>> it's very different. and playing field and powerful -- not the real

hamilton and that needs to be and it's important to understand the founders and it's not that this is new terms of now we've moved on and it's going to keep happening. we have to engage and we have to actually teach the lessons that are distinguished with real historians do as opposed to popular culture, our knowledge matters and we have to defend it. >> so if i can jump on that, i want to make a distinction between hollywood and broadway

because while miranda is extraordinarily powerful and popular and it may be made into a movie. it's making it into a movie is going to put it in a way and change it in a way that we'll have a profound effect on it. i don't know who remembers rent. so. >> changed it. so it wasn't as successful so there was something that was contingent about the liveness of it and the fact that it would change from night to night, whether you had a tragedy that would reshape it, for example, those of you who saw the tonys and they remembered that they took the guns out of the performance, the hamilton performance because they didn't want to put that on stage. there's a profound change in the way it's being staged that's contingent on historical moment. so i think the broadway liveness

we lose that lexicon and i'm wondering if the same thing will at some point happen with the way it's working on it.

maybe you go to your blog and you get to display what it meant to you. i think we always in the world where the power brokers are going to tell us what it meant and so we have to contend with that, as well. yes, we may be. >> what nobody has mentioned,

they didn't mention it last night and nobody here really mentioned it either, the play doesn't end with alexander hamilton, the play ends -- it ends with a list of the accomplishments and all the things she did. i kind of woonder, why don't we ever bring that up. why -- i know a lot of us -- but why don't we kind of pay attention to the fact that this play is about more than one hamilton. it's about also what she does at the end of it. i have not had the privilege to see the show. i know the people that have had to have the idea, she looks and they're not sure if it's because she's seeing hamilton or she's seeing the audience and realizing his story has been told. i guess i'm wondering -- >> because turn out really wants to turn elizabeth skyler into nancy reagan and she's also the hamilton family or part of the

production of creating the memory of hamilton. in fact, very effective, as we know, some founders have good people who preserve their papers, preserve -- recreate their identity and hamilton is quite skilled in that. and elizabeth skyler hamilton was in the forefront of playing that role, which is a traditional role of women, protecting the reputations of their dead husbands, dead soldiers, the dead family honor, the dead family legacy. >> and i completely agree. i will just add to that, it's partly because the way i read it is, it's still really about him. i mean, they want -- i mean, they sort of want to make it about her. it's still really about him and how his memory will be preserved, how he could have done so much more. and it's a beautiful poignant song about how when she sees the or fan she's helping him

reminds, she sees their eyes. i mean, it's a beautiful song, but it's still about him. i mean, to me that's how it functions in the musical. >> we've run out of time. >> oh, i'm sorry. >> so i want to thank everybody on the panel. and i hope we've cast light rather than shedding heat, especially today.

>> that happened at 1804 at the young age. for short, the ha ha society. we've had manyco