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The “homecoming” in the title of Spider-Man: Homecoming has two meanings, and they both speak directly to the movie’s small focus. The film is a literal homecoming, as Peter Parker, aka Spider-Man (aka Tom Holland), returns to Queens after the epic Berlin battle in his last Marvel Cinematic Universe outing in Captain America: Civil War. But Peter’s sophomore homecoming dance also plays a significant part in the story, as he sweats over whether to confess his crush on his senior classmate Liz (Laura Harrier), the head of his school’s Academic Decathlon team. Even though Spider-Man went toe-to-toe with Captain America and the MCU’s other biggest heroic power players in Civil War, Homecoming is a constant reminder that he’s a newbie hero and a 15-year-old kid, dealing with Spanish tests and chemistry classes as much as he’s dealing with criminal throwdowns. The refocusing — part of Sony’s effort to bring its Spider-Man stories in line with the MCU while creating a separate, smaller cinematic universe — should seem like a comedown after Civil War. Instead, it feels like a joyous celebration, not just of the MCU’s usual crowd-winning balance of humor and action, but of a little guy’s ability to make a difference, even when, for once, the fate of the world isn’t on the line.

In Spider-Man: Homecoming, Peter fights his traditional rogues’ gallery enemies Vulture and Shocker, but even more distinctly, he fights mundanity and the not particularly compelling but still urgent call of ordinary teenage life. He’s dealing with his own backyard supervillains, but his best friend Ned (Jacob Batalon) wants him to come over and help build a 3,000-piece Lego Death Star. It’s a familiar tension for traditional Marvel superheroes like Spider-Man — more so in their comics infancy than in the modern movies, where they’re more likely to be saving the planet than sweating over secret identities — but Homecoming puts it front and center, and makes it a heartfelt conflict. Every time Peter has to choose whether to do his self-appointed job or seize one irreplaceable personal moment with Liz, the strain shows on his face. Civil War made his conflicts big, funny, and thrilling. Homecoming makes them personal.

They’re also personal for Vulture, aka Adrian Toomes (a.k.a. Michael Keaton), a New York City salvage contractor initially hired to help clean up the mess made by the Chitauri invasion back in 2012’s The Avengers. The Avengers’ fight against the alien force left New York City buried under wrecked Leviathan armor and Chitauri weaponry, and Toomes invested heavily in trucks, men, and gear to fulfill his contract. Then Tony Stark (aka Iron Man, aka Robert Downey Jr.) swept in and took over the cleanup effort. Facing bankruptcy, and furious at the dismissive, preemptory attitudes of Stark’s functionaries, Toomes decides to keep the tech he’s already salvaged, and go into business for himself. With the help of Phineas Mason (The Tinkerer, played by Michael Chernus), two different Shockers (Logan Marshall-Green and Bokeem Woodbine), and his old wrecking crew (though not yet Marvel Comics’ actual Wrecking Crew), Toomes sets himself up as a small-scale weapons manufacturer, stealing recovered Chitauri technology and turning it into handheld gear for the aspiring street criminal.

Homecoming makes a bit of a straight-faced joke out of the small scale of Toomes’ operations: eight years after the events of The Avengers, his men are still peddling their supervillain gear out of the backs of trucks, including to a consternated wannabe hood named Aaron (Donald Glover) who was just looking for a simple handgun. But the small scale defines Homecoming’s ambitions. As Toomes is taking his protracted revenge for Stark’s dismissal, Peter Parker fights his own frustration with Tony Stark, who’s stonewalling him about further Avengers missions, and refusing to let Spider-Man return to a global stage. Peter dutifully runs out every day after school to stop bike thieves and give street directions to people who get lost in Queens. But he’s on the phone every day, leaving voicemail status reports for Stark’s assistant Happy Hogan (Jon Favreau), and pleading for a chance to be in on the next big Avengers mission. He wants so badly to be big league. But Stark’s seeming neglect of him means that when Toomes’ weaponry turns up in Spider-Man’s neighborhood, Peter has to deal with the problem on its own.

The best nemesis pairings are heroes and villains who reflect some part of each other, who serve as dark mirrors into each other’s identity. For every character who goes through a personal crisis and comes out determined to save lives and serve the public, there’s another one who faced similar trials, and took the opposite path. That’s part of the strength of the Spider-Man / Vulture pairing here. Both Peter and Toomes see Tony Stark as a looming figure in their lives, and both resent his standoffishness, his power over them, and the perception that he sees them as inferior and dismissible. Both Peter and Toomes are technologically enhanced — Peter with a Stark-built Spider-Man suit that keeps manifesting new abilities, sometimes in the middle of battle, and Toomes with a presumably Tinkerer-built wing suit that resembles a much more sinister and aggressive version of Falcon’s flying gear. Peter and Toomes both live in New York, and they’re both motivated by the urge to take care of family. They just go about it in radically different ways.

But the Stark connection is clearest, as Peter spends the film trying, with increasingly plaintive frustration, to get Tony Stark’s attention. This is a coming-of-age movie of sorts. Peter has had his powers for less than a year, but when he’s in costume, he’s already the classic version of Marvel Comics’ friendly neighborhood wall-crawler — fast-moving and fast-thinking in a fight, and full of snappy quips that irritate his foes. He doesn’t need Tony Stark’s permission to fight crime. But he does want validation and bigger thrills, and Homecoming is about the steps he takes to get beyond that childish urge.

That said, for a movie about growing up, Homecoming sure is an enjoyable movie about being a kid superhero. Early on, Ned learns Spider-Man’s secret identity, and director Jon Watts and his five co-writers get a lot of comic mileage out of Ned’s hyperactive geeking out about his friend’s secret, and the way Peter keeps getting drawn out of “Nobody can know!” mode and into “Isn’t this so cool?” mode. Holland is the rare Hollywood actor who makes a convincing 15-year-old (he’s currently 21), and as Peter, he makes his dorky excitement over his superpowers and his famous friends infectious. He’s a stand-in for every kid who’s ever played superhero pretend games at recess, or gotten absorbed into a video game or movie, seeing himself as the hero.

But Homecoming draws heavily on the small sacrifices even a small-scale hero needs to make, and the sheer loneliness of having responsibilities no one else has. In that sense, Peter’s also a stand-in for young people who have to work to support themselves while more privileged kids seem to have everything easy, or for young people dealing with abusive home situations they can’t talk about. He’s a wish-fulfillment figure with the snappy smarts and secret powers to deal with his problems, but just being a superhero doesn’t make him less human, less emotionally vulnerable, or less prone to little flights of dorkiness.

It also doesn’t make him entirely confident or capable. Homecoming has its serious side — one sequence with a Staten Island Ferry disaster strongly recalls both the Joker’s ferry social experiment in The Dark Knight, and the agonizing runaway train scene in 2004’s Spider-Man 2, with a different version of the wall-crawler half killing himself in an effort to save New Yorkers’ lives. And while Keaton gets surprisingly little screen time outside of his Vulture suit, as a man rather than a special effect, his one most menacing villain turn is intimidating and personal enough to keep even Peter unnerved, pale, and uncharacteristically silent. Facing hapless mooks or the varsity squad grab-ass competition of an all-hero battle, Peter turns his fights into elaborate games. Faced with deliberate, cold, murderous malice, he’s speechless and helpless. Some levels of villainy are still too new for him to have formed a response, and Homecoming taps into a deep well of fear and anxiety around those moments.

But more often, the film is a riot, a nerdy celebration of the hero fantasy, through the eyes of a hero who hasn’t gotten jaded, grim, and angry yet. Too many American heroes are growling, gravelly, and grim, dealing with gigantic moral crises and planet-shattering threats, and giving up any ability to enjoy the novelty of discovery, or the sheer giddiness of power. The MCU movies have been the decade’s strongest counterbalance against the unrelenting grittiness of superheroes, and Spider-Man is the peak of heroic fantasy fun. He isn’t just a hometown hero New Yorker, actively in love with his city and the people in it. He isn’t just the kid who gets called up to run with the big dogs, or the moral leader who understands the balance of power and responsibility. He’s the avatar for everyone who’s ever daydreamed about not just being tougher than the threats in their life, but also faster, more flexible, and funnier. Spider-Man: Homecoming brings the character back to his basics. In the process, it shows why he’s always been such a popular draw, and it makes a strong argument for a branch of the MCU / Sony heroverse that operates on a smaller scale than the rest of the world. Here, the small size isn’t just a story necessity, or a franchise strategy. It’s the heart of the story, and an argument for smaller hero stories in general.

Nobody makes films like Edgar Wright. The visual comedy, quirky scene transitions, and music cues become a harmony of sorts, and in his new film Baby Driver he uses all those elements to their optimum levels. It isn’t on the classic level of Wright’s earlier work but it’s still an enjoyable musical comedy thriller that serves as a nice diversion from the overwrought and badly choreographed blockbusters out in theaters.

Quitting Ant Man and making this much smaller film seems to have been the right decision because the filmmaker gets to flex his character building muscles here. We’re introduced to a young man (Ansel Elgort) in glasses, listening to music, sitting in a car outside what seems to be a bank. Three masked figures with guns are sprinting out of the building towards the car. A getaway scene kicks in that immediately establishes what is going on. The young man’s name is revealed to be Baby — and he’s like the Ryan Gosling character from Drive — doesn’t speak much, helps bad guys loot money and is ridiculously good at his job.

With a booming playlist and car chases, Baby Driver — at the expense of sounding reductive — is like a cross between Drive and La La Land. Like in his previous films, the story dodges genre conventions by pure, beautifully choreographed visual trickery and editing. Despite the dozen Fast and Furious movies that have showed pretty much every possible thing that a car could be involved in, Wright and his DOP Bill Pope finds a new way to make car chases and robbery getaways exciting, and at a tenth of the budget.

The main draw, however is the persona of Baby, whose addiction to music and timing songs according to the situation he’s in, is as hilarious as it is enigmatic. Every time a chase scene begins, he adjusts the timing of the chorus on his iPod so it feels more epic to live through that moment. It’s just another example of how Wright manages to tap into our child like fantasies, and he’s perhaps the only filmmaker who makes you realise anyone could seem really cool if you look at them the right way.

The problem arises in the second half of the film with the arrival of Jamie Foxx as a new client with shady intentions. It’s a moment where the film suddenly stops being funny and becomes a more conventional serious thriller that doesn’t live up to its buildup. There’s a girl in the mix (Lily James from Cinderella) and the love story between between Baby and her doesn’t really feel potent. The couple share zero chemistry and their romance frustratingly diverts from all the cool stuff that occurred prior to it. This is odd considering Wright aced the love story between Scott Pilgrim and Ramona just a few years ago.

The identity of the villain is best kept a mystery for you to discover, but it’s an inspired choice. Although there is one character played by a very significant actor who just disappears from the film. One wishes that guy made a reappearance later on instead of the girl, and Wright had chosen bromance between him and Baby over the insipid romance that we ultimately get. In any case this is probably the first time an Edgar Wright film is in theaters in India — you’d be foolish to not head to the theaters with your friends.

Cautionary tales are not new to Bong Joon-ho's audiences, who are familiar with his style of weaving hidden messages into the cinematic narrative.

The famed South Korean filmmaker is celebrated for combining action and horror genres with dark bite.

His 2014 post-apocalyptic thriller Snowpiercer inferred much political meaning, displaying the worst of society's imbalances on a high-speed dystopian train.

And there was an environmental message to his 2006 breakout hit The Host, which told the story of a mutated fishy creature that wreaked havoc in the streets of Seoul. The monster was created after radioactive waste was dumped on a US military base.

His latest vision Okja continues that green parable. A bittersweet story about animals and humans, it centres around a lovable super-pig that's touted as an organic, ecologically-sound "revolution in the livestock industry".

"All my films have different stories, some share common themes. But as a storyteller, I want to explore new worlds," Bong said.

With Welsh journalist and screenwriter Jon Ronson (himself a vegetarian), they raise the uncomfortable question: where does one's meat come from?

The story unfolds with young Mija, a farm girl played by actress An Seo-huyn who lives in the lush mountains of South Korea with her grandfather and their beloved genetically-engineered pig, Okja (an old-fashioned South Korean name without a specific meaning).

The bond between girl and beast is sweet and strong but their peaceful life together sadly doesn't last long.

With the arrival of washed-up celebrity zoologist Dr Johnny Wilcox (Jake Gyllenhaal) and his team, Okja is taken away from her family and thrust back into the hands of her creators, the Mirando meat corporation led by Orwellian nightmare CEO Lucy Mirando (Tilda Swinton) where her unfortunate fate is sealed.

This is no Disney fairytale and the story shifts to Manhattan ("the heart of capitalism," according to Bong) where it takes a darker turn, foraying into the hellish realities of animal laboratories and factory meat farms.

"We create psychological border-lines to avoid discomforts, so we separate our views of animals," Bong said.

"Those we perceive as pets and the ones we place in our shopping carts are the same animals but we choose to separate them."

But to enjoy the meat, you have to ignore the slaughter. Inspiration for his film's graphic scenes came from a personal visit he made to a commercial slaughterhouse. Depicting this was "absolutely necessary".

"I wanted to crumble these borders and make the audience feel uncomfortable. It is witnessing your family being dragged into a slaughterhouse," he said.

"Compared to my experience of visiting a real-life slaughterhouse, the film scenes were much milder and were expressed in a toned-down manner."

Okja's physical appearance gives a nod to the controversial genetically modified foods (GMO) debate. She is special: a one-nipple, hippo-pig hybrid with some manatee resemblance (since they look "incredibly innocent and kind-hearted", Bong says).

"I wanted Okja to be cute. Big yet lovely, shy and introverted. But she is a genetically modified organism and this debate is not restricted to Korea, it is prevalent all over the world," Bong said.

The environment may have been a running theme but sinister notions of capitalism, greed and the global economy also played a role.

"They'll eat it if it's cheap," snaps CEO Lucy Mirando in a telling scene after she's confronted with hesitations about public discomfort surrounding her organisation's meat products.

"It is reasonable to fear the potential disasters and dangers that genetically-modified foods may bring," Bong said.

"There are people who say the danger of GM foods is being overly exaggerated but nobody is able to prove their safety either."

But Bong insists Okja isn't intended to be a fiery screen statement against eating animals.

"In my movie, Mija's favorite food is chicken stew. I didn't make this film to oppose meat. Whether one is vegan or not is a matter of individual choice," Bong explained, adding that he wanted audiences to "witness and understand" how meat was being mass produced.

"We coexist with animals and we should take time to consider their perspective. How we treat them today is a very recent phenomenon and came to be only after we included them in mass production," he said.

"This is the state of capitalism today and this is what I wanted to convey."

The Wall Street Journal reported on Monday the jewels included a 11.72 carat heart-shaped diamond pendant Valentine’s Day gift from former boyfriend and Malaysian financier Jho Low.

“From the start of the inquiry, Miranda Kerr co-operated fully and pledged to turn over the gifts of jewellery to the government,” Ms Kerr’s spokesman told the newspaper.

“Ms Kerr will continue to assist with the inquiry in any way she can.”

The jewels were identified in civil-forfeiture lawsuits filed by the US Justice Department pursuing assets allegedly bought with money misappropriated from Malaysian sovereign-wealth fund 1Malaysia Development Bhd.

The fund has denied any wrongdoing and Low has not been accused of a crime. The Justice Department is seeking more than $US1.7 billion worth of assets. Ms Kerr reportedly dated Low for about a year in 2014.

The 34-year-old Sydney-born model began dating Snapchat co-founder and billionaire Evan Spiegel in 2015 and the couple married in Los Angeles last month.

Hollywood star Leonardo DiCaprio was also unwittingly caught up in the investigation and agreed to turn over gifts identified in the lawsuit, including an Oscar won by Marlon Brando.

Since the previous episode (Dawn of the…) where both Ape and human had their hands forced, all the fella wants to do now is settle down with his family and tribe and be left alone.

Sadly, humans seem to have a different take on that plan and are still intent on becoming the dominant species, despite Caesar’s plea for peace and displays of forgiveness.

Nevertheless, after suffering a catastrophic loss at the hands of the evil Colonel, Caesar reluctantly gives in to his hatred and seeks revenge, seemingly regardless of the cost.

You know that bit in the title that says war? They aren’t kidding – it all PROPER kicks off.

The heartbeat of compassion, acceptance and forgiveness thumps through this epic hybrid of the Magnificent Seven, Platoon, Gladiator, Apocalypse Now (I would make the Ape-ocalypse joke but the buggers went and used it in the film - I was livid and heard at least three other critics scribbling it off their notes too!) and even Escape to Victory.

There are many, many things to get psyched about here, but I’ll start with the fact that apes or not - this is a bloody great, epic war movie.

All the ape movies have been fantastic from start to finish, simply because it’s number one priority and focus has always been on the story and performances.

Each film has had a gripping screenplay and this, probably the final one, goes out with an heartfelt bang.

Don’t get me wrong, the visual effects are stunning.

It’s difficult to see how CGI can be improved anymore - part of me thinks it must be surely less work to just teach chimps how to talk - but then I realised that’s how we ended up at war with them in these films, them I had to remind myself it was just a film - OR IS IT A PROPHECY OH GOD.

Anyway, my point is that CGI is used to here to tell the story, not like, say Transformers, where it’s just a CGI porno with a script to match.

Story and performances first, then sprinkle the fairy dust on it.

While I’m on the subject of performances, it is SURELY about time Andy Serkis gets recognised for his?

We're way passed the snobbish attitude of ignoring people’s talent simply because they’re dressed in a wet suit covered in ping pong balls?

Serkis’ Caesar has more heart and gives more welly than 99% of humans ever could. Oscar nomination at the VERY least surely?

The only downer (and it’s a small one) is Woody Harrelson’s somewhat pantomime Colonel.

If an orangutan can be understated while formulating a prison breakout, surely a human can offer some light and shade. (ps. a megalomaniac building a wall? Where do they get their #inspo from?!)

It’s a small niggle though, because this is an absolutely fantastic, exciting finale to what has been a phenomenal trilogy. Please don’t let it end!

Harry Potter and the Philosopher’s Stone was initially published in the U.K. on June 26, 1997. It migrated to the United States as Harry Potter and the Sorcerer’s Stone a few months later. It was a literary phenomenon and the movie adaptations become a cinematic phenomenon and then Universal Studios’ Wizarding World of Harry Potter theme park lands made it a family vacation phenomenon. Entire childhoods were shaped by J.K. Rowling’s work…and plenty of adults fell in love, too.

So on today, the 20th birthday of one of the most beloved and influential pop culture icons of all time, the /Film crew has gathered to saw a few words about a certain boy wizard and his books, movies, and world.

My copy of Harry Potter and the Sorcerer’s Stone has stains from spilled chocolate milk on the pages, corners folded over too many times, and a spine that’s so distorted you can barely read the title. The tattered paperback copy sounds like it has all the signs of a mistreated book, when in fact it was one of the most beloved items in 6-year-old me’s possession. I brought it to recess, where I got yelled at for reading when I should’ve been playing, and it started my bad habit of trying to read under the dinner table. I’m pretty sure my poor eyesight can be blamed on Harry Potter — I would frequently read at night by a sputtering book light, stuffing a towel in the cracks of my door so my parents wouldn’t see.

I remember when my mom first bought me Harry Potter and the Sorceror’s Stone — I had recently graduated to chapter books and was very proud of the fact, but Harry Potter stumped me. The strange names (I smugly pronounced Hermione wrong for years until the movie came out a few years later), the plodding, mundane start to the book (which was a bold move on J.K. Rowling’s part in a children’s book), and the massive page count almost put me off — almost. I was enchanted from the get-go: an orphan boy, a magical school, a dangerous flying sports game, a villain connected to his tragic past — what’s not to love?

Since then, Harry Potter has been a staple of my life. Through high school, where my friends and I would debate whether the movies were any good or not; to college, when I formed my first lasting friendships over Harry Potter and the satirical Internet parody A Very Potter Musical. I went to Universal’s Wizarding World of Harry Potter with one of my oldest friends — our first vacation without our parents — and waited outside in the freezing late November temperatures to see Harry Potter and the Deathly Hallows Part I  at its midnight release. Last year, I got my first tattoo of the deathly hallows symbol alongside two of my cousins — we are all the same age and had grown up together calling ourselves the Ron, Harry, and Hermione of the family (you can guess which one I think I am).

Whenever I was going through a hard time, Harry was there, whether I was struggling with insecurity, depression, or loneliness — I knew Hogwarts and my tattered copy of Harry Potter and the Sorcerer’s Stone would always be there to welcome me home.

The most magical thing about J.K. Rowling’s wizarding world is not the literal magic on display in the movies and books – it’s how this world makes you actually want to live in it. Think about the other fictional universes you love. Middle-Earth? Everyone there is always dying. The Star Wars galaxy? Everyone there is always torn between two sides of a civil war. And let’s not even get started on the post-apocalypses and dystopias of The Hunger Games, Blade Runner, and Mad Max. The simple truth is that most riveting fictional worlds are dangerous and hostile and wholly unwelcome. No one actually wants to live in Westeros.

But the wizarding world is different. It’s welcoming. It’s inviting. It’s warm. It’s even friendly. Even as the stories grow darker and the villains grow more powerful and our heroes are forced to go on the run so they can defeat pure evil, the world itself never loses its charm. In fact, the war with Voldemort and his minions is less about self-preservation and more about protecting a flawed but generally good place, a place where people are happy and where the reader/viewer feels as at home as the characters on the screen and page. J.R.R. Tolkien felt the need to scourge the Shire in the final chapters of The Return of the King – J.K. Rowling wrote an entire book series about keeping her version of Hobbiton from being corrupted beyond repair.

This is the key to the longevity of this world (franchise feels like such a dirty word to me in this case). People may love Harry and Hermione and Ron and Neville and Dumbledore and Snape and the rest of that enormous cast of characters, but it’s the world that keeps them coming back. It’s telling that Fantastic Beasts and Where to Find Them gets by with only a handful of direct references to noteworthy Harry Potter characters. The appeal of that movie is that we get to revisit a beloved universe and explore a previously unseen corner. Rowling’s world-building, simultaneously dense and accessible, detailed and witty, outrageous while, somehow, making perfect sense, is the star of the show. Those beloved characters (Arthur Weasley is, for some reason, my favorite of the bunch) inhabit a world that is so real and so lived-in that it can’t help but inform every aspect of them.

The wizarding world, both in print and on screen, makes me happy. To quote Liz Lemon, “I want to go to there.” And that’s why those Universal Studios theme park lands are such unprecedented successes.

In the fall of 2000, I was a freshman in high school, and I could not have cared less about the excitement about the book that was Harry Potter and the Goblet of Fire, even though I heard about all the long lines and copies sold when it was released over the summer. A friend was re-reading the fourth book in the series, and I thought the illustrations looked childish and dumb, so I wasn’t interested at all and even gave him grief for reading what looked like a silly book. This was during the time in my life when I was just starting to get into alternative rock, watching MTV and generally being sarcastic about everything, you know, like a stupid teenager. Then he told me to read the first book, and if I didn’t like it, he would give me $20. To a kid without a job, $20 goes a long way, so I got to reading.

Goddamn it if I didn’t read that book in about a day and a half and could not wait to get through Chamber of Secrets, Prisoner of Azkaban, and Goblet of Fire. That same friend got back at me for my original chastising by spoiling the fact that Voldemort returned at the end of the fourth book while I was in the middle of reading, but the book was so good that it didn’t matter.

I attended a launch party for Order of the Phoenix and Half-Blood Prince, re-reading all the books each time in between and sorting through theories based on little details pointed out online. It also helped that I was (and still am) childhood friends with Emerson Spartz, the founder of Mugglenet, who grew up in my hometown and went to school with me before he was home-schooled. My friends and I had endless chats about the books, and sought out every last detail we could find leading up to the new book’s release.

When the final book was on the verge of being released, I had set up an internship for part of the summer to work as a production assistant on a documentary that was shooting in some historic parts of Indiana where I went to school at Purdue University. There was no way I was going to have time to read the book while I was doing this internship, and so, I did something a little sneaky. I downloaded one of the ZIP files that started making the rounds that contained a scanned copy of the entirety of Harry Potter and the Deathly Hallows. I finished the book the night before it was set to be released, and was the only one on set who had read the book. It was maddening not to be able to talk to it yet, but I was so happy to have finished the book that I fell in love with on accident.

Obviously, I couldn’t have been more excited about the movies, went to the opening night releases for each one, and now I have my own wand from Universal Studios, two collectible prints for the first and final film, and years of memories of obsessing about Harry Potter with friends.

The seven-book-series was translated into 68 languages and sold 400 million copies worldwide, giving the gift of the magic of the story to people worldwide and making the 20 year celebration of the coveted story to be all the more special as it is celebrated and commemorated globally.

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In a strike of technological magic, Harry Potter fans express their love of the series online on Twitter with the hashtag #HarryPotter20 and a cool anniversary themed emoji will appear.

Facebook are also commemorating Harry Potter’s anniversary with a special surprise for those who type Harry Potter in a status, just click the red letters to see.

Also if you see Gryffindor, Ravenclaw, Hufflepuff or Slytherin written in their corresponding house colours click on the letters to see the magic happen.

You can also commemorate the day by snapping a picture of yourself looking like the famous wizard, scar and all with Snapchat’s lenses, available today for the anniversary.