Obscurus-ing ain't easy. In a brand-new featurette for Fantastic Beasts: The Crimes of Grindelwald, screenwriter/Harry Potter creator J.K. Rowling explains that the character of Credence Barebone (Ezra Miller) is the driving force behind the sequel's plot.
"The reason everyone goes to Paris, really, is Credence," she says.
Credence ends up at a magical circus, befriending a Maledictus, Nagini (Claudia Kim) and really wants to find out who he is. Little does he know that he's being sought by both Grindelwald (Johnny Depp) and Albus Dumbledore (Jude Law). Credence is incredibly powerful since he is an Obscurus, a wizard whose powers have exploded out of him due to repression.
Paris was a cultural hotbed in 1927, the year in which the movie is set. Writers and artists like Ernest Hemingway, F. Scott Fitzgerald, Zelda Fitzgerald, Gertrude Stein, Salvador Dalí, and Pablo Picasso spent much time there in the years following the first World War. This period in time is known as "Années folles" or "crazy years" and that adjective is certainly reflective of the wizarding war brewing in the film.
Side note: How cool would it be if one of those famous writers or artists turns out to be a witch or wizard, like Andy Warhol turned out to be an undercover MiB agent in Men in Black 3?
The featurette also reveals that Grindelwald has been in MACUSA custody for a number of months after the events of the first movie. He escapes when he is being extradited to Europe to answer for his crimes committed there. Once free, he can continue his crusade to bring the magical world out of hiding by overthrowing the Muggle majority. In other words, Grindelwald wants to make wizards great again.
"Things are becoming much more dark and complicated," Rowling says. "People's allegiances are now being exposed. We're not getting to the meat of the story and everything gets darker and more intricate. Whatever you think you know at the end of the movie, might not be the case."
Fantastic Beasts: The Crimes of Grindelwald takes a portkey into theaters Nov. 16.