Critical Magic Theory: An Analytical Harry Potter Podcast

For personal reasons, Professor Julian Wamble is taking a brief detour from the regularly scheduled programming — which also means listeners who haven't caught the Cho Chang episode yet have an extra week to do so before the Prof Responds follow-up drops next week. 

In the meantime, Julian shares the very first trial episode he ever recorded for Critical Magic Theory, back in 2023, a full six months before the podcast officially launched. Recorded at his therapist's nudging (who may or may not be Dumbledore??), the mini-episode lays out the three social hierarchies of the Wizarding World — Pure-Bloods, Half-Bloods, Muggle-borns, and Squibs — a framework Julian uses at the top of every class he teaches at GW, and the conceptual backbone the podcast has quietly run on ever since.

Laugh along as Past Julian tries very hard to sound professional, and rejoice that the whole thing is blessedly short because 2023 Julian didn't think anyone would want to listen to him for very long.

Joke's on him.

She was the first girl Harry Potter called his "girlfriend." But, she was also a seeker, Cedric's date, a defender of her best friend, a member of Dumbledore's Army, and the only person brave enough to feel all the feelings when Cedric was taken. In this episode, we give Cho Chang the full Critical Magic Theory treatment.

Listeners weighed in, and chaos ensued! 

What does it mean that J.K. Rowling's only (??) East Asian character is named Cho Chang, sorted into the house synonymous with intelligence, and written to be most desirable when she is least demanding? How do we reconcile the fact that her emotions are treated as a weakness? Who is this girl outside of what Harry sees?

Let's find out together!

In this Prof Responds episode, Professor Julian Wamble returns to "The Color of Magic" to sit with what the CMT community brought to the post-episode chat. Before diving into the comments, Julian opens with an invitation to listeners who hesitated to speak on race, arguing that silence is never neutral. Prejudice lives more in architecture than in bad apples, and that the Kingsley's warning on the Wireless Wizarding Network is a model for what it looks like to use proximity to power on behalf of people the system wasn't designed to protect. From there, the episode moves through three themes the community surfaced: whiteness as the invisible default, the impossible standard Black characters are held to, and the difference between being present in a story and actually existing in one.

In this Black History Month special, Professor Julian Wamble turns the lens on the five Black characters in the Harry Potter series, Angelina Johnson, Lee Jordan, Kingsley Shacklebolt, Blaise Zabini, and Dean Thomas, and asks a question the fandom rarely sits with: what does race actually mean in a world that insists it doesn't?

From Angelina Johnson's under-examined arc as a Black woman Quidditch captain managing a volatile white protagonist, to Lee Jordan's belonging tethered entirely to his proximity to the Weasleys, to Kingsley Shacklebolt's frictionless institutional ascent, to Blaise Zabini's unsettling full investment in a purity hierarchy that mirrors the one that would exclude him in any other world, each character illuminates a different dimension of what it costs to exist in a space whose baseline was never you.

In this listener response episode, Professor Julian Wamble returns to Nymphadora Tonks to engage the CMT community on the most compelling reactions to the original episode. Listeners weigh in on four major themes: whether Tonks embodies the Hufflepuff ideal, what the Hogwarts Express scene reveals about how the text treats her competence and grief, the Lupin relationship as a case study in identity erosion and the "I can fix him" dynamic, and the deeply divided question of whether Tonks was a good mother.

The episode closes with Prof. Wamble reconsidering his original argument about heroism and professional duty are mutually exclusive. The case that emerges reframes not just how we read her death, but how we read her life.