we tend to view the american experience as exceptional. see echoes of the american experience and american policy in other parts of the world. , there is greater nations onbetween issues of immigration policy. i know certainly for the americas, every couple of years, representatives from the united states in various countries in the americas gather to discuss a wide range of issues and migration is one of them. is a reality in today's world. if you have been following recent reports this past week from the united nations, the number of people who are displaced and forced across international borders, an all-time high. >> if we were in your classroom now, what kinds of questions are you asking and what answers are you looking for in regards to immigration? maria: a great question. they want to understand the family experience and put it in larger context to see how they -- their experience -- that is one set of motivation speared others approach it from a policy standpoint. interested in a legislative reform. the history of the presidency. t

>> i think we tend to view the american experience as exceptional, but i think we see echoes of the american experience and american policy in other parts of the world, and i think now, especially in the post 9/11 era, there is greater discussions on immigration policy. i know that certainly for the americas, every year or every couple of years representatives from the united states and the various countries in the americas gather to discuss a wide range of issues, and migration is one of them, because migration is a reality in today's world. at present, if you've been following recent reports, released this past week from the united nations, the number of people who are refugees and who are displaced internally, forced to cross international borders is really staggering. it's at an all-time high. >> you taught at texas a and m for a number of years and in new york. if we were in class right now, what kind of questions are the students asking about this and what answers are they looking for in regard to immigration. >> great question. students take my classes for a wide range of reasons. som

maria: i think we tend to view the american experience as exceptional. but i think we see echoes of the american experience and american policy in other parts of the world. i think now, there is greater discussion between nations on issues of immigration policy. i know certainly for the americas, every couple of years, representatives from the united states in various countries in the americas gather to discuss a wide range of issues and migration is one of them. migration is a reality in today's world. if you have been following recent reports this past week from the united nations, the number of people who are refugees and displaced and forced across international borders, an all-time high. >> you taught at texas a&m and cornell university. if we were in your classroom right now, what kinds of questions are you asking and what answers are you looking for in regards to immigration? maria: a great question. students take my classes for a wide range of reasons. some of them are children of immigrants and they want to understand the family experience and pu

cities tour of galveston with stephen curley on his book, "celluloid wars: a guide to film and the american experience of war." >> american cinema has had a really profound effect on the way people see war. even from the beginning we understand that war, a vision of war, is for most of us, not having been to war but having heard about war, having seen or having read about war. we're playing images of war. i think sometimes of -- the myth about persuis. athena gave him the shield. he was able to look in the shield and see the reflection of gorgan. and then he could outwit and defeat him. movies are a kind of mirror. they mirror reality. in the beginning most films -- we're talking about now the beginning of cinema itself, 1895, the first recorded films. and they really ran about 60 seconds. this one was an american film called "tearing down the spanish flag 1898". the spanish american war was in the news. people couldn't get enough of it. and imagine being able to see it, being able to be there? well, that wasn't exactly true. they weren't there. what the people who made the movie did was to take a cam

about these three magnificent items we have on the table here today all involving the french experience during the american war. war wouldtionary never have seen such a swift conclusion were it not for the arrival at newport, rhode island of the french army in 1780. the collaboration of french and american leadership on land and at sea after the arrival of rochambeau's forces led to the surrender of cornwallis at yorktown. a landmarkear was year in augmenting the society's collections documenting the french experience in the american war. in particular, two narratives shine the light on the impression of american soldiers on the french. we also have a bonus item on display today that was not mentioned in the description, a map showing the french and cannons and the defenses at newport here it the map is part of our robert charles lawrence ferguson collection here at the library. narratives was purchased with a gift from a private foundation. the dylan narrative was the gift -- was another gift. it was published in paris in 1782 and it shows in detail the landscape of newport, rhode island after the army's

. >> pelley: finally tonight in the city where the american experiment began, a canadian experiment has come to an end. >> hello. i am hitchbot, a hitchhiking robot from ontario. >> pelley: the idea was to see how people would interact with a talking, solar-powered robot as it hitched across america on its own, tracked bay gps. the brainchild of canadian researchers, it had successfully thumbed rides across canada, germany and the neatherlands. then on july 17th, hitchbot set out from boston bound for san francisco. with a bucket list of sights to see. >> i need your help crossing all the items off my list. >> as chronicled on social media it caught a red sox game and visited times square through the kindness of strangers who became friends. but late last week, hitchbot hitched its last ride. >> hitchbot, do you need a seat belt? >> yes. >> pelley: on saturday the robot was found in philadelphia, the city of brotherly love, resting in pieces. late today video surfaced of the attack, but the robot's creators are not out for revenge. >> this could have happened anywhere. we don't really t

the moral fabric of american society was the supreme court of the united states. to its critics, and its drive to oust inequality and racial discrimination from the core of the american experience, the warren court had done more wrong than right. to them, its recent decisions had aided communist forces, abetted criminals, threatened to dislodge school children from the neighborhoods, unleashed a wave of pornographic smut, released murderers from death row, and loosened society's constraints on sexual promiscuity. it did it moreover in the name of the constitution, a document nearly two centuries old but in interpreted by the courts nine unelected wise men to keep up with the times, to live even though its drafters had died long ago. with decisions so easily typecast, as unflinchingly liberal, it didn't take much to convince voters unnerved by the rebellious spirits that the supreme court was at least partially responsible for the unrest throughout the land and if anyone needed a push to make the connection to two of the main contenders of the presidency stood ready to explain. as richard fix exxon reminded the audience, the court's decisions had the effect of hamstringing the p

other places, that people are really ready to shine the light on all the dark corners of the american experience. but i hope this museum will help, in a small way, to do that. >> pelley: this is not the american museum of slavery? >> bunch: this is not the museum of tragedy. it is not the museum of difficult moments. it is the museum that says, "here is a balanced history of america that allows us to cry and smile." >> and now a sex sports update brought to you by pref far. at the 97th pga championship at whistling straits in wisconsin, the title was taken by australia's jason day in a record-breaking performance of 20-under par. the most strokes under par in major championship history. day with a final round 67 holds off jordan spieth by three shots. for more sports news and information, go to cbssports.com. jim nantz reporting from wisconsin. what if one stalk of broccoli could protect you from cancer? sfx: crunch what if one push up could prevent heart disease? [man grunts] one wishful thinking, right? but there is one step you can take to help prevent another serious disease-pneumococcal pne

this idea of what america is, whether it's a force for good or ill in the world, is part of the american experiencetitution. you guys at heritage are constantly locking horns with those guys across the way at brookings or whatever is even more liberal view now. this is part of american existence, and if you scrub out the dread scott or the kamatsu case or the and drew jackson's indian case from the 1830s, they learn it in college, law school. >> or they might find when they learn those things, those besmirch their view of america and they will george heritage or feel betrayed and join kap or what-have-you. this is the american tradition. >> that's my concern if it were no teaching the political tradition, not teaching the constitution of principles that allow us to have these debates, i think you are referring to. >> i don't know that teaching sensualism or teaching the focusing more on the positives than american has done in the world considering how young this country is something that we should focus on any more so than we should focus on the fact, the mistakes that america has made domestically

the next ideas. is a lot of experience asian -- experimentation. >> what is your work about? is one: eugene o'neill of the greatest playwrights of the 20th century. he is the only american to have won the nobel prize for literature. he has been called the father of american theater, paving the way for arthur miller. the iceman cometh is one of his most powerful place. pl --ays. joining me now, two tony winning actors, nathan lane's and brian dennehy, i am pleased to have them at the table. welcome. nathan: thank you. charlie: there is a story i read, you saw this production was take place, and you said this is right for me. you notify the director? -- you notified the director? withn: yes, it started kenneth branagh and a bar. he said you have to do these great parts. charlie: i've never thought of that. you do, youaid if will learn a great deal and it will be life-changing, it does not matter what anyone says. i read an interview 10 years falls,ith brian and bob and they were discussing potentially revisiting "the iceman,." did o'neill play that? nathan: i think he did. when i heard them discussing brian taking on the role of larry, i wrote an e-mail to bob falls, even

he has been dead on on the resiliency of the american economic experience -- of the american economic experiment. what matters this morning? >> there are three things that matter most. the unemployment rate, the payrolls, and what happens to average hourly earnings. thatdoes janet yellen put front and center, the so-called wage growth? or is it a secondary issue for the fed? maury: what is more important is what happens to core inflation. it gives gradually in the second quarter -- it didn't gradually in the second quarter. have lowtives are to unemployment and some objective in core inflation. tom: i'm going back to the core headline. there isn't any. brendan: what information coming out of the labor department would change your assumptions bout janet yellen? say hours -- let's say average hourly earnings are flat again. i do not think they will be, but if they were -- keep in mind that these are the july data. we are going to have august data before the september meeting. these data are also subject to big revisions, so a month from now, we think -- we have today is critical. a mont

the film is specific to african-american. same is true of other films with african-american leaders. nothing specific to the african-american experience that whites, germans, foreigners can't get what the film is about. i work very, very hard to try to make films that are not culturally or ethnically exclusionary. i want to make films that are inclusionary and can be enjoyed by a wide audience. >> and lucius, and -- >> for inspiring filmmakers, advice, never give up. >> end of the day, hollywood is a numbers business, and if you can -- you can be making the greatest film. if they're not resonating, people aren't connecting, you'll find just continue to make films. i've made films with commercial success and am proud of that. >> you want to marry my sister, show me you're worthy of her. >> how am i supposed to do that? >> i'm going to take you on a ride along. >> i want to continue to raise the bar in terms of the quality level of the films i'm making. >> strictly a business relationship. not buying a new friend. you're hiring a best man. what you doing? >> sorry. i got really excited. >> dammit, man. >> that's just the beginning. will

this is about hiring a leader for four years of the american experience. >> i agree completely, but ihink at this stage of what we are watching, it is really reality tv. i think the trump campaign -- i think what we are watching is charlie sheen's winning tour all over again. >> trump announced he will visit the iowa state fair on saturday. in the press release he stated mr. trump will proceed to the fair and meet and greet. he will be seeing the butter cow. do you know the butter cow? >> do i know the butter cow? it is a cow made of butter. >> i covered the ohio state butter cow for six years straight in local news. >> explain to me here. i am just becoming uh qeanted. acquainted. why do you cover it six years straight? >> it is the butter cow. >> does it melt? >> first of all it is refrigerated. everybody rushes in because it is boiling at state tears. it is disgusting. it is either that or eating the corn and the colonels go down people's cleavage and then you watch them dig them out. >> but people get to use the butter to put on their food? >> oh no, you just look at it and worshi

so there's the meaning of the american experiment was a presumption of freedom. you do that the very best you can if you make the mistake toured somebody you are responsible - that goes back. you are vulnerable if you are negligent or is up. was about. but otherwise, you have a presumption of freedom. i don't want to characterized your opinion. i would say that the progressive movement, and i'm defining that as the early 20th century terms with its dramatic origins was one of the first times that it was assumed that the state does better and that experts can say actually you cannot live in a presumption of freedom. we will decide what is okay and what is not. we will decide this is not ethical, this is not fair and we will propagate the rules in the constraint. somebody did but the presumption here's where it really gets on the ideological. if i minded my own business and i haven't heard of anybody or someone to give the power of the state to say you haven't heard anybody yet but i'm going to lay all these constraints on you because you might, that's wrong. >> hos

about the ideas you want pour into this, as you want to take a look at the founding fathers, the american experiencea different way of presenting it that would appeal to young people? you speak to what we were really conscious of, which is how do we eliminate any is in its story and now. we knew what the story was going to sound like now. fundamentally this is a country that was founded and created by in occurrence -- created by immigrants. as we started thinking about taking the inspiration of ron's book, we think here are a lot of of events, but we have to tell a story. and madeead the book our own timelines. then we would compare, hate is really spoke to me, hate is moment feels like it is essential. it just became so apparent early that we were designing how the show could function that this idea of doubling characters felt really right on. at character who played efi alsoo played lafayette plays jefferson. they both had this connection to france, one antagonistic, one supportive. how can we make the audience feel like who they are and what they understand is not sud de france from what these pe

the ethnic, cultural, economic, religious and educational diversity that is a hallmark of the american experience all 50 states, the district of columbia, puerto rico, guam and more than half a dozen nations are represented. more than 20% of recipients were born outside of the united states. there are 79 living recipients. fewer than at any time since the civil war when the medal was first awarded. a world war ii veteran is 94. the youngest, a veteran of the war in afghanistan is 25. and their average age is 71 years old. the medal of honor is the nation's highest award for valor and combat. it's the only military medal worn around the neck. recipients are the only individual who the president salutes as a matter of custom. it is awarded by the president in the name of congress to a member of the armed forces who distinguishes himself conspicuously by gallantry and int interpidty. while engaged in action against the united states. so the medal of honor museum is in the works. why? to preserve the stories of the medal of honor recipients presenting them to new generations sorely in need of true he

think that is what is empty at the core of the americans experience right now. uing for a classless society. we are who we are. but if everyone feels like we do not share some sense of the same america and we are responsible for the collective whole, this coarse andourse -- brutish place. charlie: how do we get there? council is ankers approximation of our congress. right now, the only two things we are running on its currency and fear. stupid, public policy, -- money. property values. that mightfied other move into my neighborhood. or sharing any sense of the national wealth with anyone who does not have enough, right down to the minimum wage or health care. i look at this and i say -- this is where we are reaching a point of where we are content with the idea of two separate americans. -- americas. oscar: also, showing the other side. we are watching a lot of white people talking about where the others are going to live. this shows you these others. and how other it is. the story follows incredibly brave women who are prospective tenants who are trying to get o

one of the foundational principles of the american experiment and republicanism is rooted in the consent of the governed. if you are disenfranchising them, they are not allowed to participate. not just democratic opponents but republican opponents complained it was essentially an -- un-republican. it was not legitimate. they were very wary of disenfranchising a significant portion of the population. democrats also, in addition to the arguments we have mentioned, democrats also contended former confederates had sworn oaths of loyalty. they had sworn they would support the union in the future. they had returned to their loyalties in good faith. the argument among democrats was, they are loyal citizens. they have sworn to be loyal in the future. they should not be discriminated against. as one democrat put it, the people of the south, once rebels, are rebels no longer. republican congressmen hesitated to impose on an arena that had traditionally been the province of states. voter qualifications. especially to impose what would be unpopular policies. still, the 14th amendment was a powerful

welfare states like argentina and other latin american countries kind of like time off from the world economy as a consequence of that. it's the american experience other countries will emulate but i don't think that for better or ill the social entitlement state is going to be foremost among these. >> thank you all very much and thanks to the panel. [applause] is next tbf provides a history of the bad blood a species that may be more than 250000-years-old. and all conversations and audible conversations all right. good evening everyone. thanks for making it. we are very happy to welcome brooke borel tonight. [applause] she's a science writer and journalist and contributing editor to popular science where she authors the blog and tonight she will be reading from and discussing her new book infested hell the bed bug infiltrated our bedrooms and took over the world. it came out from the university of chicago press and received great feedback already. for example marlene of "the new york times" book review wrote a book about bed bugs is necessity about everything. she takes us through this microcosm of the universe as she goes to the through the cul

the ideas that you want to pour into this to make it a new look at the founding fathers, the american experienceent way of presenting it that would appeal to young people, because your people are young actors. >> you speak to what we were conscious of, eliminating any distance between their story and now. we knew it was going to be set then, but it would sound like now. fundamentally this was a country that was founded and created by immigrants. somebody in all of our lines stepped off a boat in some form of transportation, put their foot down on this soil and went to work. once we started thinking about taking the inspiration from ron's book, we thought of events, but we had to tell a story. we had all the events laid out. we read the book and made our own timelines. we would compare, hey, this moment feels like it spoke to me, this one is essential. it became so apparent early on as we were designing how the show could function that this idea of doubling characters felt really right on. the character who played lafayette, one of his great friends-- charlie: jefferson. >> also jefferson. this c

american understanding of protest. that's what the power of wisconsin is. it is an understanding that it's not the powerful, it's not the elites, it is not those who have that made the american experiment. it is the dissenter. >> the takeaway for the people, i would say, is don't be afraid to stand up. be defiant. let your voice be heard. because if you don't, you'll never be able to make change. >>> coming up, an astonishing act of personal bravery. the image that inspires millions around the world. when "caught on camera: defiance" continues. imagine - she won't have to remember passwords. or obsess about security. she'll log in with her smile. he'll have his very own personal assistant. and this guy won't just surf the web. he'll touch it. scribble on it. and share it. because these kids will grow up with windows 10. get started today. windows 10. a more human way to do. can a a subconscious. mind? a knack for predicting the future. reflexes faster than the speed of thought. can a business have a spirit? can a business have a soul? can a business be...alive? so this beauty can be yours and 10% financing.ment oh larry, lawrence. thanks to the tools and help at experian.com, i know i

this class is about an hour and 10 minutes. >> welcome to the latest chapter of the irish american experience. as you know, today we will be talking about nativism, the anti-immigrant movement that explodes in the mid 19th century focused on all immigrants, but really focusing on the irish. as we know, they're the biggest group, the most identifiable group. that's in the crowded cities and so forth. they stand out and they generate an enormous opposition. so before we get into that, let's back up a little bit. because we're not just simply talking about the irish today, because the nativist response that the irish generate existed before the irish got here. you can find early versions in the 18th century and you also find echos of it since that time. this question about anti-immigrant sentiment speaks to the larger american experience. it's kind of a phenomenon that we pride ourselves being a nation of immigrants, we are a nation offi ismmigrants. but we are always questioning that tradition. let's start now looking at things in 2014. what do americans think about immigration? if you go to el

about the ideas you want to pour into this to make it a new look at the founding fathers, the american experiencea different way of presenting it that would appeal to young people, because you have young actors. >> you speak to what we were conscious of. how do we eliminate distance between our story and now. we knew that this is a country that was founded and created by immigrants. somebody in all of our lines stepped off of a boat. they put their foot down on this soil and went to work. as we started thinking about taking the inspiration from ron's book, we thought here are a lot of events but we have to , tell a story. we had all of the events laid out, we made a book and compared timelines. you have those things to build around. it came apparent so early on as we were designing how the show could function, that this idea of doubling characters for instance, took off. the character who played lafayette -- they have this relationship to france. one antagonistic and one supportive. how can we make the audience feel like who they are and what they understand is actually not so different from what

that is the consensus of the american experiment and the competition of policy ideas. i can contemplate that consensus that's what they are supposed to do. the policy differences become a holy war and that is a problem and if so what is - it's not forget these are policy differences and we are agreeing on something in the middle of it and if we can do that we can make a lot of make a lot of progress without pretending that the progressives and conservatives have to agree with each other. >> host: you used the word that is important for me and in my time as elected official and political figure, the one word that i've always avoided using because it has become so polarized his compromise because all of a sudden people think we use the term i've got to give up something and so the word that i think seems to work best in this political environment is consensus. i'm not asking you to give up anything i'm taking what is true to you and bringing it to the table of conversation. it's put it in here and see where it lines up and where it matches. and that's where i think insti

and they would want to welcome into our fold readers and writers that reflect the american experience today. in the endless pursuit of america's promise, it's always had to improve itself. today, the question we must ask, what should "the new republic" be in its next 100 years? it will be the home for ambitious journalism, what will change, how we go about delivering it. first, our opportunity to advance ideas will be digital. and as we move from being a magazine that happens to have a website to a digital media site that happens to have a magazine, we will have our staff working together in teams made up of editors, writers and designers, deciding the best way to deliver each story. the very first words in our very first issue were, "the new republic", frankly, is an experiment. and that's how we're working right now. in new york and d.c., it feels like an experiment. it's tough, bracing, and sometimes we'll screw up. but we're conducting it for a reason, we believe in great journalism. it's the pursuit of truth, and this recent revolution in human interaction is not reversing. and t

the nation's founding principles. we are born americans but in a sense we become americans through our education and experience, and through the way which we seek to embody the principles of the founding and of the american heritage in our lives in a variety of ways. so i know ten and not of thanks and appreciation to jack. now to the subject at hand. i will begin by reading or quoting a sentence that may be familiar to many of you, it's a sentence i grew up with in my years, a sentence written by my father, i made hope i am forgiven for beginning this way because yesterday was his 100th birthday in his very much in my mind. i am an american, chicago born and go at things as i have taught myself, freestyle. now the sentence goes on, i won't put the whole paragraph in reason i bring this up is that sentence was written by an immigrant, somebody raised in montrÉal speaking russian, yiddish, yiddish, french and english as an afterthought. he became an american and he became a writer, he was a jewish writer, he was a 20th century writer and above all he considered himself to be an american writer and in his breakthrough novel

about these three magnificent items we have on the table here today all involving the french experience during the american war. the revolutionary war would never have seen such a swift conclusion were it not for the arrival at newport, rhode island of the french army in 1780. the collaboration of french and american leadership on land and at sea after the arrival of rochambeau's forces led to the surrender of cornwallis at yorktown. this past year was a landmark year in augmenting the society's collections documenting the

i think that's what is sort of empty at the core of the american experience right now. oing to be rich. i'm not asking for chralsless society. we are who we are. and the market argues for what it argues. but if everybody doesn't feel like they share at least some sense of the same america, then we're all in some way responsible for the collective whole, this is going to be a course and broodish place. >> rose: how do we get there, is the question? >> well, i mean, i can't be completely preskriptedive right now. >> rose: it's not easy. >> i think right now the yonkers city council sill an approximation of our congress right now, which is to say you have got to get the money out of politics. right now the only two things we seem to be running on is currency, fear and money. and you want to see stupid public policy. >> rose: fears about war. >> or property values or the unspecified other that might move into my neighborhood. or sharing any sense of the national wealth with anybody who doesn't have enough, you know, right down to arguments over the minimum wage or health car

. >> i have a very different view about the government's role is so for me the meaning of the american experimentwas a presumption of freedom. so if you are practicing your craft the presumption is you do that the very best you can. you are vulnerable to the tort system. >> host: that goes back to our founders. >> guest: you are vulnerable if you are negligent or screw up otherwise there's a presumption of freedom. i don't want to characterize your opinion. i would say the progressive movement i'm defining that as early 20th century terms whether it's dramatic origins. it was one of the first times that the state knows better and experts can't say no actually you should not live under the presumption of freedom leaving aside what's okay and what's not. we will decide if this is not ethical. we will decide if this is not there and they will promulgate these rules and we now live under presumption of strength. so when you say somebody along the line said this is going to cause a safety problem, somebody did that a presumption, here's where we got it ideological. if i minded my own business and i ha

for me the meaning of the american experience is a presumption of freedom. if you are practicing your craft, the presumption is you do that the very best you can, if you make mistake and hurt someone you need to go to the court system, that goes back to the founders, you are vulnerable if you are negligent or screwup. otherwise you have a presumption of freedom, i don't want to characterize your opinion, i, i would say that the progressive movement, i'm defining that in its early 20th century terms with its dramatic origins and would draw wilson's progressivism. it was one of the first time that is assumed the state was better. that experts can say no actually you should not live under presumption of freedom we will decide what's okay and what is not. we will decide if this is not safe or not ethical or not fair, and we will make these rules and we now live under that presumption. so when you say someone along the lines said this is going to cause problems somebody did, but the presumption. okay here's where we really get ideological. if i'm minding my own bu

the community. so those two things do not experience the same place in the conversation, but it's something that, you know, you know is true as an african american. >> hinojosa: so i'm wondering about the experience of your father and your mother. because you... your parents were actively kind of counterculture. >> right. >> hinojosa: you call them "old hippies." >> right, they were old hippies. >> hinojosa: you know, black old hippies, african-american "hippies." and yet even though they were forcing you and all of your brothers and sisters to question mainstream american society... >> right. >> hinojosa: they were also never giving you a pass. >> no, they were very into school. >> hinojosa: it was not like, you know what, you know, "the system is bad," "the man is bad," "you've got to question," therefore anything can happen. no, you had to study hard. you were expected. and you... >> and i wasn't very good at it. >> hinojosa: that's what i found fascinating. (coates laughing) you knew you were smart, but you were, like, "i'm not even going to try." and i was, like, you know, ta-nehisi could have been one of those, again, those statistics of a

like media that won the award for media criticism and is the editor for portraits of the african-american experience. it's been published in many including "the new york times," "washington post" and the columbia journalism review. prior to joining she worked at for organizations including new york newsday so will you please help me welcome pamela. [applause] good evening everyone. it's a pleasure to be here tonight particularly to be here in this beautiful building where i get so much of my research so thank you all for being here. blacklight does matter is the centuries-old plea. it's what was conveyed to thomas jefferson if the indispensable duty of those that maintain for themselves the rights of human nature to extend their power and influence to the belief of every part of the human race. the lament of the links didn't use. it's an assertion, a question, a call, a prayer. blacklight does matter and spirit of a research into a young congolese mail who garnered global headlines at times but why was the why this story why was the story of a disgraced african who didn't leave behind any record or

the ideas that you wanted to pour into this to make it a new look at the founding fathers, the american experience it that would appeal to young people because you're peopled by young actors. >> well, you know. >> from diversity. >> you speak to what we were really conscious of which is how do we eliminate any distance between our story and now. we know that the story was going to be set then. but we knew it was going to sound like now. and we knew that fundamentally thises with a country that was founded and created by immigrants. somebody, somebody in all of our lines stepped off a boat or some form of transportation, put their foot down on this soil and went to work. and so as we started thinking about taking the inspiration from ron's book, we thought, okay, here are a lot of events. but we have to tell a story. so we had all of the evented late out. we both read the book and made our own time lines and then compare. this really spoke to me, this moment feels like it's essential. then you have those things to build around. but it became so apparent early on as we were really designing how the