[woman] Favorite number and why.
Downloaded from YTS.MX
Oh, man. That changes every time I see it.
I loved the ones where I don't do much.
Official YIFY movies site: YTS.MX
-I liked, uh... -[laughs]
That's what I was waiting on. Knew he was gonna say that.
Anything without Lin is really my favorite.
Hello and welcome to "The Undefeated Presents Hamilton In-Depth."
I'm your host Kelley Carter.
We're going to be joined today
by nine of the stars of the record-breaking musical Hamilton
as well as director Thomas Kail.
Very few Broadway shows have had the massive cultural impact of Hamilton,
which delves into the life of one of America's Founding Fathers,
Alexander Hamilton,
all set to a hip-hop soundtrack.
♪ Two Virginians and an immigrant Walk into a room ♪
[with company] ♪ Diametrically opposed, foes ♪
[Kelley] Despite its massive success,
the show's origins still had humble beginnings,
especially when it was presented to the original cast.
You know, we really wanted to, sort of, lay claim to this story
and provide-- and just really get on the board in terms of musical theater,
in terms of representation,
in terms of what it means for us to tell the story of these flawed people
who created a flawed country with ideals worth chasing
to which we have fallen short for 200-some-odd years.
[man] Lin said, "Hey, I have this idea."
And I said, "Okay, great. How can I help?"
You know, and then we just made the thing.
So we were gonna do this this way no matter what.
And if somebody didn't wanna get on board with that,
then they weren't gonna participate.
But it was never a question from anyone involved with the production,
our producers on down,
that it would be anything else but this.
My particular story with the show is unique,
because I had seen it.
I had seen the very first reading of The Hamilton Mixtape in Poughkeepsie.
And so I scored the very last folding chair in the very last row
to see what was then The Hamilton-- the first act of Hamilton,
then called The Hamilton Mixtape.
So I knew what I was being invited into when he sent me that e-mail,
and I just made it my business to hold on for dear life.
I just-- I never wanted him to replace me. Because I knew--
I didn't know that America would feel the way it did,
but I knew what I felt about it.
It was just the boldest, freshest, most literate, exciting thing I'd ever seen.
It's funny, 'cause when we were watching the film on our computer the other day,
my husband said, "Remember when you didn't wanna go to this audition?"
[all laughing]
I mean, it's just one of those things,
like, where could I hide in the world
if I had not ended up going and at least trying my hand at it?
But I went to the audition,
which is where I met Lin and Tommy and Alex Lacamoire and the creative team,
and, um, fortunately they called me before I made it home
to tell me that I was gonna get to do the workshop.
And, like Leslie, I held on for dear life.
And I'm still holding on.
I was onstage doing a performance of In the Heights when Lin--
Look, there was a moment in the show where--
where our characters go upstage and we're in Usnavi's bodega,
and he said, "So I got my next thing."
And I was like, "Great."
And then my next thought was, "What am I gonna do in it?"
-But-- But before I could get to it... -[laughing]
...the time had come for us, in the middle of the show,
to go out and perform the number "96,000."
So the conversation was pretty-- it was abbreviated.
Um, we hadn't, you know, just because we'd just had--
we hadn't had an opportunity to continue the conversation.
But Tommy walked up to me a few days later at another show before the performance,
he's like, "So, what's up, G-dubbs?"
-And I was like, "What-- Huh? What?" -[laughs]
And he's like, "George Washington. Lin told you about the thing."
And I was like, "Sort of. What do I do? What do you-- Uh, what?"
I had no idea what was going on.
I was also sort of onstage.
We were-- A band that we're both in called "Freestyle Love Supreme"
was, uh, performing down in New Orleans when the Super Bowl was there.
So we're, like, rapping live on ESPN about sports celebrities,
and, uh, Tommy Kail comes up to me and says,
"Hey, uh, Lin's working on this new show. It's a rap show about Alexander Hamilton."
And I said, "That's a terrible idea."
Uh... and he said, "Do you wanna come do this reading of it?"
And I said, "Are you gonna pay me?"
-And he said, "Yes." And so I did. -[Christopher laughing]
I had just come back off from being a singer on a cruise ship,
doing Saturday Night Fever, the musical,
and, uh, I went and auditioned for a show that I wasn't right for.
And the same casting director was casting Hamilton.
And they were like, "You ain't right for this,
but you should come in for this thing called Hamilton's Mixtape."
And I, um, did four auditions for the show.
Um, and-- And, uh, yeah. And then it was great.
And I-- Then they cast me.
It was kinda crazy.
I wasn't in the musical theater world at all.
So it was all, um, very new to me.
And I did about three or four auditions,
and Alex Lacamoire, he wrote just Peggy's lines on a napkin,
and, um, taught it to me in my second callback.
Tommy had, uh, invited me to join them in a reading of Act 2 of Hamilton--
Hamilton Mixtape, at the moment--
um, and that was the first time I had heard the music
and worked with those guys,
and I was blown away.
♪ But just you wait ♪
♪ Just you wait ♪
♪ When he was ten his father split Full of it, debt-ridden ♪
♪ Two years later See Alex and his mother bedridden ♪
♪ Half dead... ♪
My first instinct for Hamilton was as an immigrant narrative.
The thing that hooked me into the story was
this was a kid who grew up in the Caribbean
and wrote his way to an education at a very young age,
which my father did from Puerto Rico at 18.
And if there is one thing I know that is true,
it's that if you come to this country from somewhere else,
you have to work four times as hard to get half as far.
And Hamilton certainly meets that threshold.
Um, and so that was the way in which--
That was my way into this story that had never--
I don't remember anything from history class in high school.
Like, it-- it just had never grabbed me before.
But because Hamilton was the protoimmigrant among the founders,
that's how I found my way in.
What were your reactions to the concept of Hamilton?
Because it was unlike something that we'd ever seen before on Broadway.
For me, it was always just music.
It was literally just listening to the music.
That's how I understood the show.
And I was so moved by that
that there was a point where, actually, I was not gonna be Hercules Mulligan,
and I reached out to Tommy and Lin, and I said,
"I've never read or done anything like this before,
so just so y'all know, I'm down when y'all get it together.
I'm ready. I wanna do this."
Um, that was-- I'd never been so moved by, just, something-- listening--
I didn't know anyone. Just off the strength of, literally, the material.
When I came to the show, or, like, when I was auditioning,
I was listening to-- to Phillipa's voice.
And I got to listen to her sing the songs and Leslie sing "Wait For It."
And, you know, it was incredible to be able to, you know, to be cast,
and then, um, and then hear it in real time.
It's the music, the music. That's the pulse of the show.
There's no dialogue in the whole show. It's just music.
I think what's, I think, so mind-blowing
is that something that's genius could get better.
It's still surprising.
Like, even before I got to see this movie,
I was, you know-- I've said to them, "I'm bringing my hopes down.
We can't assume just because everything else has been so great
that this is going to be great.
That's just-- That's crazy, right?
I'm just gonna bring my hopes down and see what happens, you know?"
And, um, that really started from, like, this kind of-- the first--
My first encounter with it was Lin's demo of "Satisfied."
[company] ♪ To the Union, to the revolution ♪
-♪ And the hope that you provide ♪ -[company] ♪ You provide ♪
-♪ And may you always ♪ -♪ Always ♪
♪ Be satisfied ♪
♪ Rewind ♪
♪ Rewind, rewind ♪
[Renée] I'm like, "Yes! This is music theater.
This is music theater.
It is it right now.
This music is what should be telling our story."
And I just-- You know--
I-If it never got any better than that,
I would've stayed for five years, ten years, whatever.
And the crazy thing is that it kept getting better.
I think for me it goes all the way back to...
um, you know, we're talking about the developmental days,
where we were in these workshops.
And, um, I remember we put the first act on its feet.
And because of time, we just couldn't get to the second act,
so we decided to just do it behind music stands,
and even then,
not doing anything except sitting there and saying the words, singing the words,
the air in the room changed.
And I think we were all aware at that point,
especially because we were, kind of, hearing it as a whole,
um, at least for me, at that-- I was like,
"Ooh, this is, um, this is magical.
And I think it'll...
Something will happen, and I won't be able to process it until after it's over."
You know, sitting there when Lin couldn't find, like, an ending,
the ending that he wanted...
Oh, yeah. I forgot.
...and he writes, like, that whole rap, and it's a cappella.
Right.
And it's all those moments, where you're thinking--
just like you said, Renée,
"It can't get better. It can't get better. It can't possibly get better."
And it was, you know?
And being in the room, you know, in those rehearsal rooms watching the changes,
and it just getting better, is...
uh, that's also one of the things where, like, I will never forget.
In that first time watching it,
sure, there were moments like "My Shot" and the opening and "Satisfied"
that just completely bowled me over,
but the image that made me a Hamilfan for life--
like, I didn't know-- I wasn't sitting in that last row
thinking I was gonna be in the show.
But the image in "The Story of Tonight"--
I had never in my life seen four men of color onstage
singing about friendship and brotherhood in my life.
And to me, the image of that was the revolution.
He was showing us something new.
I have chills thinking about it.
The thesis of this story
was always the story of America then told by America now.
And people of color are the future of this country,
they are the present, they are the future,
and, um, on another level,
this was always a hip-hop musical in my head.
Um, if this had been cast with all white people,
wouldn't you think I'd messed up?
It was such an intentional choice.
How do we give more access to a story that has been kept from so many people?
So many people that we cared about, so many people that we believed in,
and so many people that we know, uh, had something that needed to be heard.
So it wasn't even a conversation about that.
It's just, "This is what the show is.
And if you wanna be a part of it, then embrace that."
And it was-- it was embraced.
-♪ We are waiting in the wings for you ♪ -♪ Waiting in the wings for you ♪
♪ You could never back down ♪
♪ You never learned to take your ♪
♪ Time ♪
♪ Oh, Alexander Hamilton... ♪
What we are watching in this film is the, sort of, genesis of America.
And all these figures, historical figures that we've vaguely learned about
are being embodied by a multiethnic cast,
and mostly brown people.
And there is an implicit assumption there
that the rights that are virtues of being American
should be given to all Americans, right?
By putting brown people at the center of that story, it means--
What you're really saying is, "We built this country too."
And so if you watch this movie
and you feel a sense of pride in the America that you see in this movie,
you should then be inspired to take action
to make that the America that you see in real life.
We are taking the principles that have been espoused by these great thinkers
to elevate the idea of what a democracy or a republic is, right?
And rather than get caught up in, um,
the-- the things that historically we've been caught up in--
You know, all of those Founding Fathers were all about posterity.
They were all about what history would remember of them
and, uh, were very--
Those that adhered to that were very careful in crafting that messaging.
Um, unfortunately, it has historically left out
the most substantive part of what that message was--
who that message was supposed to represent.
It wasn't about what was behind that flag, it was about who made up that flag,
who-- who literally contributed to the founding
and the everyday goings-on of this experiment.
This story is-- And the American story is one of those things
where all of these things are true all at one time.
But it's a matter of who's publishing the final word,
or the word that-- that endures.
They hadn't had it all figured out, and that's what we're saying in the story.
We didn't-- The American experiment is going to be that forever.
♪ No one really knows How the game is played ♪
♪ The art of the trade How the sausage gets made ♪
♪ We just assume that it happens ♪
♪ But no one else is in the room Where it happens ♪
When did you realize that this was a certified pop-cultural phenomenon?
Like, what moment happened that made you understand how big this was?
Um, I knew that this was gonna be unprecedented
when we announced our second extension off-Broadway.
We announced we were gonna run through May.
And the folks at the Public told us that the phone banks went down.
Um, and they said, "We've had the website crash before.
We've never had the phone bank crash before."
It truly was, kind of, a word-of-mouth show.
People saw it. Only 300 people at a time at the Public could see it.
And we were there for months.
And by the time we moved to Broadway, folks had made some decisions
about how they were gonna, you know, borrow from that 401k, or...
[laughing]
Or forgo that, uh-- [chuckles] forgo that vacation, you know?
-Um-- -[Daveed] Yeah.
You know, because that's just what the market did.
It was a very strange thing. But, um--
But just, you know, you do theater long enough,
you can see what is resonating.
And in real time, you can see, um, how people are moved by an experience.
And to know that, um--
To know that we were doing something--
You know, that people were examining our work and our work together
in the telling of this thing,
you could tell that people were very, very, very excited.
And it also--
It's a very real thing when-- when POTUS comes to the--
-[laughs] comes to the last show... -I was about to say--
...of the first week of previews.
Like, that's, uh--
-You know you've gotten some attention. -I always--
-[laughs] -[Kelley] Yeah.
I always say the second time we met the Obamas
-is the best night. -Yeah.
You know what I'm saying? It's like, "Oh, you're back?"
[Christopher, laughing] Yeah. "And you brought your crew with you."
[Daveed] Yeah.
I was like, "Oh, the president's here?"
[Kelley and Okieriete laugh]
"Twice?"
-"Oh, he giving a speech?" -[Okieriete laughing]
And then not to mention, like, every person I've seen on TV or whatever.
You know, from athletes to this to that--
All these people making it a point to see our show.
I was like, "Yo, this is kinda crazy."
The telling part about the show too,
is that when people came back after the show, especially on Broadway, like,
our stage transformed into this incredible green room experience, right?
Because Meryl Streep has come back,
and she's kicking it with us on stage. Like, "Okay..."
-[Daveed] Yes. -Um,
but we're meeting these other artists,
and this is the kind of experience that had artists open, right?
I remember we were off Broadway when Busta Rhymes came the first time.
Man.
And he's like-- I just-- He-- He-- He-- You know, it's-- He's Bust, right?
Like, he's the guy that we all know and love through his music.
But he came back and he's like, "Yo, yo, I gotta go to the studio and write.
I-- I just gotta do more. I'm not doing enough.
I gotta write more. I gotta-- I gotta do more."
You know, to see that from someone who's obviously a legend
but is prolific and always has been on so many levels
say that that's what he took away from the show,
but then he stayed for an hour to, like, kick it with us, right? Like--
Just, like, holding court downstairs.
-Just, like... -Yeah.
...wanting to talk about every second of the show and how--
-Yeah. Yeah. -"That was crazy when you"--
You know what I'm saying? Mind you, he also sat in the front row, remember,
-with that bright red shirt on... -Yeah, yeah.
...and every chain that's ever been made around his neck.
And, like, at intermission, the, like, folks came to him and were like,
"We can move you to a better seat. These aren't actually the best seats,"
and he was like, "Nah, I'm trying to be in it. I wanna be here." You know, like--
And then he proceeded to come back hella times,
-and we would just go up... -Oh, yeah, yeah.
...to The Library Bar and kick it. Like, Bust was at the show a lot.
He wouldn't even see the show. He'd just come hang out afterwards like--
How about you, Oak?
For me, hands down, it's Dave Chappelle.
He's always been an idol of mine, and meeting him was absolutely perfect.
Being able to say to him, you know, "You have moved me in terms
of how you continue to educate people through your art,
how you never sacrifice your voice through your art,
how you're constantly trying to move your own people, black people,
forward in thought through your art."
He's so prolific with everything.
He continues to be consistent in saying,
"I will continually use my platform and art
to really speak on things that I think people really need to hear
that aren't talking about, and put it in a way that's ugly but necessary."
The fact that he came to see our show, saw our performances, my performance,
and said he was moved, that just completely blew me out of the water.
Yeah. I think there's a lot of people who,
like Busta and like Dave Chappelle,
like, that we grew up listening to or watching
in our most defining moments,
and the fact that they were coming
and not only seeing the show and complimenting it,
but talking to us afterwards
and having real conversations as equals,
as people in the same community, it was really, like, mind-blowing,
um, to feel, like, connected to them in that way
because as kids or as young people, we're--
We feel so distant from the people that we're inspired by.
So I think that was a really magical moment for a lot of us,
seeing our heroes come and say that they were moved
and that we were their heroes.
♪ Will they know what you overcame? ♪
♪ Will they know you rewrote the game? ♪
♪ The world will never be the same, oh ♪
What's good, everybody? This is Justin Tinsley from theundefeated.com,
and I'm here to tell you how The Hamilton Mixtape
brought the Hamilton experience full circle.
Think about it like this.
The Hamilton stage play is the biggest thing in pop culture.
Not only was it the number one album in the country,
which is the beacon of success in the music industry,
it reinvigorated the cassette tape industry in 2017.
Sales spiked by 35%,
and The Hamilton Mixtape was a huge reason for that.
Now that we're in this renewed awakening,
what do you hope is the takeaway from everyone who consumes this show?
Um, in terms of the conversations the world is having,
and particularly the United States is having,
about systemic racism that have been there since our founding,
to have this story that brushes up against our founding,
um, I think, is really interesting.
It's funny. I had another reporter ask me,
"How has Hamilton changed from the Obama era to the Trump era?"
And the answer is, it hasn't changed at all.
Um, and if there's anything really political about the show,
it's that the fights that were present and the paradoxes that were present
at our founding still exist.
They're the same fights we keep having, and that is everything
from the original sin of slavery to gun control.
Everyone in our show dies as a result of gun violence
with the exception of George Washington.
Um, the-- So many things that were present then are present now,
and the way in which I wrote them was to try to make them
as present as possible, so things just hit different.
Like, things that were present in the show,
the stories about slavery and what they did,
and they were all complicit, and what they didn't do,
I think, hit different than they may have in 2015.
Um, but the show hasn't changed, and it will be very inter-- It--
What's been incredible is to see lyrics from the show popping up
at Black Lives Matter protests all over the country.
Seeing "History has its eyes on you," seeing "Tomorrow there'll be more of us,"
and people finding the language of revolution in this other revolution,
and that's been very heartening and overwhelming.
The-- That the conversation, um, has progressed.
You know, we are in a different point of this conversation
than we've ever been before. I-- I--
My own little form of honoring one of our fallen brothers was, you know,
I remember dedicating my final performance in Hamilton to Philando Castile.
-Um, and that's four years ago. -[Kelley] Mm-hmm.
And so, now we see, you know, brother George Floyd's lynching,
his murder, leading to people taking it to the streets.
I mean, I'm...
Still hopeful, you know, that we can-- That we can get this thing right.
That we can-- That we can make it right.
Um, but the first step was--
First step was being honest about how we got here.
The first step is really talking about-- Talking about this trauma,
and being honest about systemic racism
and the most violent arm of systemic racism,
which are the police departments around the country.
That is-- That-- That is the most violent arm of it.
So, we gotta talk about that. We are talking about that.
Um...
Better late than never, I guess.
I'm inspired by empowerment.
I feel that, um...
You know, somebody actually said to me, uh, when I was doing Hamilton, you know,
"You're-- You are incredibly powerful if you know you are."
And, like, if you don't know you are, it doesn't matter how much power you have.
You don't have any.
And, um, and this shows...
Um, this shows somebody becoming all powerful
just because he kept asking himself this question,
"Why is there so much suffering around me?
Why is there so much dying, and why am I still here?
What am I supposed to do with this time?
With nothing, what am I supposed to do with this time?"
Like, that kind of-- That continually,
"Me. What can I do with this time that I have for a reason?
What can I do? Wh-- I have nothing. I have no f-- I have"--
You know, and that-- That-- The-- The-- The asking of that question
and the bravery with which you answer it is what I want our young people,
and all of us, to take from this.
If anything, take that, and we need it. We need them.
We desperately need them, so my prayer is that some of those words
and some of that sentiment gets, you know, rooted in their-- in their heart,
in their psyche, in their mouth, and, um, and it becomes--
Wh-- In-- In their own words, you know. And it leads us in this revolution.
What about you, Phillipa?
I have a hope and desire
for people to really feel the necessity
to participate as citizens.
Um, you know, through your work, and for us that's through our art,
but also through just our activism,
and what it means to show up and use your voice,
whether that's trying to run for office,
whether that's trying to change legislation,
whether that's just going out and making sure
that you're registered to vote and going to vote.
Um, I hope it inspires people
to not only feel the duty that they have to participate,
but also to feel the excitement and the desire to leave a legacy,
um, to be a part of something greater than themselves,
to contribute, that, you know, the reason that we've come to where we are
is because of a lot of amazing things
and a lot of flaws that we have,
and to look our imperfections in the face and say,
"I'm going to choose to deal with that and actively participate"
is the mind-set that I think that we need to have.
Honestly, Pips, I-- Like, you--
The way you're articulating the excitement that people have about getting involved,
um, you've really opened my eyes to that.
I've been very upset with what's happening in the world and very hurt and angry,
as a lot of people are, and some people when they're in that place,
they lose sight of the excitement, um, of change.
There's weight sometimes to change. You feel like there's this,
"Oh, I gotta change. How am I gonna figure it out?"
But the excitement is when it does change, think of it that way.
So I thank you, Pips, for highlighting that for me personally as well.
And that is very exciting to see these young men
who are excited about standing on boxes
and talking about laws that they feel are unjust,
who are excited about going home and figuring out ways
to aid and change their government, what they see wrong.
The excitement that these characters have, I think, is a huge, massive takeaway.
So, he-- Takeaway to the people out in the streets to know
that though you have this hurt, like, you can have the joy
that can also fuel you to create the change that you want as well.
And I know I personally can lose sight of that sometimes,
so thank you, Pips, for those words.
You know, I've been out to a few protests now,
and it's been-- It's been encouraging to see people of all different colors,
you know, men, women, all different-- Trans-- All different colors out there,
with the-- You know, in solidarity, you know, saying with just one message,
Black Lives Matter.
My grandpar-- My grandmother especially, they were civil rights organizers,
and I knew more about my heritage
before the age of five than most college graduates get.
Like, she was just adamant about making sure I knew who I was in this world.
And I say all of that to say, you know, she gave me so much,
but the thing that I always say is that, you know,
she taught me how to dream, and I'm a living embodiment of that,
but never in her wildest dreams could she have imagined
that I would be in a-- in a place of honor to be standing in front
of the first black president of the United States.
She was literally working toward that moment.
I constantly think about, like, the youth when it comes to,
um, this show and how impactful it is.
Like, even a lot of the followers that I have from the show are,
especially, like, young women, like, young girls.
And so to see the power of a sisterhood,
um, to see the love that women
have for each other and to support each other,
um, to see fighting for a revolution,
to see-- to see all of this strength
with this beautiful and talented and diverse cast onstage,
I just-- I just want the youth to take that
and have it inspire them to do something.
Right, and in the show's format on Broadway,
you could only reach a certain amount and demographic of people,
but with the film release, you can reach a much wider audience.
What kind of impact do you envision that having?
You know, one of the things that we wanted to do in this film
was celebrate our love of theater.
And so to do that, let's capture this story in the envelope
in which it is supposed to exist, which is the theater.
That was the authorial intent.
Lin wrote this show to be performed in front of an audience live,
everybody breathing the same air.
I just think, in a time when it looks like
live theater's not coming back for a long time,
a reminder of how vital live theater can be is...
I'm very grateful that we're in the opportunity,
we have the opportunity to provide that.
When the pandemic hit,
and all of a sudden there was no live performance,
there was no Broadway, there was no touring production of any show,
there were no live concerts,
it felt like there was an opportunity to pull this up 15 months
and let anybody that is missing the experience of what it means to commune,
to sit in the dark with a group of strangers you've never met
and watch a story unfold, which has been happening all the way back
since you used to sit around a campfire.
It's just, this is the campfire now.
♪ Well, the word got around, they said, "This kid is insane, man" ♪
♪ Took up a collection just to send him to the mainland ♪
And we wanted to do that in a way that lowered the barrier to entry.
Theater's too expensive. There aren't enough theaters
and there aren't enough seats for all the people that want to participate.
But if you put something out in this way, you're giving something to the people
that they might have wanted but didn't have access to,
and again, we have to give more access.
The part that I can't even wrap my mind around, to be honest,
is the fact that we serve this like we're a restaurant most of the time.
We serve it 1,300 people at a time on any given night,
and more people will probably see Hamilton on July third, fourth and fifth
than will have seen it in the previous five years combined.
Um, I can't wrap my mind around that.
We're hopeful that it continues to...
you know, take root in new communities.
I mean, as many places as it's been,
there are new communities that have not had access to it,
and we're really excited about the possibility that,
you know, you know,
the, you know, the black community can really embrace this.
Um, you know, people that don't travel to New York to see theater, necessarily.
People... You know, global reach of this thing beyond
where the show happens to be in town and your ability to afford this ticket.
Um, you know, we really, truly believe that there is a blessing
for all people in this-- in all times,
and we're excited about what it could mean,
you know, on your television in your home.
We're really excited about the ability to bring theater to people that way.
And also, as a reminder for people who have, you know,
have been out there for so many years, right?
It can hopefully maybe be something that they can, uh, turn to
or come back to that, kind of, can reinvigorate that fire in them.
You know? Every now and then when the battery gets low.
All right, all right. That's what I'm talking about!
Thank you, Lin, Tommy, Renée, Leslie,
Daveed, Jasmine, Chris, Phillipa, Anthony and Oak.
And don't forget to stream the Tony Award-winning musical, Hamilton,
exclusively on Disney+.
And thank you all for watching the Zoom where it happened.