty twenty five,
• 26:43
  Speaker 1: So that makes sense. It gives them that time to
• 26:46
  Speaker 1: film make sure they don't age too much before they film.
• 26:50
  Speaker 3: Yeah, they should probably choose kids who are nine years Yeah,
• 26:55
  Speaker 3: because if they are already ten or about to turn
• 27:00
  Speaker 3: and eleven, then we know they're going to outrun their
• 27:04
  Speaker 3: character and you know they're gonna look much older. I'm
• 27:08
  Speaker 3: curious to see if this is actually going to be
• 27:10
  Speaker 3: like them still looking like children by book four or
• 27:15
  Speaker 3: by book five, which should be the case to have
• 27:18
  Speaker 3: this rather than like almost adults as you see in
• 27:21
  Speaker 3: the films. So that will also be a good way
• 27:25
  Speaker 3: of you know, avoiding so much comparisons if they can
• 27:28
  Speaker 3: manage to make them look their age and manage to
• 27:31
  Speaker 3: fit the whole schedule, uh, to not you know, let
• 27:35
  Speaker 3: time go so fast and be able to film everything
• 27:38
  Speaker 3: in order and have them at least you know, one
• 27:41
  Speaker 3: year more by the end of it. But you know,
• 27:43
  Speaker 3: kind of like trying to it's going to be very
• 27:46
  Speaker 3: very challenging. But curious to see what they what their
• 27:50
  Speaker 3: plan is.
• 27:52
  Speaker 2: Yeah, I was thinking just how tricky it is when
• 27:54
  Speaker 2: you are working with child actors like that for something
• 27:57
  Speaker 2: that you expect to go on for like a decade.
• 28:01
  Speaker 2: I think they've said with the hopes of not having
• 28:04
  Speaker 2: to recast at any point because obviously children change and
• 28:09
  Speaker 2: grow more than adults do. And it's not like you're
• 28:15
  Speaker 2: casting like I think of like the movie Grease, right
• 28:20
  Speaker 2: when you think about it, now, they look so old,
• 28:23
  Speaker 2: but they're like playing high school students, and like we
• 28:27
  Speaker 2: all just kind of accepted it. And then once I
• 28:29
  Speaker 2: got in high school, I was like, wait that right,
• 28:35
  Speaker 2: But when I was like a kid, I'm like, oh yeah,
• 28:36
  Speaker 2: look at those old high schoolers, right, and so but
• 28:40
  Speaker 2: you can kind of like get away with it a
• 28:42
  Speaker 2: little bit because they all look that way, you know,
• 28:45
  Speaker 2: or they're starting that way from the beginning, or I
• 28:48
  Speaker 2: think of even like Bridge or ten, right, Like you've
• 28:51
  Speaker 2: got like actresses that are like in their thirties playing
• 28:57
  Speaker 2: these young like teenager twenty year old but it kind
• 29:00
  Speaker 2: of can just work because they've always been that character
• 29:04
  Speaker 2: and adults don't really change a lot and you can
• 29:06
  Speaker 2: kind of age them down. But you've got these children
• 29:09
  Speaker 2: that are going to grow and go through puberty again
• 29:13
  Speaker 2: everything that happens. And of course obviously we've done this right,
• 29:16
  Speaker 2: we did go through that with the whole cast of
• 29:20
  Speaker 2: the films. But I think like there, I mean there
• 29:25
  Speaker 2: is a big gap there between I feel like how
• 29:28
  Speaker 2: they look at the end of Chamber of Secrets to
• 29:30
  Speaker 2: like BAM, Prisoner of Az Command. They're like, oh, now
• 29:33
  Speaker 2: you guys are teenagers and it's technically only a few
• 29:37
  Speaker 2: months apart, right.
• 29:38
  Speaker 3: Yeah.
• 29:40
  Speaker 1: Yeah, not only that, but like when you're dealing with kids,
• 29:46
  Speaker 1: they're going to have to be so careful of burnout,
• 29:51
  Speaker 1: of handling the growing up in the spotlight situation, making
• 29:55
  Speaker 1: sure nothing goes wrong in that regard to would force
• 30:00
  Speaker 1: a recast or something.
• 30:02
  Speaker 2: So because times are so different now than they were
• 30:05
  Speaker 2: right when the kids you can't protect them as much now,
• 30:11
  Speaker 2: not with social media and not the way that social
• 30:13
  Speaker 2: media is now. It's it's like a totally different beast. Yeah,
• 30:19
  Speaker 2: but yeah, we'll see. But I think that this news
• 30:23
  Speaker 2: is definitely exciting because I think it's nice to still
• 30:27
  Speaker 2: hear new things about it. It's still got the go ahead,
• 30:32
  Speaker 2: they're still working on things, like there's still wheels turning
• 30:36
  Speaker 2: with it, and yeah, I just thought that that was interesting.
• 30:41
  Speaker 3: Said, I've said some nice things up to now. I'm
• 30:43
  Speaker 3: still worried. I'm still I know you are. I can't
• 30:47
  Speaker 3: shake it off. I'm still worried about what's going to happen,
• 30:51
  Speaker 3: what's going to you know, the repercussions of this, of
• 30:55
  Speaker 3: this show and how it's going to affect the wizarding
• 30:59
  Speaker 3: world that we know, we love and we grew up with.
• 31:02
  Speaker 3: And that's what scares me. That's the only thing. Like
• 31:05
  Speaker 3: I'm not even worried about the show itself. I know
• 31:08
  Speaker 3: it's probably going to be a good one and casting aside,
• 31:11
  Speaker 3: Like even if they find the part the one, the
• 31:14
  Speaker 3: person for the part, it's going to go out great
• 31:16
  Speaker 3: and people are going to learn to accept it. But yeah,
• 31:21
  Speaker 3: I mean, is it How are they going to manage
• 31:24
  Speaker 3: to make those two coexist being so popular because the
• 31:29
  Speaker 3: films are still incredibly popular and still drawing in new people,
• 31:32
  Speaker 3: and these audiences that are going to watch the show
• 31:35
  Speaker 3: have already seen the films, even eleven year olds, even
• 31:38
  Speaker 3: you know, maybe a baby who's going to grow up
• 31:41
  Speaker 3: in a few years. It's going to be their first
• 31:43
  Speaker 3: depiction of Harry the TV show. But I'm just like
• 31:47
  Speaker 3: Warner Brothers, what are you thinking. I'm kind of scared,
• 31:51
  Speaker 3: But I don't know, Like I'm just yeah, wondering because
• 31:54
  Speaker 3: it's the first time I've ever seen this happening in anyway.
• 31:57
  Speaker 3: Because when reboots happen it's because the franchise has been canceled.
• 32:02
  Speaker 3: Happened with Percy Jackson, happened with the Chronicles of Narnia.
• 32:05
  Speaker 3: They're getting rebooted, they you know, and Harry Potter is
• 32:09
  Speaker 3: in the case it was, it's one of the most
• 32:12
  Speaker 3: successful film franchises of all time. What's going to happen
• 32:16
  Speaker 3: with that? And is it going to be reduced to
• 32:20
  Speaker 3: just a TV show or are they going to manage
• 32:22
  Speaker 3: to find a way to make each stand on their
• 32:24
  Speaker 3: own and you know, have their own space.
• 32:28
  Speaker 2: Right Well, I think what's so different about it too
• 32:30
  Speaker 2: from things like Percy Jackson or you know, these things
• 32:35
  Speaker 2: that have gotten that reboot treatment, is that it's not
• 32:39
  Speaker 2: just the films, right Like it's the merchandise that has
• 32:47
  Speaker 2: the likely like all the likeness of stuff from the films.
• 32:50
  Speaker 2: It's now three theme parks more than that because of
• 32:56
  Speaker 2: you know, in other cities, but like these theme parts
• 32:58
  Speaker 2: that are based on the likeness of the films. So
• 33:03
  Speaker 2: it's always going to transcend more than just the film.
• 33:07
  Speaker 2: And I think I agree with you, Tom, I think
• 33:09
  Speaker 2: that's what's scary about it is how do we have
• 33:12
  Speaker 2: this new thing that's the same thing, but keep it
• 33:14
  Speaker 2: contained and not have it bleed over and affect these
• 33:18
  Speaker 2: other things that are part of our world above and
• 33:22
  Speaker 2: beyond just that film that you watch for two and
• 33:25
  Speaker 2: a half hours, because unfortunately it's not like Twilight, Right,
• 33:30
  Speaker 2: Like Twilight, You've got the books, you've got the films,
• 33:35
  Speaker 2: and that's really kind of it. I feel like, if
• 33:38
  Speaker 2: you wanted when they are kind of going to reboot
• 33:40
  Speaker 2: Twilight and stuff too, but you can extend that beyond
• 33:43
  Speaker 2: because even though Twilight had such a cultural impact, large
• 33:48
  Speaker 2: cultural impact, it's still it's not as inundated with these
• 33:55
  Speaker 2: iconic locations and objects and things that your wizzarding world is, right,
• 34:03
  Speaker 2: and so you can easily kind of rework that and
• 34:07
  Speaker 2: keep them separate. But like, right, how do you keep
• 34:10
  Speaker 2: these separate when, like, I don't know, you think of
• 34:15
  Speaker 2: a time turner, and you think of exactly how it
• 34:17
  Speaker 2: looked in the film, right, even if that's not how
• 34:20
  Speaker 2: it's described in the book at all, that's how you
• 34:22
  Speaker 2: picture it. And so it's definitely I think that's going
• 34:25
  Speaker 2: to be a challenge because it is so much more
• 34:28
  Speaker 2: beyond just the film.
• 34:30
  Speaker 1: It's new territory for sure. Good luck Warner Brothers.
• 34:36
  Speaker 2: Yeah, we'll be here to critique it along the way,
• 34:39
  Speaker 2: especially top.
• 34:41
  Speaker 3: We're watching theme parks alone, leave my theme parks alone.
• 34:44
  Speaker 3: That's all I'm gonna say.
• 34:47
  Speaker 2: No, I definitely agree on that for sure, but yeah,
• 34:52
  Speaker 2: but yeah, that's the news we have for this episode.
• 34:56
  Speaker 2: So for our main discussion, we are going to be
• 34:59
  Speaker 2: highlighted some of the main forms of transportation that we
• 35:03
  Speaker 2: find in the Wizarding World. So the first one we're
• 35:07
  Speaker 2: going to start with is probably one of the most
• 35:10
  Speaker 2: kind of notorious is the broomstick. So as noted by
• 35:17
  Speaker 2: kind of Worthy Wisp in Quittits through the Ages, brooms
• 35:20
  Speaker 2: are probably not the best kep secret of the Wizarding
• 35:24
  Speaker 2: World because in the Muggle world, broomsticks and witches are
• 35:29
  Speaker 2: basically synonymous with each other. So this might not be
• 35:35
  Speaker 2: the best mode of transportation to use if you are
• 35:38
  Speaker 2: looking to uphold the International Statute of Secrecy, because yeah,
• 35:45
  Speaker 2: and the earliest recorded use of the broomstick is in
• 35:50
  Speaker 2: nine sixty two. And we also learn in Quidits through
• 35:54
  Speaker 2: the Ages that these first brooms were very basic, so
• 35:58
  Speaker 2: don't think like the firebolt. They were very basic. They
• 36:01
  Speaker 2: moved at one speed, they could really only go up
• 36:04
  Speaker 2: down stop and they were very uncomfortable. Later on the
• 36:09
  Speaker 2: cushioning charm would be invented, which would help with this comfort. So,
• 36:14
  Speaker 2: unlike other forms of transportation that are used by magical creatures,
• 36:20
  Speaker 2: as we'll talk about in a little bit, the other
• 36:22
  Speaker 2: interesting thing about brooms is that, unlike other forms of
• 36:25
  Speaker 2: transportation that are also used by other types of magical
• 36:30
  Speaker 2: creatures that we'll talk about a little bit more, is
• 36:34
  Speaker 2: that brooms appear to really only be used by witches
• 36:37
  Speaker 2: and wizards, which I think is really interesting. So the
• 36:43
  Speaker 2: use of broomsticks for transportation purposes is regulated in Britain
• 36:49
  Speaker 2: by the Ministry of Magic's Broom Regulatory Control. And I
• 36:56
  Speaker 2: think the other thing that's really interesting about brooms is
• 36:58
  Speaker 2: compared to other forms of transportation, they kind of have
• 37:03
  Speaker 2: a bit of a personality of their own, which I
• 37:07
  Speaker 2: think is interesting, similar to kind of like how we
• 37:09
  Speaker 2: talked about wands, I think, and wands kind of having
• 37:12
  Speaker 2: a personality of their own. And before kind of you know,
• 37:18
  Speaker 2: I mentioned earlier that you know, those early brooms were
• 37:21
  Speaker 2: very uncomfortable, they were very basic, and the reason for
• 37:25
  Speaker 2: this really was because before racing, brooms became a thing
• 37:30
  Speaker 2: and the mass production of brooms became a thing when
• 37:34
  Speaker 2: the Clean Sweet Broom Company formed prior to that, which
• 37:37
  Speaker 2: is and wizards would make their own brooms. So obviously
• 37:41
  Speaker 2: the ability of that broom was very dependent on the
• 37:46
  Speaker 2: skill of the person who was making it, and it
• 37:49
  Speaker 2: wasn't qualified broom makers or whatever they're called. And broomsticks
• 37:57
  Speaker 2: are also only or not only a mode of transportation,
• 38:02
  Speaker 2: but they're also used for sport, So that's something else
• 38:05
  Speaker 2: that's kind of different about broomsticks compared to some of
• 38:07
  Speaker 2: the other forms of transportation that we'll talk about.
• 38:10
  Speaker 3: Mm hmm.
• 38:13
  Speaker 1: Yeah, it's like interesting thinking about trying to make your
• 38:15
  Speaker 1: own broom because that's like even just like in the
• 38:19
  Speaker 1: Muggle world, making broom takes a lot of effort. Like
• 38:25
  Speaker 1: if you don't understand how to make it, what happens
• 38:29
  Speaker 1: if like the broom part is like cricket, Like does
• 38:33
  Speaker 1: it not fly straight? Do you just go in circles?
• 38:37
  Speaker 1: Like what's the technique behind making the broom you can ride?
• 38:42
  Speaker 1: Is there a handbook like a recipe book?
• 38:45
  Speaker 2: I mean, I will say that the so in the
• 38:50
  Speaker 2: like Wizarding Transportation chapter in the Wizarding arm from the
• 38:54
  Speaker 2: Wizarding archive. I think they do talk about that a
• 38:57
  Speaker 2: little bit about how like the different enchantments and stuff
• 39:01
  Speaker 2: that go into making like the brooms. I don't think
• 39:04
  Speaker 2: there's not like a handbook of how to make it,
• 39:06
  Speaker 2: but it definitely talks a little bit about kind of
• 39:09
  Speaker 2: you know, what has to go beyond that to like
• 39:12
  Speaker 2: make this essentially muggle object like work in a non
• 39:17
  Speaker 2: Muggle way. But I think, right, I think that that's
• 39:20
  Speaker 2: the biggest thing, is that there has to be so
• 39:23
  Speaker 2: many limitations of making your own and knowing the right
• 39:28
  Speaker 2: enchantments to use and even having the skill to do
• 39:31
  Speaker 2: those enchantments correctly. Right, Yeah, I'm sure it was probably
• 39:36
  Speaker 2: a mess, and this is probably why they're like, Hey,
• 39:38
  Speaker 2: we need to regulate this because this is a mess.
• 39:42
  Speaker 1: And we need to find more modes of transport.
• 39:46
  Speaker 2: Because yeah, this isn't going to cut it.
• 39:48
  Speaker 3: Do you brooms have any kind of magical properties to them,
• 39:52
  Speaker 3: like a wand has a core? I mean, I.
• 39:57
  Speaker 2: Think it really is just I think it's really just
• 40:02
  Speaker 2: about And also I misspoke, not from the they don't
• 40:07
  Speaker 2: actually talk about broomsticks like that in the from Wizding
• 40:10
  Speaker 2: Archives book. It's from the Harry Potter wikie that pulls
• 40:13
  Speaker 2: all the different sources. I believe in Quiddish through the
• 40:15
  Speaker 2: Ages is where they talk about That's where they talk
• 40:20
  Speaker 2: a lot about the formation of broomsticks and all of that.
• 40:22
  Speaker 2: So that's the sources Quiddits through the Ages. But I
• 40:27
  Speaker 2: think that it's it's more about enchanting a common Muggle
• 40:33
  Speaker 2: object to work for your purpose as a witcher wizard
• 40:37
  Speaker 2: more than I think, like, yeah, I don't think like
• 40:41
  Speaker 2: broomsticks don't have some kind of core magical core in them.
• 40:44
  Speaker 2: Maybe they should, like maybe they would make maybe that
• 40:48
  Speaker 2: would change it. And I think like thinking about when
• 40:56
  Speaker 2: you know, broom companies started and they decided, hey, like
• 41:02
  Speaker 2: you know, like let's also make racing brooms and that
• 41:04
  Speaker 2: kind of stuff. Like what went into like their formula
• 41:09
  Speaker 2: for making it? Is it you know, what makes a
• 41:14
  Speaker 2: nimbus two thousand better than a clean sweep? Or you
• 41:19
  Speaker 2: know what I mean? What makes you know what made
• 41:21
  Speaker 2: what made the firebolt this so much better than the
• 41:24
  Speaker 2: nimbus models? Like what is it different enchantments? Is it
• 41:28
  Speaker 2: different materials that are used? Obviously some of it I
• 41:31
  Speaker 2: think is like the shape, it probably has some different dynamics,
• 41:35
  Speaker 2: the way it cuts through the air because of the
• 41:37
  Speaker 2: way the shape is, like there's probably a lot there
• 41:40
  Speaker 2: that goes into Wizard Aerospace engineers. Yeah, yeah, that would be,
• 41:46
  Speaker 2: you know, because I think of like racing cars, right,
• 41:49
  Speaker 2: Like racing cars are not formulated or designed the same
• 41:54
  Speaker 2: way as your standard passenger car because they have to
• 41:58
  Speaker 2: be built differently to race, and I think you kind
• 42:03
  Speaker 2: of see the same thing in the brooms.
• 42:06
  Speaker 1: So another form of transportation that we see in the
• 42:10
  Speaker 1: series is flu powder in the flu network, which was
• 42:15
  Speaker 1: invented in the thirteenth century, so quite a while ago,
• 42:20
  Speaker 1: and manufacturing of flu powder is strongly controlled by the government.
• 42:27
  Speaker 2: It seems like all of these forms of transportation are
• 42:30
  Speaker 2: very regulated, because we'll talk about that more too with
• 42:33
  Speaker 2: some of them. And one thing I thought was really
• 42:36
  Speaker 2: interested about this in the manufacturing of it, is that
• 42:41
  Speaker 2: in the Wizarding Archive, when they talk about like flu powder,
• 42:45
  Speaker 2: they talk about how there's never been a reported shortage
• 42:48
  Speaker 2: of flu powder, but like, nor does anybody really know
• 42:52
  Speaker 2: anyone who makes it. So the only licensed producer in
• 42:56
  Speaker 2: all of Britain is a company called Flu Power. Their
• 42:59
  Speaker 2: headquarters is in Diagon Alley. But don't bother knocking on
• 43:03
  Speaker 2: their door, they won't answer. Everything is heavily guarded. So
• 43:08
  Speaker 2: I just find that really interesting that you know, there
• 43:11
  Speaker 2: is this strong control over the manufacturing, but like, yeah,
• 43:15
  Speaker 2: there's just this one producer of it, and if something
• 43:19
  Speaker 2: ever happens to them, who knows what happens next.
• 43:25
  Speaker 3: So it's easier to go into trick your way into
• 43:28
  Speaker 3: the vaults of green Gots than entering that building, I think.
• 43:33
  Speaker 2: So.
• 43:36
  Speaker 1: Yeah, the price has also remained the same for hundreds
• 43:39
  Speaker 1: of years at two sickles of scoop.
• 43:44
  Speaker 2: No inflation.
• 43:46
  Speaker 3: Yeah.
• 43:46
  Speaker 1: Well, it's funny because when I was reading about this
• 43:50
  Speaker 1: in those original Potymore writings, it was saying how there's
• 43:55
  Speaker 1: always these accidents that occur and land peaceeople in the
• 44:00
  Speaker 1: hospital for using flu powder that they tried to make
• 44:04
  Speaker 1: at home to save money, And one of the healers
• 44:08
  Speaker 1: was quoted as saying, is two sickles of scoop, people
• 44:12
  Speaker 1: just spend money, basically like are you trying to make
• 44:17
  Speaker 1: not worth it? Yeah?
• 44:21
  Speaker 2: Yeah, And I think like some other really interesting things
• 44:24
  Speaker 2: about the flu network in general is that, you know
• 44:28
  Speaker 2: where I don't think necessarily all witches and wizards have
• 44:31
  Speaker 2: things like broomsticks, pretty much all witches and wizards are
• 44:36
  Speaker 2: directly connected to the Flu Network right in their home.
• 44:39
  Speaker 2: It's obviously often their fireplace. This is also heavily regulated
• 44:45
  Speaker 2: by the Ministry of Magic. And I mean the reason
• 44:49
  Speaker 2: for this is that you know, you obviously don't want
• 44:54
  Speaker 2: someone accidentally popping up in a muggles fireplace. They're just
• 44:58
  Speaker 2: kind of like what so right, right, So it has
• 45:04
  Speaker 2: to be very regulated. I think I was thinking through
• 45:08
  Speaker 2: like the pros and the cons of flu powder, because
• 45:12
  Speaker 2: I feel like it's a very kind of like tricky
• 45:15
  Speaker 2: form of transportation, and I think like for the pros,
• 45:18
  Speaker 2: I think definitely like unlike broomsticks, the Flu Network can
• 45:22
  Speaker 2: be used without fear of breaking that institute's dead, the
• 45:25
  Speaker 2: International Statute of Secrecy. Like we talked about with brooms,
• 45:29
  Speaker 2: They're going to see you flying. They're like, oh, there's
• 45:32
  Speaker 2: a person on a broom Oh my god, whiches are
• 45:34
  Speaker 2: real and actually in that Potomore writing, JK. Rowling stated
• 45:40
  Speaker 2: that that is actually why she created the Flu Network,
• 45:43
  Speaker 2: because she needed a way for these young witches and
• 45:46
  Speaker 2: wizards to travel around that wouldn't break that statute of secrecy.
• 45:54
  Speaker 2: Another pro of it is unlike apparition, which we'll talk
• 45:57
  Speaker 2: about in a little bit, is there's little to no
• 46:00
  Speaker 2: danger of necessarily serious injury. And you can also use
• 46:05
  Speaker 2: the FLU network to transport children, the elderly, and people
• 46:09
  Speaker 2: that are injured, where that might be more difficult with
• 46:13
  Speaker 2: some other forms of transportation. Now, I think the biggest
• 46:17
  Speaker 2: con with a flu network, which of course we see
• 46:21
  Speaker 2: write in Chamber of Secrets with Harry, is that you
• 46:24
  Speaker 2: need to speak the name of the destination loudly and
• 46:27
  Speaker 2: clearly when you enter the flames. And of course this
• 46:31
  Speaker 2: can be difficult because you're stepping into flames, so there's ash,
• 46:37
  Speaker 2: there's heat, and there might be a little bit of
• 46:39
  Speaker 2: panic and anxiety that can come about as you're stepping
• 46:42
  Speaker 2: into fire. So you need to step into this fire,
• 46:46
  Speaker 2: but also remain calm, cool and collected enough to speak
• 46:52
  Speaker 2: clearly where you're going, and it can disorient you a
• 46:55
  Speaker 2: little bit. Yeah, it happened to Harry, and I'm sure
• 47:06
  Speaker 2: it's happened to several several people. I don't know how
• 47:09
  Speaker 2: calmly I could step into some fire, but especially the
• 47:13
  Speaker 2: first time too, anything of a kid being like, hey,
• 47:17
  Speaker 2: get in this fire and say where you need to go.
• 47:20
  Speaker 2: And hope that you end up there.
• 47:22
  Speaker 3: But yeah, and if we go by the video games canon,
• 47:29
  Speaker 3: traveling five blue powder is dangerous as heck game you know, yeah, you'll.
• 47:38
  Speaker 1: Know, Okay. So another form of transportation the underage, which
• 47:51
  Speaker 1: is in Wizards can use is the pork key. So
• 47:56
  Speaker 1: travel by pork key is described as very comfortable and
• 48:01
  Speaker 1: can cause nausea. The elderly, pregnant, and infirm are advised
• 48:07
  Speaker 1: not to use this mode of travel, which it seems
• 48:11
  Speaker 1: like every mode of travel the Wizards come up with
• 48:16
  Speaker 1: is not the most comfortable or pleasant.
• 48:22
  Speaker 2: Obviously, the cushioning charm helped the broom, but I imagine
• 48:26
  Speaker 2: that there's still some uncomfortableness in it too, especially if
• 48:29
  Speaker 2: you are not somebody who feels like I think of
• 48:34
  Speaker 2: like Hermione too, like who doesn't feel comfortable necessarily on
• 48:38
  Speaker 2: a broom, right, but it's being forced to use a broom,
• 48:42
  Speaker 2: I can imagine there's some discomfort there.
• 48:45
  Speaker 3: Yeah, yeah, it seems like it's seen one of those
• 48:49
  Speaker 3: warning signs when you go into a roller coaster ride.
• 48:52
  Speaker 3: It seems like one of those like if you're pregnant,
• 48:54
  Speaker 3: if you have you knows, Yeah.
• 49:00
  Speaker 2: Getting on a broom with lower back pain. I can't.
• 49:07
  Speaker 1: No.
• 49:08
  Speaker 3: Does it get better with no?
• 49:15
  Speaker 1: So port keys can be used when travel is occurring
• 49:20
  Speaker 1: in broad daylight, so brooms would be too easily spotted
• 49:25
  Speaker 1: in those situations. And port keys can also be used if,
• 49:31
  Speaker 1: like the destination you're going to does not have a
• 49:33
  Speaker 1: fireplace for the flu network. Any inanimate object can be
• 49:40
  Speaker 1: a port key and it takes the person who grasps
• 49:44
  Speaker 1: a hold of it to a pre arranged destination. The
• 49:49
  Speaker 1: nice thing about port keys is that travel time can
• 49:52
  Speaker 1: be scheduled like in advance with how it is like
• 49:57
  Speaker 1: when the Weasleys and Degrees go to the Quidditch World Cup,
• 50:00
  Speaker 1: we know that their port key is leaving at a
• 50:02
  Speaker 1: certain time, so you can stagger those arrivals for situations
• 50:07
  Speaker 1: like that where you have mass gatherings. So we know
• 50:10
  Speaker 1: that they use it for the Quidditch World Cup. We
• 50:13
  Speaker 1: also know they use this for concerts. According to those
• 50:18
  Speaker 1: original Pottermore writings, they were using this for a Celestina
• 50:23
  Speaker 1: Warbeck concert where they had a large number of people arriving.
• 50:29
  Speaker 1: But there was an accident where muggles actually showed up
• 50:34
  Speaker 1: at the concert because they were walking their dogs. The
• 50:38
  Speaker 1: port key was an old sneaker and one of the
• 50:41
  Speaker 1: dogs found it and transported them to the concert. They
• 50:46
  Speaker 1: actually even got pulled up on stage to sing with Celestina.
• 50:51
  Speaker 1: Memory charms were cast and the muggle who was singing
• 50:57
  Speaker 1: with Celestina actually came up with the song that sounded
• 51:01
  Speaker 1: quite similar to Celestina's hit song, and she was reportedly
• 51:08
  Speaker 1: not very happy about that, but what can you do.
• 51:14
  Speaker 1: So there are obviously pros and cons to pork keys
• 51:18
  Speaker 1: as well, I.
• 51:21
  Speaker 2: Mean, pretty pretty big con right, because it's like, well one,
• 51:26
  Speaker 2: i mean we see one of the biggest cons of
• 51:28
  Speaker 2: a port key in Gobbled a Fire, right like. And
• 51:33
  Speaker 2: so it's kind of like, you know, you could potentially
• 51:36
  Speaker 2: be trapped in a way, right, not knowing you're grabbing
• 51:40
  Speaker 2: a port key and being transported somewhere against your will.
• 51:45
  Speaker 2: Not always a graveyard where the darkest wizard of all
• 51:48
  Speaker 2: time gets reborn, but.
• 51:50
  Speaker 1: But dangerous situations like.
• 51:52
  Speaker 2: Right, And it's like it's like that control can be
• 51:54
  Speaker 2: taken out of your hands. And also right like, it's
• 51:59
  Speaker 2: if you you're just leaving a port key, you know,
• 52:04
  Speaker 2: maybe for somebody else, and hey, go to this place
• 52:07
  Speaker 2: at this time and grab this port key you can't
• 52:09
  Speaker 2: fully control those factors of who else might stumble along
• 52:14
  Speaker 2: it and touch it.
• 52:16
  Speaker 1: Right, and also if it can be anything, any inanimate object.
• 52:23
  Speaker 1: If you're looking for the port key and you don't
• 52:27
  Speaker 1: know exactly what it is, you're going to be looking
• 52:30
  Speaker 1: for a while because you could just be picking up
• 52:33
  Speaker 1: like any leaf from the ground, spare bit of trash, Like,
• 52:38
  Speaker 1: how do you know?
• 52:41
  Speaker 2: Yeah, I mean I think definitely. I think I feel
• 52:46
  Speaker 2: like the biggest pro is really just that, yeah, that
• 52:50
  Speaker 2: any object can be it, the fact that it is
• 52:53
  Speaker 2: another way for underage which is and wizards to travel,
• 52:55
  Speaker 2: like you mentioned, yeah, and kind of like right, like
• 52:59
  Speaker 2: you said, bringing people to these mass events. But I
• 53:01
  Speaker 2: just feel like there's a lot that can go wrong
• 53:04
  Speaker 2: with this one.
• 53:05
  Speaker 3: And you don't have to pay two sickles of scoop, right.
• 53:08
  Speaker 2: It's free. You just grab any little thing you have
• 53:12
  Speaker 2: at home, turn it into a poor key.
• 53:14
  Speaker 1: Yeah, for those cheap people who are trying to make
• 53:16
  Speaker 1: their off flue pattern.
• 53:18
  Speaker 2: Just maybe this is what the Ministry of Magic needs
• 53:21
  Speaker 2: to regulate a bit more like what are the regulations
• 53:25
  Speaker 2: on pork key? It's because clearly not many because again
• 53:32
  Speaker 2: we see what happens to Harry and Cedric, like you know,
• 53:35
  Speaker 2: clearly that was not heavily regulated. So no, So another
• 53:40
  Speaker 2: form of transportation is apparition. So this the main benefit
• 53:46
  Speaker 2: of apparition is it allows the user to travel instantly
• 53:50
  Speaker 2: from one location to another, and they don't have to
• 53:53
  Speaker 2: traverse the space in between the locations, so they don't
• 53:56
  Speaker 2: have to go through that whole. I just think of
• 53:59
  Speaker 2: the scene and got with a fire when they're going
• 54:02
  Speaker 2: through the port key. They don't have to traverse that
• 54:05
  Speaker 2: space like you kind of do with the port key.
• 54:06
  Speaker 2: You're just boom, you're there. So the user has to
• 54:10
  Speaker 2: focus on a desired location in their mind. And we
• 54:14
  Speaker 2: learned that there's the three d's of apparition, destination, determination,
• 54:19
  Speaker 2: and deliberation. And one of the cons of this too
• 54:23
  Speaker 2: is and I think what I gathered when I was
• 54:25
  Speaker 2: reading more about this, and I think that it's not
• 54:27
  Speaker 2: necessarily I don't know if we have a definitive answer
• 54:31
  Speaker 2: about it, but you kind of have to really be
• 54:34
  Speaker 2: familiar with that place that you want to go, Like
• 54:37
  Speaker 2: it's not so much of like, oh, I've seen a
• 54:40
  Speaker 2: picture of this place, so I'm going to pick think
• 54:42
  Speaker 2: of that picture and then end up there, you probably
• 54:45
  Speaker 2: won't end up there. It really in order for it
• 54:48
  Speaker 2: to be really successful, really should be a place that
• 54:51
  Speaker 2: you physically have been before and physically have seen, so
• 54:54
  Speaker 2: obviously there's some limitations with that as well. So this
• 55:00
  Speaker 2: one is, you know, arguably the fastest and the most
• 55:03
  Speaker 2: convenient form of transportation, but it is potentially one of
• 55:09
  Speaker 2: the trickiest to pull off, especially correctly, and it has
• 55:13
  Speaker 2: some of the most disastrous consequences if it doesn't go right.
• 55:17
  Speaker 2: So you can be splinched where certain body parts fail
• 55:21
  Speaker 2: to arrive at the same destination as you, terrifying, you
• 55:27
  Speaker 2: can have severe injury, and you could even die. So
• 55:34
  Speaker 2: it's a relatively advanced skill for wizards to master, but
• 55:39
  Speaker 2: like as I mentioned earlier, this seems to be a
• 55:42
  Speaker 2: pretty easy skill for certain magical creatures. So you've got
• 55:48
  Speaker 2: house elves, you've got phoenix phoenixes who just seem to
• 55:53
  Speaker 2: be able to do this naturally with ease, with skill,
• 55:57
  Speaker 2: and they're also not restricted and the same way that
• 56:01
  Speaker 2: wizards are when it comes to using this type of transportation.
• 56:06
  Speaker 1: Which I guess is why we don't really see magical
• 56:10
  Speaker 1: creatures really using brooms or anything like that. To travel,
• 56:14
  Speaker 1: they need to.
• 56:15
  Speaker 3: Stap a finger there there. Yeah, go ahead, No, No,
• 56:23
  Speaker 3: I was just going to say, it makes sense why
• 56:24
  Speaker 3: they teach them apparition in their sixth year, because it's
• 56:27
  Speaker 3: where they are at their best, like almost most advanced
• 56:30
  Speaker 3: form of magic. So I think that's why, you know,
• 56:34
  Speaker 3: wizards have more trouble with it. I think it's more
• 56:37
  Speaker 3: natural for beasts and creatures, but when it when it
• 56:41
  Speaker 3: comes to wizards, they have to have their their good
• 56:45
  Speaker 3: hand at magic and already be very experienced with it.
• 56:50
  Speaker 3: So that's why you know, they learned almost at their
• 56:54
  Speaker 3: last year.
• 56:57
  Speaker 2: I'm even kind of surprised that like kids learn it
• 57:00
  Speaker 2: and that it's not even like a skill with adults.
• 57:02
  Speaker 2: But I was thinking, like, I wonder if apparition is
• 57:09
  Speaker 2: inherently a skill of magical creatures that like eventually some
• 57:17
  Speaker 2: witch or wizard out there figure it out away for
• 57:20
  Speaker 2: witches and wizards to also be able to do it,
• 57:22
  Speaker 2: do you know what I mean? Like it wasn't it's
• 57:24
  Speaker 2: not something that's like a natural skill for like humans,
• 57:29
  Speaker 2: but they like were able to figure out with magic
• 57:33
  Speaker 2: how to allow themselves to do something that is technically
• 57:38
  Speaker 2: a component of a magical creature and maybe that's why
• 57:43
  Speaker 2: it's so hard, or it's something you have to learn,
• 57:48
  Speaker 2: you know, as a human versus you know, house elves
• 57:52
  Speaker 2: probably just can do it from birth or something. Yeah,
• 57:57
  Speaker 2: like some witch out there was like I want to
• 57:59
  Speaker 2: be able to do that. I'm going to figure out
• 58:01
  Speaker 2: how to do that, and they did. That's pure speculation.
• 58:05
  Speaker 2: But and so according to Harry, apparition felt like being
• 58:12
  Speaker 2: forced through a very tight rubber tube. So it's kind
• 58:16
  Speaker 2: of another form like the port key that's not very comfortable.
• 58:21
  Speaker 3: Can make claphobic.
• 58:24
  Speaker 2: Yes, I mean, I guess the good thing is is
• 58:27
  Speaker 2: that it's instant, so it's probably a very fleeting, uncomfortable feeling.
• 58:34
  Speaker 2: But you're right, especially when you're first learning, it does
• 58:37
  Speaker 2: make a lot of people sick, probably gives you kind
• 58:41
  Speaker 2: of some whiplash. It's probably very uncomfortable at first until
• 58:43
  Speaker 2: your body gets used to it. And when somebody is operating,
• 58:50
  Speaker 2: it can cause an audible noise, so you could have
• 58:53
  Speaker 2: something from like a small pop to a very loud crack.
• 58:57
  Speaker 2: And so the more skilled the wizard is, the quieter
• 59:01
  Speaker 2: that they can operate. Because you have like a wizard
• 59:03
  Speaker 2: like Dumbledore who can very discreetly operate because you know,
• 59:08
  Speaker 2: he's obviously very skilled, Whereas if you're a kid that's
• 59:14
  Speaker 2: learning how to operate, you probably can't use this to
• 59:17
  Speaker 2: sneak out of your house at night because you're probably
• 59:20
  Speaker 2: not going to be able to do it so discreetly
• 59:25
  Speaker 2: until you hone that craft a little bit more. So,
• 59:30
  Speaker 2: you know, some conds of apparition is they it does
• 59:32
  Speaker 2: have a range limit, so it's more difficult the longer
• 59:36
  Speaker 2: the distance that needs to be traveled. You know, we
• 59:41
  Speaker 2: do see some instances of you know, longer travel and
• 59:47
  Speaker 2: I mean we see it also with Harry, like Harry
• 59:50
  Speaker 2: very masterfully is able to operate himself and Dumbledore out
• 59:56
  Speaker 2: of the cave, you know, which I think it was
• 1:00:00
  Speaker 2: a very you know in that moment, like of course
• 1:00:03
  Speaker 2: you're like, okay, but Dumbledore was there too, but like
• 1:00:06
  Speaker 2: Dumbledore is very much incapacitated, like in that moment, I
• 1:00:09
  Speaker 2: really feel like that was on Harry, and I think
• 1:00:13
  Speaker 2: that was a very advanced skill to see from him
• 1:00:17
  Speaker 2: in that moment. Again, could have been a little bit
• 1:00:20
  Speaker 2: of the part of Baltimore in him, because I'm sure
• 1:00:22
  Speaker 2: of Baldemore was probably very, very skilled at apparition. But yeah,
• 1:00:28
  Speaker 2: and typically you don't see this, you know, international travel
• 1:00:32
  Speaker 2: of apparition, because that's very difficult, and you know, we
• 1:00:35
  Speaker 2: kind of see that in Fantastic Beasts with you know,
• 1:00:38
  Speaker 2: new having to kind of you know, take the long
• 1:00:40
  Speaker 2: way to come to America. So also there is with apparition,
• 1:00:49
  Speaker 2: you can also have side along apparition. So this is
• 1:00:52
  Speaker 2: a variant of apparition where two or more individuals can
• 1:00:55
  Speaker 2: all be transported at once. So kind of another form
• 1:00:58
  Speaker 2: like the port key where you can have multiple people traveling.
• 1:01:02
  Speaker 2: And this could be very helpful, like I just mentioned
• 1:01:05
  Speaker 2: when we see Harry having to operate with Dumbledore, So
• 1:01:10
  Speaker 2: this could be a way, you know, you have somebody
• 1:01:12
  Speaker 2: who's injured and you need to transport them somewhere, or
• 1:01:17
  Speaker 2: if you need to transport an underage witcher wizard somewhere,
• 1:01:20
  Speaker 2: you could do side along apparition. Now be kond of
• 1:01:24
  Speaker 2: this kind of I guess similar to what we were
• 1:01:26
  Speaker 2: talking about with the port key, is that apparition, this
• 1:01:29
  Speaker 2: side along apparition can be forced on someone. Kind of
• 1:01:33
  Speaker 2: scary to think you could just be walking down the
• 1:01:37
  Speaker 2: street of Hogsmead and somebody could just grab your arm
• 1:01:40
  Speaker 2: and operate with you. We'll scary. And we do see
• 1:01:45
  Speaker 2: this happen when the Death Theater. He actually grabs onto
• 1:01:49
  Speaker 2: Hermione's arm when Hermione, Harry and Ron are trying to
• 1:01:52
  Speaker 2: escape from the Ministry of Magic. Luckily, in that instance,
• 1:01:55
  Speaker 2: she's able to loosen his grasp enough to you know,
• 1:02:01
  Speaker 2: use a spell to get him to break away. But
• 1:02:03
  Speaker 2: that's not always the case.
• 1:02:06
  Speaker 1: Between this and the pork key, I'm seeing a lot
• 1:02:11
  Speaker 1: of flaws and wizarding transportation that just opens it up
• 1:02:14
  Speaker 1: for like easy abduction. Yes, what are we doing? This
• 1:02:20
  Speaker 1: seems very dangerous?
• 1:02:23
  Speaker 2: Yes, I mean, and I think like the one good
• 1:02:27
  Speaker 2: thing about like apparition versus like the port key is
• 1:02:31
  Speaker 2: it does seem to be a bit more regulated. So
• 1:02:36
  Speaker 2: you have to be able. You have to have a
• 1:02:37
  Speaker 2: license to be able to operate legally. Now again the
• 1:02:41
  Speaker 2: keyword there is legally, right, I'm sure there is.
• 1:02:45
  Speaker 1: Illegal stuff on your Yeah, it doesn't.
• 1:02:48
  Speaker 2: Stop people, right. So this license can be obtained by
• 1:02:51
  Speaker 2: which in Wizards at the Department of Magical Transportation, you
• 1:02:56
  Speaker 2: have to be at least seventeen to obtain the license.
• 1:02:59
  Speaker 2: And you know, the whole point of this license is
• 1:03:02
  Speaker 2: to help regulate and especially too, you know, the you know,
• 1:03:11
  Speaker 2: you don't want a witch or wizard to just operate
• 1:03:14
  Speaker 2: someplace like a muggle bank and steal all the money,
• 1:03:19
  Speaker 2: because if you can just operate wherever with no regulation,
• 1:03:22
  Speaker 2: who's to stop you from, in the middle of the
• 1:03:24
  Speaker 2: night operating into your local Chase bank and stealing everything
• 1:03:28
  Speaker 2: that's there as a witch or a wizard. But again
• 1:03:34
  Speaker 2: we see Harry especially successfully operate multiple times before he
• 1:03:39
  Speaker 2: has any kind of license, right, so, you know, yes,
• 1:03:42
  Speaker 2: it's controlled, but how controlled is it controlled? And there
• 1:03:49
  Speaker 2: is kind of something else we see with apparition that
• 1:03:53
  Speaker 2: doesn't fully come into play with the other forms of transportation.
• 1:03:56
  Speaker 2: Is there is an anti apparition charm and the anti
• 1:04:00
  Speaker 2: dip down my god, the anti disaparation jinks, and this
• 1:04:07
  Speaker 2: can be used to prevent a witcher wizard from operating
• 1:04:10
  Speaker 2: or disaperating to or from a location. So we do
• 1:04:16
  Speaker 2: see this, you know, throughout the series several times where
• 1:04:18
  Speaker 2: there's places that are warded off, you know, the ability
• 1:04:22
  Speaker 2: to operate or disaperate from them. So we see this
• 1:04:26
  Speaker 2: at the Ministry of Magic, of course, we see this
• 1:04:28
  Speaker 2: at Hogwarts Castle, we see this, you know, as command prison,
• 1:04:33
  Speaker 2: and you can also ward off certain places within residences.
• 1:04:37
  Speaker 2: So for instance, we see this in the cellar of
• 1:04:39
  Speaker 2: Malfoy Mannorer. Now, of course there's obviously flaws in this
• 1:04:44
  Speaker 2: because you have like the heut and this is where
• 1:04:47
  Speaker 2: again too where I feel like those magical creatures just
• 1:04:50
  Speaker 2: they're not bound by the same rules and regulations we
• 1:04:54
  Speaker 2: see Dobby, you know, operate and disaparate from these places
• 1:05:00
  Speaker 2: that are warded against it. There seems to not be
• 1:05:03
  Speaker 2: that regulation on them. And also you know with phoenixes
• 1:05:09
  Speaker 2: and well, so yeah, very interesting. Yeah, definitely a lot
• 1:05:15
  Speaker 2: of I think flaws, like you said, Amy, and definitely
• 1:05:17
  Speaker 2: a lot of cons, but also a lot of pros.
• 1:05:21
  Speaker 3: I think, yeah, they should try a plane once in
• 1:05:26
  Speaker 3: a while.
• 1:05:33
  Speaker 2: Did you ever get on a six hour flight or
• 1:05:36
  Speaker 2: any kind of flight when you can just go and
• 1:05:39
  Speaker 2: you're something Sometimes that's a risk youer will to take.
• 1:05:46
  Speaker 3: Well yeah, yeah.
• 1:05:49
  Speaker 2: And I think if you're like you know, if you're
• 1:05:51
  Speaker 2: skilled enough, it's probably not even a fear that you have. Now,
• 1:05:59
  Speaker 2: if you're just learning, that'd be scary. I'd be a
• 1:06:02
  Speaker 2: little scared to learn apparition because you know, in that
• 1:06:06
  Speaker 2: first lesson they're like, well, here's what could go wrong.
• 1:06:09
  Speaker 2: You could end up there, but your leg might stay
• 1:06:11
  Speaker 2: here good luck.
• 1:06:14
  Speaker 3: Yeah, you have to be very concentrated too, So that's
• 1:06:18
  Speaker 3: what really makes it. Like every like even the the
• 1:06:21
  Speaker 3: heart spells, there are incantations and spells that you have
• 1:06:25
  Speaker 3: to be very focused on, and I'm always being like
• 1:06:28
  Speaker 3: I won't. I don't know if I would managed to to,
• 1:06:31
  Speaker 3: you know, because I don't know if I can ever
• 1:06:33
  Speaker 3: have that level of concentration to just cast that spell
• 1:06:37
  Speaker 3: or to be transported to a place, because I'm I
• 1:06:40
  Speaker 3: tend to, like, you know, I'm very like easily distracted.
• 1:06:45
  Speaker 3: So I'm thinking like I would have like an intrusive
• 1:06:47
  Speaker 3: thought or something and I would just change and I'd
• 1:06:50
  Speaker 3: have an arm somewhere and you know, in Brazil. Then yeah,
• 1:06:56
  Speaker 3: like I would be scattered across the globe.
• 1:06:59
  Speaker 2: I know. I think I have too much anxiety.
• 1:07:01
  Speaker 1: For this too.
• 1:07:02
  Speaker 3: Yeah. Yeah, same.
• 1:07:09
  Speaker 1: Well, if none of those modes of travel appeal to you,
• 1:07:16
  Speaker 1: there is another last resort. You could just hail the
• 1:07:19
  Speaker 1: night bus. So basically the night bus is supposed to
• 1:07:26
  Speaker 1: be there. So if you're really bad at apparition, you've
• 1:07:29
  Speaker 1: got a fear of heights, if you get sick from
• 1:07:32
  Speaker 1: port keys and flu network or don't have a fireplace,
• 1:07:37
  Speaker 1: there's a way you can still travel. Nothing, right, Yeah,
• 1:07:46
  Speaker 1: So the night Bus can be hailed by sticking out
• 1:07:50
  Speaker 1: your wand arm at the curb, so just like hailing
• 1:07:53
  Speaker 1: a taxi. And obviously we know it's a purple triple
• 1:07:58
  Speaker 1: decker bus with seats during the day and beds at night,
• 1:08:02
  Speaker 1: and it runs all the time. The bus started operations
• 1:08:08
  Speaker 1: in eighteen sixty five, so again, what could possibly go
• 1:08:12
  Speaker 1: wrong with such an old vehicle? Nothing, nothing at all,
• 1:08:18
  Speaker 1: And the idea came from Muggle transportation, so naturally, pure
• 1:08:23
  Speaker 1: blood fanatics boycotted the Night Boss at first because of this,
• 1:08:28
  Speaker 1: but it turned out to be a pretty popular form
• 1:08:31
  Speaker 1: of transportation and has been an operation ever since.
• 1:08:36
  Speaker 3: And very smooth, let's not forget smooth.
• 1:08:39
  Speaker 1: Oh yes, so smooth. You won't even know you're driving
• 1:08:44
  Speaker 1: anywhere on the sidewalk or otherwise.
• 1:08:48
  Speaker 2: I mean bumpy ride, or your arm possibly getting left behind.
• 1:08:55
  Speaker 1: Up to you pick your poison.
• 1:09:01
  Speaker 2: It's just funny because it's like you think, I think
• 1:09:03
  Speaker 2: on paper, you think, oh, you know a bus. We're
• 1:09:07
  Speaker 2: basing this on Muggle transportation, so it can't be as
• 1:09:12
  Speaker 2: scary as like our forms of transportation, and arguably it's
• 1:09:16
  Speaker 2: not like it's you know, like it's not I think
• 1:09:20
  Speaker 2: it obviously gives you an option if you don't want
• 1:09:23
  Speaker 2: to do any of these other things. But of course
• 1:09:25
  Speaker 2: it's not without.
• 1:09:28
  Speaker 3: They're all reckless in their own way, like it's it's
• 1:09:33
  Speaker 3: none of it is like you know, you don't have
• 1:09:36
  Speaker 3: I don't know, a faery or something that will take
• 1:09:38
  Speaker 3: you there smoothly. There's always some kind of thing going
• 1:09:42
  Speaker 3: on and just this adrenaline all the time, and it's
• 1:09:46
  Speaker 3: not good for people with anxiety, Like how do they
• 1:09:49
  Speaker 3: deal with all of these things?
• 1:09:50
  Speaker 2: Do not survive?
• 1:09:52
  Speaker 1: No?
• 1:09:53
  Speaker 2: Do you think it's just because like witches and wizards
• 1:09:55
  Speaker 2: are just reckless because they think, oh, there's a potion
• 1:09:59
  Speaker 2: for this, there's a spell for that. I can regrow
• 1:10:01
  Speaker 2: my bones, I can rEFInd my leg, they.
• 1:10:04
  Speaker 1: Can just fix it. So they're like, oh whatever.
• 1:10:08
  Speaker 2: There is this reckless abandonment because when you can I mean,
• 1:10:11
  Speaker 2: and of course you can't fix everything, right, we learn that,
• 1:10:14
  Speaker 2: like you can't bring people back from the dead, like
• 1:10:17
  Speaker 2: you know, there's there's things, there are limitations, but other
• 1:10:20
  Speaker 2: than that, yeah, yeah, there's a potion for it, there's
• 1:10:28
  Speaker 2: probably a potion for it. If there's not a spell
• 1:10:30
  Speaker 2: for it, there's a potion for it. So they don't
• 1:10:34
  Speaker 2: even have to think about these things. They're just yeah,
• 1:10:36
  Speaker 2: if I lose my leg, I'll get a new.
• 1:10:39
  Speaker 3: One be it.
• 1:10:39
  Speaker 1: Yeah, why not.
• 1:10:44
  Speaker 3: Scale grow?
• 1:10:47
  Speaker 2: I can drink this and be uncomfortable for a night,
• 1:10:50
  Speaker 2: and then the next day they're back to operating again.
• 1:10:56
  Speaker 1: Oh so, then lastly on our list here, we've got
• 1:11:01
  Speaker 1: the Hogwarts Express. So when you think of travel in
• 1:11:06
  Speaker 1: the Wizarding World, more than likely you think of the
• 1:11:10
  Speaker 1: red steam engine, because why not. So Hogwart students used
• 1:11:17
  Speaker 1: to arrive at school in any way that they pleased,
• 1:11:21
  Speaker 1: but obviously that couldn't continue once the International Statute of
• 1:11:25
  Speaker 1: Secrecy was put into effect in sixteen ninety two, so
• 1:11:29
  Speaker 1: that's when they started to look into a more universal
• 1:11:33
  Speaker 1: mode of transport. They would get all the students there
• 1:11:36
  Speaker 1: at once in one way, So they attempted a poor key,
• 1:11:42
  Speaker 1: but that didn't really go very well. Students missed the
• 1:11:46
  Speaker 1: poor keys or ended up in the hospital wing sick
• 1:11:49
  Speaker 1: from the travel. So they also didn't want to connect
• 1:11:55
  Speaker 1: the castle to the flu network because it seemed like
• 1:11:58
  Speaker 1: a breach of security to just have people pop them
• 1:12:01
  Speaker 1: through the fireplace whenever obviously they can do apparition or
• 1:12:07
  Speaker 1: sign along apparition because you can't operate within the grounds,
• 1:12:12
  Speaker 1: so they had to think of another way. The Minister
• 1:12:17
  Speaker 1: of Magic at the time, Autoline Gamble, was intrigued by
• 1:12:21
  Speaker 1: the Muggle invention of the steam engine and had an
• 1:12:24
  Speaker 1: idea which I'm just going to quote from those Potter
• 1:12:29
  Speaker 1: Moore writings because there's no better way to word this.
• 1:12:35
  Speaker 1: So that quote where exactly where exactly the Hogwarts Express
• 1:12:41
  Speaker 1: came from has never been conclusively proven, though it is
• 1:12:45
  Speaker 1: a fact that there are secret records at the Ministry
• 1:12:48
  Speaker 1: of Magic detailing a mass operation involving one hundred and
• 1:12:52
  Speaker 1: sixty seven memory charms and the largest ever mass concealment
• 1:12:56
  Speaker 1: charm performed in Britain. The morning after these alleged crimes,
• 1:13:01
  Speaker 1: a gleaming scarlet steam engine and carriages astounded the villagers
• 1:13:05
  Speaker 1: of Hogsmead, who had also not realized they had a
• 1:13:08
  Speaker 1: railway station, while several bemused Muggle railway workers down and
• 1:13:13
  Speaker 1: crew spent the rest of the year grappling with the
• 1:13:16
  Speaker 1: uncomfortable feeling that they had mislaid something important, so love it,
• 1:13:28
  Speaker 1: which is going to be it's just performing a heist
• 1:13:31
  Speaker 1: because their modes of travel make their students sick.
• 1:13:35
  Speaker 2: And it's like even once they make the Hogwarts Express,
• 1:13:40
  Speaker 2: like you think, all right, now, this one seems like
• 1:13:42
  Speaker 2: the safest mode here, and it like it still isn't.
• 1:13:46
  Speaker 2: I mean, we've got dementors entering the Hogwarts Express, you know,
• 1:13:53
  Speaker 2: if we want to think about Curse Child, we've got
• 1:13:56
  Speaker 2: the trolley witch Yep, it's just without fail They just
• 1:14:08
  Speaker 2: don't know how to make something that's without some kind
• 1:14:12
  Speaker 2: of risk. I mean, to be fair, Muggle transport, every
• 1:14:15
  Speaker 2: form of Muggle transportation also has some risk as well,
• 1:14:19
  Speaker 2: but does not seem to rise to the level of
• 1:14:22
  Speaker 2: the risk involved with Wizarding transportation.
• 1:14:25
  Speaker 3: Yeah.
• 1:14:27
  Speaker 2: Yeah, but very interesting. So we're actually going to be
• 1:14:34
  Speaker 2: having an extended conversation over on our patreon where we're
• 1:14:38
  Speaker 2: going to talk about two other forms of transportation, including
• 1:14:41
  Speaker 2: the derm string Ship and the Bobaton carriage. So if
• 1:14:45
  Speaker 2: you're interested in gaining access to this conversation and other
• 1:14:48
  Speaker 2: extended conversations like that, be sure to check out our patreon.
• 1:14:51
  Speaker 2: We love more information about that at the end of
• 1:14:53
  Speaker 2: the episode.
• 1:14:55
  Speaker 3: Yes, So for our next segment, this is our rotating segment,
• 1:15:13
  Speaker 3: Specially's Rebellio. Today, we're going to be talking a bit
• 1:15:17
  Speaker 3: about the port key. So the port key is derived
• 1:15:21
  Speaker 3: from the French word porter or to carry and key,
• 1:15:25
  Speaker 3: which implies a secret or a trick. So then we
• 1:15:32
  Speaker 3: have the flu powder Network. Jk Rowling shared that flu
• 1:15:36
  Speaker 3: came from the flu that you can find on a chimney,
• 1:15:41
  Speaker 3: but jk Rowling admittedly stated that she does not know
• 1:15:44
  Speaker 3: exactly what a flu is or what it does. So
• 1:15:48
  Speaker 3: I'm not sure how you pronounced this. Is it just
• 1:15:50
  Speaker 3: like flu as well?
• 1:15:52
  Speaker 2: I think it's spelled flue, and I would say it
• 1:15:56
  Speaker 2: probably is pronounced like flu.
• 1:15:59
  Speaker 3: Yeah, yeah, I know.
• 1:16:00
  Speaker 1: It's pronounced like flu. I'd heard of it, and I
• 1:16:02
  Speaker 1: didn't actually know exactly what it did either, but I
• 1:16:04
  Speaker 1: just looked it up. It apparently is like the part
• 1:16:07
  Speaker 1: of the chimney that carries away any of like the
• 1:16:10
  Speaker 1: harmful gases from the fireplace, and like it is like
• 1:16:14
  Speaker 1: the ventilation system that gets it up and out.
• 1:16:18
  Speaker 3: It's funny because it's underlined, so it's it's not even
• 1:16:21
  Speaker 3: recognized by.
• 1:16:22
  Speaker 1: The word Google docs is like I don't know if
• 1:16:28
  Speaker 1: this is either.
• 1:16:31
  Speaker 2: Like, yeah, how did she just think to like look
• 1:16:36
  Speaker 2: that up? Or maybe had in passing at some point
• 1:16:40
  Speaker 2: heard about a chimney flu and.
• 1:16:42
  Speaker 3: Or maybe she made.
• 1:16:43
  Speaker 2: Up the words.
• 1:16:45
  Speaker 1: I feel like I've heard of chimney flus, and like
• 1:16:48
  Speaker 1: I feel like a lot of it has to do
• 1:16:49
  Speaker 1: with Santa Claus h like chimney flues and Santa. I
• 1:16:54
  Speaker 1: don't know, but I couldn't tell you exactly what it
• 1:16:58
  Speaker 1: is or what it looks like. But yeah, thank you Google.
• 1:17:02
  Speaker 3: But I like that I just.
• 1:17:04
  Speaker 2: Looked at it. Yeah, the inner lining of the chimney
• 1:17:09
  Speaker 2: that contains the combustion products until they can safely exit
• 1:17:12
  Speaker 2: the living space. M So it's very important, very important.
• 1:17:22
  Speaker 2: You can open and close it so when there's a fire,
• 1:17:25
  Speaker 2: you can keep the damper open so that the products
• 1:17:28
  Speaker 2: can safely exit the chimney. If you close it, the
• 1:17:31
  Speaker 2: smoke is going to fill your home. So then when
• 1:17:35
  Speaker 2: you don't have a fire, you can keep the damper
• 1:17:38
  Speaker 2: closed and this will prevent cold air from entering your home.
• 1:17:42
  Speaker 1: I didn't know about the damper, but I didn't know
• 1:17:44
  Speaker 1: that was part of the flu.
• 1:17:45
  Speaker 2: That's what it's called.
• 1:17:46
  Speaker 3: It's kind of like the unsung hero of Chimneys.
• 1:17:51
  Speaker 1: We at the house I grew up, and we had
• 1:17:54
  Speaker 1: a fireplace, and one time, like obviously you keep the
• 1:18:00
  Speaker 1: damper closed when you don't have the fire because, like
• 1:18:03
  Speaker 1: Nichole says, like the cold comes through. Apparently, like we
• 1:18:10
  Speaker 1: didn't close the damper and we woke up one morning
• 1:18:15
  Speaker 1: and there was a duck in the fireplace and it
• 1:18:19
  Speaker 1: was just like looking out of the glass like, oh hey,
• 1:18:23
  Speaker 1: I guess it had like tried to like make a
• 1:18:26
  Speaker 1: nest in the top of the chimney, but then the
• 1:18:28
  Speaker 1: damper was open, so it like fell all the way down.
• 1:18:32
  Speaker 3: There. Like these people don't keep the damper closed.
• 1:18:35
  Speaker 1: Yeah, so yeah, my dad had to carry the duck outside.
• 1:18:41
  Speaker 1: All well.
• 1:18:46
  Speaker 2: I mean, I know this episode is coming out like
• 1:18:48
  Speaker 2: right after Christmas, but like that's obviously how Sana gets
• 1:18:51
  Speaker 2: down your fireplace, right the damper open.
• 1:18:53
  Speaker 1: You do, even if it's cold.
• 1:18:56
  Speaker 2: I mean, if you if you leave it closed, he
• 1:18:58
  Speaker 2: you know, can fit still find a way in. But yeah,
• 1:19:02
  Speaker 2: remember that for next year. People to help Sanna down
• 1:19:04
  Speaker 2: your chimney, make sure your flu is open.
• 1:19:07
  Speaker 1: That's right.
• 1:19:08
  Speaker 3: He can look any of the transportation methods from the
• 1:19:11
  Speaker 3: wizarding world in case he needs it, try one of
• 1:19:15
  Speaker 3: those out. He's a magical being, so he should be
• 1:19:18
  Speaker 3: able to.
• 1:19:20
  Speaker 2: We'll think of all the people who don't have fireplaces, right,
• 1:19:23
  Speaker 2: Sanna still manages to get inside. He he might be
• 1:19:26
  Speaker 2: like a masterful operator.
• 1:19:31
  Speaker 1: Clearly because he can do it silently without waking people up.
• 1:19:34
  Speaker 1: So he's clearly scared.
• 1:19:35
  Speaker 3: That's a good one.
• 1:19:36
  Speaker 2: Is Sanna a wizard? Yes, because okay, let's think about it,
• 1:19:42
  Speaker 2: right his sid track right, sorry, Yeah, this is important.
• 1:19:47
  Speaker 2: You know, his sack is basically like Hermione's bag. You know,
• 1:19:51
  Speaker 2: it's got an extendable charm.
• 1:19:52
  Speaker 1: On that.
• 1:19:55
  Speaker 2: I think he can operate. Yeah, right here a long
• 1:20:01
  Speaker 2: white beard like all the greatest Wizards aka Doubledore in Merlin.
• 1:20:08
  Speaker 1: He makes it all the way around the world in
• 1:20:10
  Speaker 1: one night. So clearly there's some time traveling going on.
• 1:20:14
  Speaker 2: He's got a time turner. Yeah, Santa went to Hogwarts
• 1:20:19
  Speaker 2: totally twists. Maybe not. I mean, who knows, I mean,
• 1:20:23
  Speaker 2: who knows where you know he could have gone to
• 1:20:26
  Speaker 2: over morning, maybe on the North Pole. There's another wizarding
• 1:20:30
  Speaker 2: school that we don't know about.
• 1:20:34
  Speaker 3: Look at Santa.
• 1:20:35
  Speaker 2: Yeah, he's a wizard.
• 1:20:38
  Speaker 1: Yeah, anyway, transportation.
• 1:20:44
  Speaker 3: Up next, we have apparition, derived from the word apario,
• 1:20:48
  Speaker 3: which is Latin for a peer or I become visible.
• 1:20:54
  Speaker 1: HM did not know that.
• 1:20:59
  Speaker 3: Interesting. So Jackie Rowling says she named it. She named
• 1:21:04
  Speaker 3: it the night Bus because night with a K is
• 1:21:06
  Speaker 3: a homonym of night with just the N, conveying the
• 1:21:10
  Speaker 3: idea that it runs all night long. She also says
• 1:21:14
  Speaker 3: that she added the K because the association with knights
• 1:21:18
  Speaker 3: coming to the rescue and the bus is usually some
• 1:21:21
  Speaker 3: sort of last resort. Ernie and stan were named after
• 1:21:24
  Speaker 3: her grandfather. Grandfathers Ernest and stan Lee.
• 1:21:30
  Speaker 1: Fun some little meaning behind all these names of transport.
• 1:21:38
  Speaker 3: Yeah, I'm kind of cute how she named them after
• 1:21:42
  Speaker 3: her grandfather is coming to the rescue. Kind of like
• 1:21:47
  Speaker 3: a nice comparison there. So yeah, So this this was
• 1:21:53
  Speaker 3: our rotating segment for this episode.
• 1:21:57
  Speaker 2: It's a noise.
• 1:22:02
  Speaker 3: So on our last episode, we asked our listeners do
• 1:22:06
  Speaker 3: you think the Christmas events and the Harry Potter books
• 1:22:08
  Speaker 3: follow a pattern? What is it? So we got a
• 1:22:12
  Speaker 3: message from Jerry. She says, loved your Christmas episode. I
• 1:22:17
  Speaker 3: thought between you the significant points had been made. So
• 1:22:21
  Speaker 3: I can't think of a comment that asked substance. After
• 1:22:23
  Speaker 3: six days in the Universal Orlando Parks, doing a deep
• 1:22:27
  Speaker 3: dive into the theme park, into theme park Christmas, and
• 1:22:30
  Speaker 3: seeing more holiday merch than I could have imagined, I
• 1:22:33
  Speaker 3: still think the best bit I have found this year
• 1:22:36
  Speaker 3: wasn't on sale at Universal. It is a new illustrated
• 1:22:39
  Speaker 3: picture book Christmas at Hogwarts. The text is taken directly
• 1:22:43
  Speaker 3: from the chapter dealing with Harry's Christmas from the first book,
• 1:22:47
  Speaker 3: with the scary and dangerous bits left out. Unlike many
• 1:22:51
  Speaker 3: cases where someone takes a well known book for older
• 1:22:54
  Speaker 3: readers and creates a picture book for small children, they
• 1:22:57
  Speaker 3: didn't dumb down the language. They just selected sentences that
• 1:23:01
  Speaker 3: show the warm, fuzzy bits of that Christmas. I compared
• 1:23:04
  Speaker 3: it with the text of my real book, and just
• 1:23:08
  Speaker 3: about the only change I could find. What's changing they
• 1:23:10
  Speaker 3: to Harry Ron and Hermione in a place where they
• 1:23:14
  Speaker 3: referred back to a sentence that have been removed. I
• 1:23:17
  Speaker 3: think them arguing it with Draco or Snape. A great
• 1:23:21
  Speaker 3: present to introduce a small child to the wizarding world,
• 1:23:24
  Speaker 3: or for an adult who loves great illustrations, or to
• 1:23:27
  Speaker 3: enjoy on their own. I bought a copy before my
• 1:23:30
  Speaker 3: young niece, but she may not get it till I
• 1:23:33
  Speaker 3: can find another copy.
• 1:23:38
  Speaker 2: You find another copy, Jerry. It's very very cute book.
• 1:23:42
  Speaker 2: I have it on my coffee table as part of
• 1:23:43
  Speaker 2: my Christmas decor.
• 1:23:47
  Speaker 1: Also shout out to Jerry for lasting through six days
• 1:23:50
  Speaker 1: at Universal.
• 1:23:53
  Speaker 3: That's crazy, but yeah, thank you, Jerry.
• 1:24:02
  Speaker 2: Yeah.
• 1:24:03
  Speaker 1: So for this episode's discussion question, we would like to
• 1:24:08
  Speaker 1: know what would be your preferred mode of wizarding transportation?
• 1:24:14
  Speaker 1: So would you rather bumpy ride or would you rather
• 1:24:17
  Speaker 1: to lose an arm?
• 1:24:19
  Speaker 2: As Nicole put it, I mean for me to answer
• 1:24:23
  Speaker 2: this question, I actually would probably pick apparition as my
• 1:24:27
  Speaker 2: preferred mode of transportation. Yeah, even though I just talked
• 1:24:33
  Speaker 2: about how anxiety inducing it would be, I just think
• 1:24:36
  Speaker 2: that it's cool and the convenience of it, and the
• 1:24:41
  Speaker 2: other ones just sound less. The lesser. It's like the
• 1:24:46
  Speaker 2: lesser of the evils, the one's own, you know. I
• 1:24:50
  Speaker 2: don't want to deal with the nausea, although with apparition
• 1:24:53
  Speaker 2: you can have some nausea, but I don't have. The
• 1:24:55
  Speaker 2: other ones just seem a little too much for me.
• 1:24:58
  Speaker 1: Yeah. Well, we would love to hear from you, so
• 1:25:03
  Speaker 1: drop us an email. At Revellio Podcast, staff at gmail
• 1:25:06
  Speaker 1: dot com, or reach out to us on social media.
• 1:25:09
  Speaker 1: We're on Facebook at Facebook dot com, slash reveliocast, Twitter
• 1:25:13
  Speaker 1: or x at Revellio Underscore Podcast, on Instagram at revellio podcast,
• 1:25:19
  Speaker 1: and we are also on TikTok and blue Sky, so
• 1:25:23
  Speaker 1: search us up there. You can also support the show
• 1:25:26
  Speaker 1: over on Patreon at Patreon dot com slash Revellio Podcast,
• 1:25:31
  Speaker 1: where we will have an extended conversation about wizarding transport
• 1:25:37
  Speaker 1: over there, exclusive for our Patreon supporters, So definitely check
• 1:25:40
  Speaker 1: that out. Yeah, so definitely lots of options for travel,
• 1:25:48
  Speaker 1: some better than others. But you know, wizards, they love wizards. Yeah,
• 1:25:56
  Speaker 1: wizards being Yeah.
• 1:25:58
  Speaker 2: They don't need to be bound by cars and bikes
• 1:26:00
  Speaker 2: and planes, not at all.
• 1:26:02
  Speaker 1: So nope, they've got their own little way of living,
• 1:26:09
  Speaker 1: for better or for worse.
• 1:26:12
  Speaker 2: Hey, it's the way of living I would choose if
• 1:26:14
  Speaker 2: I could.
• 1:26:15
  Speaker 1: Yep, when we're all, I'm Amy, I'm Nicole, and I'm
• 1:26:22
  Speaker 1: Tom