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Can anyone guess what Aidan's shirt says? "I stand next to Scorpius Malfoy and Albus Potter"? Gahhh, I just know there's an inside joke here!

If you havn't watched them yet, Aidan is hosting behind the scenes vlogs with Broadway.com! Check it out ⬇️

The immersion of Albus and Scorpius in the lake is, symbolically, a return to the mother’s womb—to the collective unconscious, a place where identity is formed and reconstructed. This underwater journey is not merely a physical passage but a psychological and spiritual cleansing—a heroic inward journey. It marks the beginning of transformation, growth, and eventual psychological rebirth.

Scorpius: From Passivity to Agency

Scorpius, who at first prefers to accept everything as it is—submissive, obedient, unwilling to fight or desire more—undergoes a profound transformation. When they travel back in time to save Cedric and end up creating a dark alternate reality, he finds himself in a world so filled with pain, suffering, and injustice that he can no longer remain silent or passive.

Tragedy pushes him toward action.

From this confrontation with darkness, Scorpius evolves. He becomes someone who can no longer tolerate evil—even if it was unintentionally caused by his own actions. The pain awakens him. He moves from silence and passivity to a being of conscious agency. He becomes the one who, in Albus’s absence, takes it upon himself to set the world right.

This process symbolizes rebirth and psychological maturation. Scorpius finds a balance—not becoming like his ancestors, who were power-hungry and self-centered, but also not remaining the submissive and overly tolerant boy he once was.

SCORPIUS: You — Polly Chapman — want me to take you to a — ball? (There is the sound of screaming behind him.) What is that screaming? POLLY CHAPMAN: Mudbloods, of course. In the dungeons. Your idea, wasn’t it? What’s going on with you? Oh Potter, I’ve got blood on my shoes again… (She bends and carefully cleans the blood off her shoes.) Like the Augurey insists — the future is ours to make — so here I am, making a future — with you. For Voldemort and Valor. SCORPIUS: For Voldemort it is. (Polly walks on. Scorpius looks agonized after her.) What is this world — and what is he within it?

SCORPIUS: But that was — another you. (He looks at his dad, who looks back with a frown.) I’ve done bad things, you’ve done worse. What have we become, Dad? DRACO: We haven’t become anything — we simply are as we are. SCORPIUS: The Malfoys. The family you can always rely on to make the world a murkier place.

He is the one who, in Albus’s absence, puts all his strength into restoring the world to its rightful path. This process symbolizes a rebirth and the attainment of psychological maturity. He reaches a balance—neither dominating and self-centered like his ancestors, nor completely passive and submissive as he once was.

SCORPIUS smiles at SNAPE. He steps decisively away from the dementor. SCORPIUS: The world changes and we change with it. I am better off in this world. But the world is not better. And I don’t want that.

Albus: From Rebellion to Acceptance

Albus Potter, burdened by the weight of his family name and the shadow of his father, is initially in conflict with himself and his past. He tries to fix something within himself by changing the past. But this attempt disrupts the order of the world and leads to catastrophe.

Through experiencing the consequences of this mistake, Albus arrives at a deep realization: Peace does not lie in changing the past, but in accepting it—and in accepting oneself.

This transformation is profoundly Jungian: Albus confronts his shadow, and comes to understand that the goal is not to escape the past but to embrace it. He realizes that truth is immutable, and only by accepting reality can one find inner peace.

At the same time, Scorpius reaches a balanced understanding: that one shouldn’t passively accept what is unjust—what has no foundation but human decision.

Scorpius and Albus follow two different, yet complementary, paths toward emotional and psychological maturity: Scorpius From passivity to agency & Confronts the dark world and fights to restore it Albus From rebellion to acceptance & Learns that the past cannot be changed, and finds peace in self-acceptance

In the end, both characters, through mistakes and suffering, come to a new understanding of themselves, the world, and their responsibilities. What began as a journey of two lost and immature teenagers ends with a form of psychological rebirth.

I just realized something… That “The Cursed Child,” besides the relationship between Scorpius and Albus being like Romeo and Juliet, is intensely and overall very similar to the story of Pinocchio. So much so.

Albus as Pinocchio:

Albus, like Pinocchio, grapples with his identity. He feels he doesn’t belong in his rightful place and is in a constant search for acceptance and meaning. Both are trying to find their place in the world and transcend the expectations of others. Albus decides to act against the advice of his elders; he befriends a lonely boy named Scorpius, travels to the past, and disrupts the world’s order. Pinocchio also repeatedly disobeys advice and falls into the traps of deceivers. In the end, Pinocchio transforms into a real boy. Albus, too, reaches an emotional maturity by the end of the story, understands his father better, and accepts himself. This “transformation” from immaturity to maturity is the climax of both characters’ arcs.

Becoming “Real”: Ultimately, both stories are about achieving a kind of “realness” and self-acceptance. Pinocchio becomes a real boy, and Albus and Scorpius finally find their place and identity. Multiple Identities and a Sense of Alienation: Pinocchio starts as a wooden puppet, always striving to find a human identity. Albus is also “The Son of Harry Potter,” “Scorpius’s friend,” and, ultimately, just “Albus.” He constantly struggles with these different identities and the various labels assigned to him, feeling that none fully reflect who he is. This sense of alienation, manifested in Pinocchio as the gap between his wooden nature and his human aspirations, appears in Albus as a feeling of not belonging and a difficulty connecting with his father and the world around him.

Delphi as the Fox and the Cat:

Delphi, with her deceit, manipulation, and false promises, plays the role of an evil and misleading force, exactly like the Fox and the Cat who lead Pinocchio toward trouble. With her hidden motives, Delphi steers Albus onto a dangerous path. She enters Albus’s life with a kind and mysterious appearance, just as the Fox and the Cat deceive Pinocchio. She exploits Albus’s weaknesses and insecurities, showing him that she is the only one who understands him and can help him. Exploiting the Hero’s Ignorance and Naivety: Both villainous characters count on the hero’s lack of awareness and lead them down the wrong path. Delphi = Goddess of Darkness / Lucifer: She is the child of Voldemort, thus born from a “dark force.” She hides herself, tempts, and ultimately falls, like Lucifer in Abrahamic myths. The Role of the “Tempter”: In classical literature, characters like Delphi represent seductive forces—those who lead you astray from your true path. Delphi, like all mythical tempters, diverts the hero from his path to lead him to a deeper knowledge of himself.

Harry as Geppetto:

Harry, in his effort to guide and protect Albus, is like Geppetto, who tried to steer Pinocchio toward the right path. And sometimes, Harry also makes mistakes that affect Albus, similar to Geppetto, who sometimes unintentionally caused problems for Pinocchio. Both fathers, with good intentions but wrong methods, cause their children suffering. Harry is saved by Albus, and Albus makes a sacrifice for his father, risking his own life, just as Pinocchio saves Geppetto by sacrificing himself. Geppetto, with all his love for Pinocchio, sometimes, through strictness and a lack of understanding, caused him pain and led him astray. Harry, despite all his efforts to protect Albus, due to his own fears and past experiences, sometimes failed to understand him properly, making Albus feel confused and alone. These “paternal failures” are a crucial part of both characters’ growth. Geppetto eventually understands that he must accept Pinocchio for who he is and allow him to have his own experiences. Harry, too, by the end of the story, with a better understanding of Albus and acceptance of his relationships (especially with Scorpius), becomes a better father. This “learning to be a father” is a key element in both stories. The Journey to Save the Child: Geppetto goes into the belly of the whale to save Pinocchio. Harry, too, at the end of the story, with the help of others, enters the fray to save his son. Both ultimately become wiser fathers. Harry, like Geppetto, must learn that being a father means “listening” to the child, not just “guiding” him.

Scorpius as Jiminy Cricket:

The Voice of Reason and Conscience: He repeatedly stops Albus from making wrong decisions, just like Jiminy Cricket was Pinocchio’s conscience. He always helps him see the right path. Scorpius’s role as a loyal friend is the main pillar of Albus’s transformation. Without him, the hero would fall. Anima/Animus: Scorpius may represent Albus’s anima—the inner voice that brings him into balance, especially if we view their relationship as a psychological union, not just a friendship. Scorpius, like Jiminy Cricket, is a symbol of conscience, loyalty, and inner growth. Of course, this could also be correct: This relationship can be called a “Psychological Union” (Syzygy): Scorpius: Symbolizing wisdom, logic, loyalty (Animus). Albus: Symbolizing emotion, daring, inquisitiveness (Anima). But it’s not always that straightforward, and I think it can also be the reverse… And of course, Jung’s big mistake is linking human traits to male or female, even though he simultaneously knows that both can exist in both sexes, and Male and female are entities that are not only not opposites but must coexist for survival to occur. This is unlike strength and delicacy (or fragility), which are opposites. Unlike black and white, which can engulf each other. Unlike reason and emotion, which grapple with one another.He should have understood that it is solely about reproduction and survival, not about being polar or opposite (one of our biggest problems would be solved if people understood this: that the structure of male and female has no other meaning beyond life and survival). The Broken Mirror or Lost Half: Just as Jiminy Cricket helps Pinocchio know his true self, Scorpius helps Albus discover the various dimensions of his being. Their relationship is not only a friendship but a psychological union in which they help each other find their lost half and achieve balance. Scorpius, with his intelligence, kindness, and honesty, creates a balance against Albus’s insecurities and doubts.

In mythology, the Hero Child is a character born under difficult circumstances, rejected, but with a great destiny. Like:

Pinocchio (transformation from wood to human)

Moses in Abrahamic myths (set adrift in the river)

Harry Potter in the original series

Albus in “The Cursed Child”

The Battle of “Truth” vs. “Illusion”: Pinocchio confronts the illusions in his head (like life in Pleasure Island) and ultimately accepts the truth. Albus also confronts the bitter reality of the past and the complexities of family relationships and must balance what he wants to be with what he is. Delphi, with her deceptions, tries to keep Albus in a world of illusion, but in the end, he is forced to confront the truth.

DELPHI: Then go. But — just know this . . . Today you get an opportunity few are given — today you get to change history — to change time itself. But more than all that, today you get the chance to give an old man his son back.

The Importance of “Parent” and “Family” in Shaping Identity: Both stories emphasize the important role of the parent and family in shaping the child’s identity. Geppetto for Pinocchio and Harry for Albus are crucial elements on this path. But ultimately, both heroes must find their own way and their place in the family and the world. This “separation” and “self-discovery” is essential for both.

The classic Hero’s Journey pattern (based on Joseph Campbell’s theory) is clearly evident in both narratives.

The relationship Geppetto & Pinocchio → Harry & Albus: In both relationships, the fathers have a limited understanding of their sons. But in the end, when the child is willing to die or save the father, the father also gains a true understanding of the child. In both, the love between father and son is refined through suffering and sacrifice.

The mythical triad: «Father – Son – Tempter». This structure is repeated in classical myths like Jesus – God – Satan, Buddha – His Father – Mara. In all, the “son” must resist temptation and find himself.

The Epiphany Crisis:

Pinocchio: Understanding the emptiness of superficial pleasures on Pleasure Island.

Albus: Discovering the truth that changing the past creates catastrophe.

Both works utilize ancient mythological patterns, but The Cursed Child blends them with modern human issues (identity anxiety, social pressure, the temptation to change the past). And most importantly, both offer hope for salvation through sacrifice and love.

“Pinocchio” and “The Cursed Child” are both universal narratives of the transition from innocence to experience, and from being lost to self-discovery.

In both stories, the main question is:

Who am I, beyond what others say about me or expect from me?

palace of harmony (y7 opening night edition!)

The entire “I asked Rose out” conversation is a performance for Albus. Scorpius is trying to gauge Albus’s reaction and stir up a bit of jealousy, using the safest possible subject (a girl they both know has no interest in Scorpius).

In the play, we see Rose eavesdropping and finding out that Scorpius brought the world back to how it was (according to what I thought, Rose isn’t that nasty and well, people can make mistakes over and over…) and he literally saved her life and her brother’s life, and that’s when her opinion of him completely changes, you know (after the dark world, not after Godric’s Hollow).

And… if you remember, I told you that Albus is also trying to run from his feelings (well). Rose has probably talked to Scorp… they’ve become somewhat friends. Maybe Rose apologized and… and they’ve made some plans (because for God’s sake… why would someone, who gets jealous that his friend is getting close to a girl - and when the Dementor comes for him his happiest memory is that same friend (meaning he’s in love with him) - go and ask out Rose, who he hates and who makes fun of him??? Aha, because Rowling is homophobic?? Well that’s a stupid answer :D for a thousand reasons… Well at least Polly is a better option!).

And now why do I say they’ve made plans together? The reason is, how did Rose know what they called Scorpius in the dark world??? That couldn’t have spread as a rumor in the school unless he himself told Rose. And this is how Albus realizes with this that they’ve coordinated beforehand… that’s why he says: “Better ask Rose if it’s the right thing to do.” Meaning he’s figured out this is all for another reason.

Another reason is that Rose came and, contrary to the new version of the play, said to Scorpius: “This is only going to be weird if you let it be weird.” Meaning she’s messing up and overdoing it (XD) and Scorpius says “Received and entirely understood.”

Well… why would someone who said “no” to Scorpius give him a “love code”? Because it’s not a love code at all! Why would Rose have said “no” to Scorpius when he literally saved her life? She could have given him a chance - which, well, Scorpius doesn’t need anyway (cough he loves the other one cough). He wanted to be friends with Rose, that’s why it’s only clearer in the new version. Actually, the more I look… the old script was the same, but well… you know how it was for Dumbledore… both boys were boiling like a pot together and… it had to be ambiguous to be more fun (XD).

SCORPIUS and ALBUS run into a room, full of excitement. They slam the door after themselves.

SCORPIUS: I can’t quite believe I did that. (Well, he’s probably hyping up the excitement of the situation. Because this is an unlikely thing he’d want to do with Rose. They aren’t even good friends yet from Albus’s perspective.) ALBUS: I can’t quite believe you did that either. (Well, this has a few reasons why he says this… one being: “Didn’t you say some things in Godric’s Hollow… meaning it was all fake and you meant… friendship??” Probably something like that.) SCORPIUS: Rose Granger-Weasley. I asked out Rose Granger-Weasley. ALBUS: And she said no. (I see this coming from Albus’s jealousy.) SCORPIUS: But I asked her. I planted the acorn. The acorn that will grow into our eventual marriage. (He’s provoking him to get jealous again XD) ALBUS: You are aware that you’re an utter fantasist. (He’s in denial.) SCORPIUS: And I’d agree with you — only Polly Chapman did ask me to the school ball . . . (Provoking more) ALBUS: In an alternate reality where you were significantly — really significantly more popular — a different girl asked you out — and that means — (Of course he’s in denial, well still… you know he could, if he were really a good friend, say “Well yeah maybe Rose will like you later…” Why doesn’t he do that and keeps insisting “no no no”?) SCORPIUS: And yes, logic would dictate I should be pursuing Polly — or allowing her to pursue me — she’s a notorious beauty, after all — but a Rose is a Rose. (Yeah well, pointless reasons… well he (Scorpius) doesn’t want a girlfriend, Albus, he wants you and XD) ALBUS: You know logic would dictate that you’re a freak? Rose hates you. (Deniaaaaal) SCORPIUS: Correction, she used to hate me, but did you see the look in her eyes when I asked? That wasn’t hate, that was pity. ALBUS: And pity’s good? SCORPIUS: Pity is a start, my friend, a foundation on which to build a palace — a palace of love. (Still trying) ALBUS: I honestly thought I’d be the first of us to get a girlfriend. (Well you know… probably Albus isn’t that stupid and he also knows what’s up maybe??? Guesses??? And wants to annoy him back?) SCORPIUS: Oh, you will, undoubtedly, probably that new smoky-eyed Potions professor — she’s old enough for you, right? (He’s embarrassing him about Delphi XD) ALBUS: I don’t have a thing about older women! (Yes Albus, we know… don’t forget here that maybe it’s hard for him to say he’s not interested in girls, so he brings up the age topic. And Delphi was an escape route to suppress being in love with Scorpius.) SCORPIUS: And you’ve got time — a lot of time — to seduce her. Because Rose is going to take years to persuade. (He doesn’t care what Albus says and… it’s like he wants to tell him “Well there’s still time, nothing is certain yet and…”) ALBUS: I admire your confidence. (You idiot boy, he’s so damn shy, tell him you love him alreadyyy!)

ROSE comes past them on the stairs. She looks at them both. (Checking the status of these two weirdos to see how far they’ve gotten… and what Scorpius has done. Well, based on what I saw in the performance, she’s been eavesdropping on their conversation from before, and they’re just saying more and more nonsense and not getting to the main point and are straying from the goal. Enough nonsense! She needs to go and cut through this silly talk.)

ROSE: Hi. (Neither boy knows quite how to reply — she looks at SCORPIUS.) ROSE: This is only going to be weird if you let it be weird. (Yes, she says this to Scorpius, not both, contrary to the new version. But the meaning is the same. Old version: “You’re messing up, it’s not supposed to be like this.” New version: “Talk it out, you’re fooling around, enough!”) SCORPIUS: Received and entirely understood. ROSE: Okay. “Scorpion King.” (Albus understands) She walks off with a smile on her face. (Of course she’s smiling… we’re smiling too. Just kiss already and get it over withhh!)

SCORPIUS and ALBUS look at each other. ALBUS grins and punches SCORPIUS on the arm. (Their plan got exposed hehe)

ALBUS: Maybe you’re right — pity is a start. (Here Albus has understood something from Rose’s words and realized they’ve become friends. But well, Rose had said “no,” right? So they’re friends and… they want to mess with him, but they really became friends.) SCORPIUS: Are you heading to Quidditch? Slytherin are playing Hufflepuff — it’s a big one — (He listens to Rose’s advice, doesn’t continue, and changes the subject.) ALBUS: I thought we hated Quidditch? SCORPIUS: People can change. Besides, I’ve been practicing. I think I might make the team eventually. Come on. ALBUS: I can’t. My dad’s arranged to come up — SCORPIUS: He’s taking time away from the Ministry? ALBUS: He wants to go on a walk — something to show me — share with me — something. SCORPIUS: A walk? ALBUS: I know, I think it’s a bonding thing or something similarly vomit-inducing. Still, you know, I think I’ll go.

SCORPIUS reaches in and hugs ALBUS.

ALBUS: What’s this? I thought we decided we don’t hug. (Well, it’s obvious, you know.) SCORPIUS: I wasn’t sure. Whether we should. In this new version of us — I had in my head. (I dont see this line as less than “I love you, do you?” I just think he’s too shy to say it and doesn’t want to ruin their friendship either; he wants to see if it’s mutual or not.) ALBUS: Better ask Rose if it’s the right thing to do. (Which, well, means I have a new interpretation of this line, besides the one I had before (“Didn’t you say you like Rose or not?”). This means, considering their coordination and the plan you made for me, “Ask her if the strategy is correct.” And this could be a good way to see if I understand or not XD. Well, Albus is so bold! Give this boy some love back!!! It’s like placing a glass of water in front of a thirsty person XD!) SCORPIUS: Ha! Yeah. Right. (He realized they’ve been found out and Albus finally got his meaning.) The two boys dislocate and grin at each other. (I wish you’d just speak up so we can be happy too!) ALBUS: I’ll see you at dinner. (Have fun, you two!)

Delphi’s advantage over Scorpius lies in her sex and age. Albus is encountering a girl—and an older one at that—for the first time, and she shows him positive attention. This creates deep confusion within him because, during adolescence, attention from the opposite sex—especially from someone older—is seen as a social advantage and a mark of superiority. This very fact prevents Albus from properly recognizing his true friend, Scorpius, and the genuine intimacy they share. It doesn’t matter how much Albus loves Scorpius or how important he is to him; at this moment, under Delphi’s influence, he temporarily forgets about him.

This relational dynamic is reminiscent of the concept of “toxic masculinity” that Jack Thorne—the co-writer of this play—explored in the series “Adolescence.” Although presented here within a more fantastical and child-friendly framework, its traces are clearly visible. Albus, unlike his father Harry—who had numerous friends, was also friend with a girl (Hermione), and had good relationships with others like Neville, Seamus, and Dean—lives in complete isolation. He has only one same-sex friend.

Albus sees himself as “ostracized” in many ways: the name his father chose for him (Albus Dumbledore)—compared to the names of Harry’s parents chosen for his siblings—seems indifferent and random to him, and not as significant as his siblings’ names. It’s as if his existence was superfluous from the very beginning. This feeling is reinforced by intensified societal rumors—especially by Rita Skeeter —that his brother pushed him, his father was inattentive to him, and he is rejected by others at school. Even starting a romantic relationship seems impossible for him, which is seen as a “complete failure” among his peers. His only remaining refuge is Scorpius.

If you consider the consequences of this, according to that line, “Leave him and Voldemort’s child to it, I say.” or "Albus Potter. An irrelevance. Even portraits turn the other way when he comes up the stairs." you will understand the situation. It’s not unlikely that things like: “Useless Potter, no girl looks at him,” or “Potter, is Malfoy your boyfriend too?” or “So pathetic you couldn’t even find a girl,” etc., have also been said to him. This likely turns into internalized homophobia and toxic masculinity, and if he has any feelings of love for Scorpius, he most likely tries to run from them and ignore them. Delphi arrives and aids in this endeavor.

Delphi exploits this emotional isolation and Albus’s vulnerability precisely. By creating an artificial intimacy—an imitation of the real relationship between Albus and Scorpius—she tries to usurp Scorpius’s place. Delphi constantly belittles Scorpius and affirms Albus’s rash opinions, which gives Albus a false sense of confidence. He comes to believe that the root of his problems is Scorpius, and that if Scorpius weren’t there, he wouldn’t be a loser. The line—“without you holding me back — I can make a proper go of it.”—shatters Scorpius’s heart.

Interestingly, Delphi had been corresponding with Albus before this, but it seems that without Scorpius’s presence—as the main catalyst—she was unable to advance her plan. She even tells Albus that she can do it himself, and this underestimation of Scorpius ultimately leads to Delphi’s downfall.

However, when Albus sees Scorpius’s deep hurt after their fight, his eyes are opened to the truth. He realizes the mistake he has made, and returns the Time-Turner, which he had taken from Scorpius’s bag without permission, back to him. He begs him for them to hide together, otherwise they will be separated forever.

When Scorpius tells Albus he’s been indifferent to his mother’s death, Albus’s behavior wasn’t out of selfishness. It was because Scorpius himself had asked Albus not to talk about it after Astoria died, and Albus didn’t want to upset him further by bringing it up. Albus then apologizes and only then realizes how much Scorpius, in that emotionally heavy moment, had needed to talk.

Finally, unlike the initial attempt to escape the train—where Albus told Scorpius that he’ll entirely mess it up if he doesn’t come with him.—this time he tells him: “I can do it without you — but I want you there. Because I want us to do this together. Set things right together.” He asks Scorpius if he wants to come or not, and tries to respect his opinion and make up for the past. Fortunately, Scorpius agrees to come, otherwise the outcome would have been disastrous. This shift in attitude demonstrates Albus’s character growth and his deeper understanding of the meaning of friendship and responsibility.

On the surface, it seems Harry hasn’t changed in the first world that was created. As Scorpius says, Harry is “exactly the same. Head of Magical Law Enforcement. Married to Ginny. Three kids.”

But in reality, he seems a bit angrier, more nervous, quicker to anger, and nastier… which is essentially Albus’s question: “So why is he being such a—”

Well, we have to start from the point where time was altered…

“Ron took Hermione to the ball. As friends. And they danced in a friendly way, and it was nice, and then he danced with Padma Patil and that was nicer, and they started dating and he changed a bit and then they got married and meanwhile Hermione became a psychopath. She had suspicions the two strange Durmstrang boys she met before the first task were somehow involved in the disappearance of Cedric’s wand. She believed SCORBUS — under Viktor’s orders — cost Cedric the first task… without Krum, Ron never got jealous and that jealousy was all-important and so Ron and Hermione stayed very good friends but never fell in love — never got married — never had Rose.” And Albus is in Gryffindor, and Ron “don’t know any jokes,” and his robes are “just a little bit too short, his clothes spectacularly staid.” He is married to Padma and has a child named Panju. Panju bet Albus that he “couldn’t get into Gryffindor if his life depended on it, so he chose Gryffindor to spite him.” And Hermione teaches and is no longer the Minister of Magic, and Harry thinks Albus doesn’t love him (and in the original world, he never says that ). He doesn’t treat Ginny well either and thinks Scorpius is Voldemort’s son. One might think this is just because of the rumors, but it’s not just that.

Before all these events, we saw that Hermione holds a higher rank than Harry, and Harry must listen to her and follow her orders. And since they have been like brother and sister since they were 11, their relationship transcends the professional sphere; they check on each other’s well-being and families. Hermione can anticipate his frustrations and tells him to go home to his family and spend time with them.

And now, because she never found the love of her life, she didn’t become as successful as she could have been and is forced to teach—a job she hates. She is also no longer part of Harry’s family, so they probably see each other less and aren’t as close. And now there is another person as Minister who shares none of this history with Harry. This causes Harry to believe the rumors about Scorpius, mistreat Ginny, McGonagall, and Albus, and think that Albus doesn’t love him.