Taylor Swift’s “White Horse” is Lethal White’s Perfect Playlist Selection.

 

Originally published September 27, 2018 by Louise Freeman Leave a Comment

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I don’t know how popular Taylor Swift is in the UK, or if JKR RG is a country music fan, but if either of those is true, I’d be willing to bet Swift’s  “White Horse” is is the song the author had in mind for her official playlist, rather than Andrea Ross’s “White Horses.” See my earlier post for links to both tunes. Ross’s song, of course, gave away fewer spoilers, and therefore was the safer choice for a pre-publication interview. For the same reason, I’ll explain why after the break, for the benefit of those still reading.

Citing Taylor Swift’s song would have made it clear that the Robin-Matthew marriage buys the farm in Lethal White. But, looking through the lyrics, you can find multiple echos to the song in the text.

Say you’re sorry
That face of an angel
Comes out just when you need it to.

During the final showdown, the Flobberworm interrupts his abusive tirade (cursing, snatching Robin’s phone away, mocking her voice and job) with a brief period of seeming contrition (“‘Robin,’ he said, suddenly earnest. ‘We can get through this, if we love each other, we can.'”) before renewing his aggression (more cursing, belittling and physically trying to block her.) Thus, he puts on a good face, when he thinks it will help.

As I paced back and forth all this time
‘Cause I honestly believed in you
Holding on
The days drag on

Robin paces back and forth on the beach on the honeymoon. wondering if she should stay in her marriage. Her resolve to give the union a shot makes her drag it out for over a year, and long after she knows it is over.

Stupid girl,
I should have known, I should have known

Robin says almost this same line to herself after she discovers the earring in her bed and realizes all the clues she had been ignoring:  “I’m so stupid, so bloody stupid.”

That I’m not a princess, this ain’t a fairy tale
I’m not the one you’ll sweep off her feet,
Lead her up the stairwell.

Robin’s wedding setting is fairy-tale perfect, with the dress, the flowers, the church and picture-taking near a 17th century castle. Staircases come into play several times, but never with Matthew leading her up.  At the wedding reception, she drags the groom upstairs to the bridal suite, not for an early honeymoon, but to confront him over the deleted phone messages. There is the memorable “hug on the stairs” with Strike. Finally, Robin remembers several times how difficult the marital mahogany bed “her father-in-law had bought” had been to move upstairs, most notably after she discovers the earring.

This ain’t Hollywood, this is a small town,
I was a dreamer before you went and let me down
Now it’s too late for you
And your white horse, to come around

The wedding takes place in Robin’s small, rural hometown. That the Flobberworm let her down goes without saying, and, once she discovers his cheating,  it’s far too late to fix it.

Maybe I was naive,
Got lost in your eyes
And never really had a chance
My mistake I didn’t know to be in love

Robin has little experience with men, having been faithful to Matthew since they began dating at the tender age of 17. She cannot discern if her feeling for Cormoran is love, friendship or excitement about her dream job.

You had to fight to have the upper hand
I had so many dreams
About you and me
Happy endings

Matthew has certainly gained the upper hand in their relationship. as his university degree and higher paying job has made Robin financially dependent on him, despite her starting out with higher grades and more academic potential. She accuses him of actually being glad she dropped out of the university and established herself as an “underachiever” so he could feel superior.

And there you are on your knees,
Begging for forgiveness, begging for me
Just like I always wanted but I’m so sorry

The Flobberworm literally gets on his flobber-knees to beg her not to leave, as he crouches by her throne-like chair. She rejects his plea, almost regally.

‘Cause I’m not your princess, this ain’t a fairytale
I’m gonna find someone someday who might actually treat me well
This is a big world, that was a small town
There in my rear view mirror disappearing now

Robin realizes how badly she’s been treated, and that she deserves better and so makes her final decision to leave. She is not thinking of a relationship with Strike then, so the “someone, someday” is appropriate. Matthew is now her childhood love, from the small town; she is prepared to leave him behind and make her way in London on her own, with her own circle of friends. And, she makes eye contact with the cabbie in the rear view mirror as she’s leaving, and the cabbie, although a total stranger, assures her things will get easier.

And its too late for you and your white horse
Now its too late for you and your white horse, to catch me now

And thousands of Robin fans said, “Amen!”

Is all this coincidence, just common themes that appear in multiple literary and musical accounts of romantic splits? Only “Mr. Galbraith” knows for sure. It’s an awfully close fit, though. Though I did not know this song prior to googling it a few days ago, I think this just became my second favorite break-up song, next to another anthem appropriate for Ms. Ellacott:  Gloria Gaynor’s I Will Survive.

Rowling Offers ‘Lethal White’ Play List: Andrea Ross’s ‘White Horses’ For Robin

 

Originally posted: September 16, 2018 by Louise Freeman 3 Comments

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Go right to the source and ask the horse,

He’ll give you an answer that you endorse.

We here at Hogwartsprofessor have been chomping at the bit for three years waiting for Lethal White, and speculating about the title meaning since we heard it. Beatrice Groves has done a marvelous investigation of all possible white horse connections: from art, to Biblical imagery to poetry to archeology. Not having her knowledge–see my decidedly un-scholarly epigraph, above–I’m going to share something from “Mr. Galbraith’s” recent interview in the New York Times. The reclusive veteran thoughtfully provided a playlist for the novel.

There are eight songs or pieces of music mentioned in the novel that should be on the playlist: “Cutt Off” by Kasabian , “No Woman, No Cry” by Bob Marley , “Wherever You Will Go” by The Calling , Rihanna’s “Where Have you Been,” “ Ni**as In Paris” by Kanye West and Jay-Z and “Oliver Twist” by D’Banj , “Black Trombone” by Serge Gainsbourg and Brahms’s Symphony No. 1, C Minor .

I’d add “So Long Marianne” by Leonard Cohen for Strike and Charlotte, “Heroes,” by David Bowie for the Olympic backdrop and “White Horses” by Andrea Ross , not only for the book’s leitmotif, but for Robin, and a romantic, innocent girl’s idea of adventure and freedom. (emphasis added)

After I got over my delight at seeing the phrase “Olympic backdrop,” I started looking up some of the songs.  When I googled “White Horses lyrics,” I landed not on the Andrea Ross tune, but White Horse, by Taylor Swift.  Check out these prophetic words:

And there you are on your knees,
Begging for forgiveness, begging for me
Just like I always wanted but I’m so sorry

‘Cause I’m not your princess, this ain’t a fairytale
I’m gonna find someone someday who might actually treat me well
This is a big world, that was a small town
There in my rear view mirror disappearing now
And it’s too late for you and your white horse
Now it’s too late for you and your white horse, to catch me now.

Not only is the song heroine dumping the guy that’s no good for her, she’s speeding away in an automobile.  Does that sound like Robin Ellacott, master driver, or what?  For all who are eager to see the Titian-haired Temp dump Matthew– or, as I prefer to call him, the Flobberworm, this is indeed music to the ears.

The White Horses tune Rowling Galbraith actually references is far lighter, but at least has the “romantic, innocent” girl galloping away to some sort of brighter future.

On white horses let me ride away 

To my world of dreams so far away
Let me run – to the sun
To a world my heart can understand
It’s a gentle, warm and wonderland
Far away, stars away

Where the clouds are made of candyfloss
As the day’s born
When the stars are gone
We’ll race to meet the dawn

So when I can only see the grey
Of a sad and very lonely day
That’s when I softly sigh
On white horses, snowy white horses
Let me ride away

Could this be a case of classic JKR, ever so “swiftly” misdirecting us to the wrong song? In either case, it is looking good for Robin to at least take some steps towards putting the Flobberworm out to pasture– it isn’t going to take her long to figure out he had the audacity to block her calls.

However, the choice of Leonard Cohen’s So Long, Marianne for Strike and Charlotte, suggests he’ll remain saddled with her emotional baggage for some time.

 

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Filed Under: Cormoran Strike, Louise Freeman

See You at the Potter Party in Staunton for the ‘Cursed Child’ Script Release!

 

Originally Published July 1, 2016 by Louise Freeman 3 Comments

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Butterbeer, magic cats and birthday cake for Harry— what better way to celebrate the midnight publication of the book of Harry Potter and the Cursed Child?  Free events all day, all ages welcome!

I’m on deck for a series of “Magic and the Mind” talks on Harry Potter and psychology. If you are in Central Virginia, please join us beginning at 12 PM in downtown Staunton!

Watch this space (Updated 7/20/2016!!)  for details, or check out the Facebook page.

 

 

Filed Under: Louise Freeman

Speak Your Mind

Theatrical Decor for Harry Potter and the Cursed Child: An Augery’s Nest of Easter Eggs

 

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Originally published April 22, 2019 by Louise Freeman 2 Comments

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I thought it was curious that the instructions for Harry Potter and the Cursed Child specified that audience members should show up a full hour before curtain time. I even wondered if this was a plot to sell you extra butterbeer, chocolate frogs and T-shirts prior to the show. While there were certainly snacks and souvenirs for sale, as there are for all Broadway productions, there was actually plenty to see and do in the lobby area, that made the hour pass quite enjoyably.

The Lyric Theatre spent over 30 million dollars renovating the theater to host this production, so they clearly expect it to be around for a while. They spared no expense or lack of detail, inside or out. Projects ranged from huge (e.g. the black wing that extended from the entrance all the way down the block, with the augurey nest perched on a distant building) to more subtle (the winged sconces that held the outdoor lanterns) but they all added up to a treasure trove of artistry to delight the serious fan. You might even call it an Augurey’s nest of Easter Eggs.   Find out more after the jump!  Spoilers, ho!

To be honest, I was expecting decor (and merchandise!) similar to the Harry Potter amusement parks, and was pleasantly surprised that the tone was much different. Gone was the familiar lightning-bedecked font, and no butterbeer, chocolate frogs or Bertie Bott’s Every Flavor Beans were on sale at the refreshment stand: the closest thing they had were small jelly bean containers in Gryffindor or Slytherin colors. Whether because they intentionally chose to create a different mood, or had to avoid infringing on Universal Studio’s trademarks, the aura was different, and somehow classier. The displays of souvenir T-shirts were even decorated with old-fashioned, hardback books. I had to content myself with a “Frose” (frozen rose wine beverage) in a souvenir cup. But there were plenty of other touches designed to make you feel you were stepping into the wizarding world: a custom Hogwarts carpet, with unique house symbols: a Gryffindor sword, a Slytherin drop of potion, a Ravenclaw quill and and Hufflepuff leaf); a selfie spot where you could pose with your house banner (I gave in during the part 2 intermission, despite my dislike of the faulty Ravenclaw color scheme) and wallpaper on the lower level that resembled the Forbidden Forest. All of the theatre staff were wearing house ties, and the ushers sported prefect badges. Best of all, after the second, and darkest, time shift, the audience returns from their between-play break to find the “Cursed Child” merchandise at the souvenir stand has all been replaced by swag bearing the “Voldemort and Valor” logo, and the staff greeting patron’s with “Happy Voldemort Day.” 

Onto a few of my favorite artistic touches. Outside, the theater had installed a line of what appeared to be Augurey-shaped lantern-holders all the way down the block, in the area where the eager theatre-goers waited in line.  (see second picture, above) But. if you look carefully at the ones on the canopy directly over the theater entrance, you will notice slightly different shapes. Sharp-eyed fans will recognize three of the four as winged versions of the House mascots: the Gryffindor lion and the Slytherin snake (bottom left and right above) and the Ravenclaw eagle (top left). I can only assume the fourth is meant to represent Hufflepuff, but it did not look the least bit like a badger to me. The snout, if anything, appeared like an alligator’s, with perhaps the ears of a horse. Between the beige-and-brown color scheme, the mis-shaped sconce and the general abuse Cedric Diggory takes in the play, I have to conclude at least some of the creators have a major dislike of Hufflepuffs. 

My favorite part of the interior decor was the patronus artwork on the entrance level, near the cloakroom. There, the walls had been painted black, and the major character patronuses (Harry and James’ stag, Snape’s doe, Hermione’s otter, Ron’s terrier, Ginny’s horse, Dumbledore’s phoenix and McGonagall’s cat) appear to be sketched out in white chalk. But, with closer examination, you find that the animals are actually constructed from words:  notable lines that the characters speak (or are spoken about) in the play. They are not always easy to read, but I plan to go back to my copy of the script to clarify the exact quotations.  Notice also that the antlers of the stag appear to be transfiguring into fleeing dementors.  This inclusion is clearly meant to impress the book and movie fans: no patronus, apart from the Silver Doe, appears in the play. Only those familiar with the Potter books would be able to recognize the significance of the animals. Judging from the number of people who were having their picture made beside the drawings, and the number of kids I saw explaining the significance to their parents, there were plenty of readers and movie buffs there.

If you find yourself in the Big Apple, but can’t manage to score tickets for yourself, it is still worth stopping by the Lyric to see the decor. There is also a merchandise shop adjoining the patronus room that is open to the public. Just boycott the mis-colored Ravenclaw and Hufflepuff swag!

 

Filed Under: Cursed Child, Louise Freeman