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Lin-Manuel Miranda’s blockbuster musical is packed with clever callbacks, visual storytelling, and historical nods you may have missed. Join us as we spotlight the little moments, from staging tricks and costume choices to chilling foreshadowing and lyrical references, that make this revolutionary show even more impressive. Which detail blew you away most? Let us know in the comments below!
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00:04Welcome to Ms. Mojo.
00:06And today, we're counting down our picks for the most fascinating Hamilton Easter eggs that'll make you wonder,
00:11what did I miss?
00:19Number 20. Hip-Hop References.
00:21Lin-Manuel Miranda's love for rap is integral to his work,
00:25and Hamilton is full of nods to some of his biggest influences.
00:30Three, four, five, six, seven, eight, nine.
00:33It's the Ten Duel Commandments.
00:35Many songs are more loosely inspired, but others are more direct,
00:40like the Ten Duel Commandments that echoed the Notorious B.I.G.'s Ten Crack Commandments.
00:44My Shot also includes a spin on the Eminem lyric,
00:47If the shoe fits, I'll wear it, and features Alexander spelling out his name like Biggie.
00:52I'ma spell my name one more time, check it, it's the N-O-T-O-R-I-O-U-S,
00:57you just lay down slow.
00:59So let me spell out the name, I am the A-L-E-S-A-N-E-E-R.
01:04Cabinet Battle No. 1 is yet another referential goldmine with a Jay-Z style intro,
01:09and a tribute to Grandmaster Flash's The Message,
01:12as Miranda tells the American story through the words of the founding fathers of hip-hop.
01:16It's like a jungle sometimes, it makes me wonder how I keep on going under.
01:20Such a blunder, sometimes it makes me wonder why I even bring the thunder.
01:23Why he even brings the thunder.
01:25Number 19. The Staging of The Room Where It Happens.
01:29In a musical where the storyline isn't always linear,
01:32many scenes use unique staging to show events happening forward, backwards, or even in slow motion.
01:38Talk less.
01:41Smile more.
01:43Do whatever it takes to get my plan on the Congress floor.
01:48In The Room Where It Happens, the number starts with separate conversations
01:52between Hamilton and Burr and Jefferson and Madison.
01:55After focusing on the first duo, the song then goes back in time
01:59to show the other side of the story before landing right back at the same moment.
02:03No.
02:14The Tony award-winning lighting design helps make this clear,
02:17and fans even theorize that the lights turning blue once Burr jumps on the table
02:22show his decision to switch political parties.
02:25We dream of a brand new start
02:27But we dream in the dark for the most part
02:30Dark and cartoon, let it help me
02:33I've got to be in the room
02:35Let's go back
02:35Number 18. Leave a note for your next of kin.
02:38Although Miranda chose to sacrifice exact historical accuracy for the sake of the show's narrative,
02:43the more you learn about the real story,
02:45the more significance you can find in each onstage moment.
02:49I know.
02:50I just need to write something down.
02:52Why do you write like you're running out of time?
02:56In Best of Wives and Best of Women, Hamilton is seen writing a letter.
03:01Thanks to the Ten Dual Commandments, the audience can infer it's a message to his next of kin.
03:06But the words weren't just heartfelt prose.
03:08Number 18. Leave a note for your next of kin.
03:11Tell him where you've been. Pray that hella heaven lets you in.
03:14In reality, the historical figure also documented that he wasn't planning on firing to kill.
03:20And Burr's line,
03:21I survived, but I paid for it,
03:23also references the note that later got him charged for murder.
03:26You may have been the first one to die,
03:29but I'm the one who paid for it.
03:31Number 17. Set Rit Neuf.
03:34In musical theater, it isn't just the lyrics that tell the story,
03:37but also the way in which they're sung.
03:39I practice friendship, play piano with my mother.
03:42I have a sister, but I want a little brother.
03:47Take a Break begins with Eliza teaching young Philip a counting exercise,
03:54and then singing down the scale,
03:56while he chimes in on the ascending notes and switches up the tune.
03:59Just like these opposing melody lines,
04:02Eliza is her husband and son's biggest supporter,
04:04but she also desperately tries to ground their ambition.
04:15The counting motif also references the musical's duels,
04:19and the theme returns in Philip's heartbreaking last moments.
04:22As he reminisces that he would always change the line,
04:25Eliza counts him down to his final breath.
04:42Number 16. Mariah Reynolds in Hurricane.
04:45While this number is often overlooked,
04:48Hurricane brings the storm in Hamilton's mind to life
04:50with echoes and reversals of chords,
04:53choreography, and themes from throughout the musical.
04:55In the eye of a hurricane, there is quiet
05:00For just a moment
05:05Hello, sky
05:06The staging also includes Mariah Reynolds in her bright red dress,
05:10who circles like a warning in her pose from Say No to This.
05:13So what's your whole story, you set up?
05:15I don't know about any letters!
05:16Stop crying, goddammit, get her!
05:18I didn't know any better!
05:19Why are you worried?
05:20Please don't leave me while you're out of this way!
05:22After entering with a quill,
05:24she then hands it over to Alexander
05:26for him to write the pamphlet describing their affair.
05:28Whether she's accepting her fate
05:30or becoming the villain in his mind,
05:32the moment could have various interpretations,
05:34but it's also the visual nail in the coffin
05:36for Hamilton's reputation.
05:38This is the eye of the hurricane
05:40This is the only way
05:41I can protect my legacy
05:43Wait for it, wait for it, wait for it
05:47The Reynolds pamphlet
05:48Number 15. A Beat Without a Melody
05:51In a show already overflowing with genius writing,
05:54The World Was Wide Enough takes the storytelling
05:56to the next level by incorporating symbolism
05:58into both the music and lyrics.
06:00There is no beat, no melody.
06:04Burr, my first friend, my enemy.
06:07Maybe the last face I ever see.
06:09If I throw away my shot,
06:12is this how you remember me?
06:13Early in the production,
06:15Hamilton ponders death and asks,
06:16is it like a beat without a melody?
06:19Then, at the end of the second act,
06:20he steps up for his duel with Burr,
06:22and the instruments drop out.
06:24What is a legacy?
06:25It's planting seeds in a garden
06:27you never get to see.
06:29I wrote some notes at the beginning of a song
06:31someone will sing for me.
06:32America, your great unfinished symphony!
06:35He begins a rap monologue
06:36and answers his earlier question
06:38while performing completely acapella.
06:40Miranda later shared that the idea struck him
06:42when he was up late with his newborn,
06:44and realized that silence was the key
06:46to making the scene hit home.
06:48And I remember going,
06:49oh, that's the one move we haven't used.
06:51We have never been quiet the whole time.
06:55I take the baby, I put it on my wife,
06:58I take the dog, we walk,
07:01and I just write all the lyrics.
07:02Number 14.
07:04Symbolic Costume Changes
07:05Nicknamed Parchments,
07:07the musical's signature all-tan outfits
07:09visualize the way that Hamilton
07:11is writing down his story.
07:12The idea of the parchment look
07:14refers to what Hamilton is writing on.
07:17It was a symbol of that blank sheet of parchment
07:23that is before any idea is born.
07:26However, if you pay attention
07:27to when these costumes appear
07:29throughout the production,
07:30they also show each character
07:31entering and exiting the narrative.
07:33In the very first number,
07:35a narrating burr is the only one wearing color
07:37before the main players join in.
07:39Mother word got around,
07:42they said this kid is insane, man.
07:44Took up a collection
07:45just to send him to the mainland.
07:48Get your education,
07:49don't forget from which you came.
07:51Later on,
07:52Washington appears on the balcony
07:53without his blue jacket,
07:55signifying the leader's death.
07:57Then the final scene
07:58brings this concept full circle,
07:59as the characters who died
08:01change into their parchment looks
08:03as they fade from Eliza's story
08:04and into the pages of history.
08:06I interview every soldier
08:08who fought by your side.
08:10She turns our stone.
08:12I try to make sense
08:13of your thousands of pages of writings.
08:16You really do write,
08:17but you're running out of time.
08:19Number 13,
08:21variety of song styles.
08:22Although Hamilton is primarily
08:24a rap musical,
08:25part of what makes the show so special
08:27is the way Miranda incorporates
08:28a variety of music genres.
08:30I've been in Paris
08:31meeting lots of living ladies.
08:32I guess I basically missed
08:34the late 80s.
08:35I traveled the wide, wide world
08:37and came back to this.
08:39These choices speak to each character,
08:41like when Jefferson enters
08:42with What Did I Miss?
08:43and the jazzy tune shows the audience
08:45he's fallen behind the times.
08:47Even King George's iconic breakup song
08:49has a deeper meaning,
08:51as the style is inspired by
08:52none other than 60s British invasion pop.
08:55When you're gone,
08:57I'll go mad.
08:59So don't throw away
09:01this thing we have.
09:03Then there's Eliza,
09:04who is consistently
09:05the opposite of Alexander,
09:07rapping like he's running out of time.
09:09And the finale reveals
09:10that she only ever sings
09:11because she had the time
09:12to tell the story.
09:13I ask myself,
09:15what would you do
09:15if you had more time?
09:18The Lord in his kindness
09:19gives me what you always wanted.
09:22He gives me more time.
09:24Number 12,
09:25death foreshadowing.
09:26If you pay close attention
09:28to the characters
09:28who meet their end in Hamilton,
09:30you can find subtle moments
09:31in the show
09:32that hint at their demise.
09:33You wanna get ahead?
09:35Yes.
09:36Fools who run their mouths off
09:39wind up dead.
09:40In Act 1,
09:41Aaron Burr quips that
09:42Fools who run their mouths off
09:44wind up dead
09:45right before Lawrence,
09:46who is later killed,
09:47chimes in.
09:48Even beyond lyrics,
09:50Philip enters the number
09:51before his death whistling,
09:52which is widely considered
09:53bad luck in the theater world.
10:00Meet the latest graduate
10:01of King's College.
10:02I probably shouldn't brag,
10:03but that guy amazed
10:04and astonished.
10:05The chorus also foreshadows
10:06the outcome of Alexander's duel
10:08in several songs,
10:09including in Hurricane
10:10when the warning comes
10:11from the man whose bullet
10:12will soon end his life.
10:14We were sick and she was old.
10:17I couldn't seem to die.
10:21Wait.
10:26Not only is Hamilton
10:27deeply rooted in hip-hop
10:28and history,
10:29but Miranda also took inspiration
10:31from shows like
10:32Les Miserables and Sweeney Todd.
10:34There's even a few
10:34direct references
10:35hidden throughout the production,
10:37like Washington's nod
10:38to an iconic patter song
10:39from the Pirates of Penzance.
10:41I am the very model
10:42of a modern major general.
10:43I've information,
10:44vegetable, animal, and mineral.
10:46I know the kings of England
10:47and I quote the fights historical
10:48from Marathon to Waterloo
10:49in order categorical.
10:50I'm the model
10:51of a modern major general,
10:53the venerated
10:54Virginian veteran,
10:55whose men are all lining up
10:57to put me up on a pedestal.
10:59The Addams administration
11:00also includes
11:01a lyrical shout-out to 1776,
11:03another musical
11:04about the founding fathers,
11:06with the recognizable phrase
11:07Sit Down, John.
11:09Sit Down, John.
11:09I had enough of you, sir.
11:11Sit down, John.
11:12I'll save God.
11:14Sit down, John.
11:15Sit down, John.
11:15Sit down, John.
11:16You fat mother...
11:18Broadway fans might also notice
11:20Miranda's use of a line
11:22from The Last Five Years.
11:23After asking permission
11:24to reinterpret
11:25Nobody Needs to Know,
11:26he used the modern motif
11:28about infidelity
11:29to depict Hamilton's affair.
11:31Nobody needs to know.
11:40Nobody needs to know.
11:47Numbers play a big role
11:49in the show.
11:53While there are
11:53some more noticeable Easter eggs,
11:55like Philip Hamilton
11:56getting shot at the count of seven,
11:58the same number
11:59he had trouble with
12:00in Take a Break,
12:01there are some
12:02far less overt.
12:09There are some
12:10interesting coincidences
12:11with the ages
12:12of certain characters
12:13and how many songs
12:14they lived through.
12:15Philip, newly born
12:16in Dear Theodosia,
12:18survives through 19 songs
12:19before dying
12:20in Stay Alive reprise.
12:33Philip was 19 when he died.
12:42Likely a coincidence,
12:43except the musical
12:44also follows a pattern
12:46for Alexander Hamilton himself.
12:48Hamilton,
12:49also 19 at the beginning
12:50of the show,
12:51died 28 years later
12:53at the age of 47.
12:54If you include Lawrence's
12:56Tomorrow There'll Be More of Us,
12:57which didn't appear
12:58on the cast recording,
13:00there are 47 songs
13:02in Hamilton.
13:03Number 9.
13:04They Think Me Macbeth.
13:06My dearest Angelica,
13:07tomorrow and tomorrow
13:09and tomorrow
13:09creeps in this petty pace
13:11from day to day.
13:12I trust you'll understand
13:13the reference
13:14to another Scottish tragedy
13:16without my having
13:17to name the play.
13:18Ambition really was
13:19Hamilton's folly,
13:20but perhaps a greater mistake
13:22was uttering the name
13:23of this figure.
13:24There's a superstition
13:25in the theater community
13:26that to say the name
13:28Macbeth is bad luck
13:29for a production,
13:30and so actors and crew
13:32will often refer to it
13:33as the Scottish play.
13:34Over the years,
13:35some have made caveats
13:37that the curse only applies
13:38if the name of the play
13:39is said,
13:40but that the characters
13:41fair game.
13:41They Think Me Macbeth.
13:43Ambition is my folly,
13:45I'm a polymath,
13:46a pain in the ass,
13:47a massive pain.
13:48Madison is Banquo,
13:50Jefferson's Macduff,
13:51and Burnham Wood is Congress
13:52on its way to Dunsinane.
13:54Interestingly,
13:55as soon as Alexander Hamilton
13:57mentions the name
13:58of that tragic
13:59Shakespearean figure,
14:00his life starts
14:01to fall apart,
14:02though very much
14:03of his own volition.
14:17The very next song
14:19is Say No to This,
14:20and then things unravel
14:21as Hamilton loses his career,
14:23his healthy marriage,
14:24his dignity,
14:25his son,
14:26and finally,
14:27his own life.
14:29You want proof?
14:30Lynn himself acknowledged it.
14:32Number 8.
14:33Set design.
14:34I know that the concept
14:36of scaffolding
14:36was really important to you
14:37when creating this design,
14:39that I've heard you say
14:40this was not,
14:41this show is not about
14:42building the foundation
14:43of the country
14:44so much as building
14:44the scaffolding
14:45of the country.
14:46Though it might not get
14:47as much attention,
14:48there's no question
14:49that the design
14:49of the set in Hamilton
14:51is one of its greatest aspects.
14:53One of the more interesting
14:54and less obvious elements
14:56is how the set subtly changes
14:57over the course of the show.
14:59In the beginning,
15:00you can see coils of rope
15:01hanging off stairs
15:02to indicate that
15:03Hamilton has come in
15:04from the immigrant boat.
15:05Headed for the future
15:06see him now
15:07as he stands
15:08on the plow of a ship
15:10headed for a new land
15:12in New York
15:13you can be a new man.
15:16The scaffolding
15:16in the background
15:17of the first act
15:18indicates the building
15:19of a new country.
15:20Burr, we studied
15:21and we fought
15:22and we killed
15:23for the notion
15:23of a nation
15:24we now get to build.
15:25In act two,
15:26we see more and more bricks
15:28added to the set's design,
15:29indicating the very real
15:31building process
15:31that continues
15:32and becomes more finished
15:33as the characters work.
15:35God help and forgive me,
15:37I want to build something
15:38that's going to outlive me.
15:40Number 7,
15:41The Direction of the Turntable.
15:53Speaking of the set,
15:54how about that turntable?
15:56It's definitely one of the most
15:57visually interesting parts
15:59of the show,
16:00but it also has
16:01deep significance.
16:02Set designer
16:03David Koren stated
16:04in a Washington Post interview
16:05that the choice was,
16:06quote,
16:06inspired by the whirlwind
16:08of history
16:09that sweeps up Hamilton,
16:10the hurricane
16:11that hit his birthplace,
16:12and even the cyclical
16:14relationship
16:14between Aaron Burr
16:15and Hamilton,
16:16where they were basically
16:17spiraling around each other
16:19their entire careers
16:20and lives.
16:21But even which direction
16:22it turns means something.
16:24I'll write my way out.
16:26I'll write everything down
16:28as far as I can see.
16:33I'll write my way out.
16:35The show's choreographer
16:37Andy Blankenbuehler
16:38explained at a 2016
16:40Sirius XM town hall
16:41that, quote,
16:42when we're resisting fate,
16:44the action on the stage
16:45goes clockwise,
16:46then counterclockwise
16:47for times of forward progress
16:49or at least inevitability.
16:51Songs like Satisfied,
16:52for instance,
16:53see the stage reverse directions
16:54to show how time
16:55is being rewound.
17:11It also reverses direction
17:13as Hamilton's death looms.
17:15There was no beat,
17:17no melody.
17:19Burr,
17:19my first friend,
17:21my enemy,
17:22maybe the last face
17:23I ever see.
17:24Number 6,
17:25The Letters.
17:26You have torn it all apart,
17:28I'm watching it burn.
17:35I'm watching it burn.
17:41Props deserve a hat tip, too.
17:44A lot of time was spent
17:45on getting The Letters right
17:46to great onstage effect
17:48and to add another layer
17:49of storytelling.
17:51In Hamilton,
17:52Hamilton is sent home to Eliza
17:53during Meet Me Inside,
17:54only to find out
17:56she's pregnant
17:56in the following number.
17:58How long have you known?
18:00A month or so.
18:01Eliza,
18:02you should have told me.
18:03I wrote to the general
18:04a month ago.
18:06No, I begged him
18:06to send you home.
18:08You should have told me.
18:10I'm not sorry.
18:12But this is set up earlier.
18:14During Stay Alive,
18:15Eliza can be seen
18:16above the action,
18:17writing the letter
18:18to Washington
18:19asking for Hamilton
18:20to be sent home.
18:21Make it impossible
18:22to justify the cost
18:24of the...
18:24Outrun.
18:25Outrun.
18:26Outlast.
18:27Outlast.
18:28Hit him quick,
18:29get out fast.
18:30However,
18:31the coolest fact
18:32about Letters in Hamilton
18:33is how much trial and error
18:35Props Master Jay Duckworth
18:37went through
18:37to pick the right paper
18:38for burn.
18:39Duckworth went through
18:40different paper weights
18:41and sizes
18:42to have the cursive transcripts
18:44of historical letters
18:45burn for exactly
18:46two minutes
18:46and nine seconds.
18:48Why so specific?
18:49So the fire would go out
18:51just in time
18:52to leave the stage
18:52in darkness
18:53as Eliza and her lantern
18:54exit at the end
18:56of Verne.
19:03Number 5.
19:04The costumes.
19:05The costume design
19:07in Hamilton
19:07is nuts.
19:08And it's not surprising
19:10that Paul Tazwell
19:11earned a Lucille Lortel
19:12and Tony Award
19:13for his efforts.
19:14In keeping with the balance
19:15Hamilton strikes
19:16between modern
19:17and historical,
19:18Tazwell made the conscious choice
19:20that costumes from the neck down
19:21would be period appropriate
19:22while everything from the neck up
19:24would be modern,
19:25including hairstyles.
19:27This helped give the show
19:28that fresh hip-hop feel
19:29while also making it clear
19:31when it was set.
19:32The dresses the female characters wear
19:34also changed silhouette
19:35to reflect the passage of time
19:37and the style's du jour,
19:38though only King George III's costume
19:41is down to the details accurate.
19:46Color also has a meaning.
19:48Hamilton wears green
19:49for a simple reason.
19:51Money.
19:52Smells like new money,
19:53dresses like fake royalty,
19:54desperate to rise above his station.
19:56Everything he does
19:57betrays the ideals of our nation.
20:01Hey, and if you don't know,
20:02now you know, Mr. President.
20:04Jefferson's velvety, burgundy,
20:06and purple ensemble
20:07is meant to call
20:07Jimi Hendrix
20:08and Prince to mind.
20:09And David Diggs
20:11certainly commands the stage
20:12in a similar fashion.
20:14So what did I miss?
20:18Number 4.
20:19Subtle acknowledgements of slavery.
20:21But there's nothing that I can do
20:23to change those things,
20:26and there's nothing in my portrayal
20:27that would suggest
20:29that we forgive any of that.
20:31Though some critics
20:32have fairly suggested
20:33Hamilton didn't do enough
20:35to address slavery,
20:36there are some hints to it
20:38in the stage production.
20:39A civics lesson from a slaver.
20:41Hey neighbor,
20:42your debts are paid
20:43because you don't pay for labor.
20:45We plant seeds in the South.
20:46We create,
20:47yeah, keep ranting.
20:48We know who's really doing the planting.
20:50The biggest is
20:51Thomas Jefferson's introduction
20:52in What Did I Miss?
20:53As Jefferson strides down the stairs,
20:56talking about freedom and revolution,
20:58the ensemble can be seen
20:59on their knees,
21:00scrubbing the floor.
21:02Jefferson also mentions
21:03Sally in the song.
21:04A possible nod
21:05to Jefferson's slave,
21:06Sally Hemings,
21:07with whom he was known
21:08to have a sexual relationship.
21:12There's a letter on my desk
21:13from the president.
21:15Haven't even put my bag down yet,
21:17Sally.
21:17Be a lamb, darling,
21:18won't you open it?
21:19It says the president's
21:20assembling a cabinet.
21:22Another founding father,
21:23George Washington,
21:24owned slaves,
21:25which gets acknowledged lyrically
21:27when he's the one
21:27to cut off Lawrence's call
21:29for freedom in Yorktown.
21:30Black and white soldiers
21:31wonder alike
21:32if this really means freedom.
21:34Not yet.
21:35Christopher Jackson,
21:37who played Washington,
21:38also has an understated moment
21:39in the background
21:40during the final number.
21:42As Eliza mentions slavery,
21:44Washington registers her words
21:45and hangs his head in shame.
21:47I speak out against slavery.
21:50You could have done so much more
21:52if you only had time.
21:54Number 3.
21:56How Burr and Hamilton Walk
21:58This is one even
21:59Lin-Manuel Miranda didn't know.
22:02Andy Blankenbuehler,
22:03the choreographer,
22:04ensured that Hamilton
22:04was always moving in circles,
22:06in arcs,
22:07to represent his constant thinking,
22:09his constant forward momentum,
22:11and to show a frenetic
22:12and shifting viewpoint
22:13to match the times.
22:15Burr, meanwhile,
22:16always walks in straight lines,
22:18which matches his cautious character
22:19making a move
22:20only when he was sure
22:21it was the right one
22:22with least consequence
22:23and to wait for it.
22:24I'm not falling behind
22:26or running late.
22:28Wait, wait, wait, wait, wait.
22:30I'm not standing still,
22:31I am dying it.
22:33Wait, wait, wait, wait.
22:35The staging had to be so precise
22:36so that both characters
22:37could showcase these sides
22:39of themselves
22:39while barely drawing
22:40attention to it.
22:42I'll keep all my plans
22:44close to my chest.
22:46Wait, wait, wait.
22:47I'll wait here and see
22:49which way the wind will go.
22:51What's additionally interesting
22:53is as Burr's resolve unravels,
22:55he stops the straightforward motion.
22:57Or did you know
22:58even then it doesn't matter
23:00where you put the U.S. capital?
23:02Because we'll have the banks.
23:03We're in the same spot.
23:05You got more than you gave.
23:06And I wanted what I got.
23:08The magic of theater, folks.
23:09The art of the compromise
23:12Hold your nose
23:13and close your eyes
23:14We want our leaders
23:16to save the day
23:17Don't get a say
23:18on what they trade away
23:21Number 2
23:22Eliza's cry at the end
23:24This moment never fails
23:26to make us cry
23:27but what does it mean?
23:29At the end of
23:30Who Lives, Who Dies,
23:31Who Tells Your Story
23:32Eliza sees Hamilton again
23:34and he guides her
23:35to look at the audience.
23:36Oh, I can't wait
23:37to see you again
23:41It's only a matter of time
23:49Eliza gasps
23:50and Lin-Manuel Miranda
23:51has said he wants
23:53to keep the significance
23:53of that moment
23:54for the actress
23:55who plays Eliza
23:56to decide on.
23:57However,
23:58he has said that
23:59it's certainly a moment
24:00meant to transcend time.
24:01Um, I think
24:03it's different
24:04for each Eliza
24:05I've had different
24:06conversations
24:06It's heart-stopping
24:08isn't it?
24:09And I do think
24:10that it traverses
24:11time in some way
24:13What do you think
24:14Eliza's looking at?
24:16Is it the audience?
24:17Is it Hamilton?
24:18Is it seeing her legacy
24:20laid out before her?
24:21These are all
24:22perfectly valid
24:23interpretations
24:23and each one
24:25is impactful
24:25and filled
24:26with nostalgia
24:27and sorrow.
24:28Who lives who dies
24:30Who tells your story
24:47Before we continue
24:49check out this single
24:50from Sound Mojo's audio
24:51Songs from Iran
24:53reimagining Persian melodies
24:54as modern rock
24:55metal and pop songs
24:57Check out the full track
24:58and album below
25:14Number 1
25:15The Bullet
25:16This one's
25:17sure to blow us
25:18all away
25:19quite literally
25:20In the original production
25:22the actress
25:23Ariana DeBose
25:24an ensemble member
25:25plays the bullet
25:25a special role
25:27meant to signify death
25:28Other than Hamilton's mother
25:30she's the first character
25:31killed in the show
25:32and every appearance
25:33she has after
25:34is usually either
25:35foreshadowing a death
25:36or causing it
25:37She mimes holding a bullet
25:39in both Stay Alive
25:40and The World Was Wide Enough
25:41She shakes hands
25:43with Lawrence
25:43during Yorktown
25:44who dies
25:45soon after
25:46When Philip goes
25:47searching for George Eager
25:48who should tell him
25:49where to go
25:50but DeBose
25:50and so Philip
25:52right before dying
25:53flirts with death
26:04As the show nears
26:06its inevitable conclusion
26:07with the Burr-Hamilton duel
26:09The Bullet hands Burr
26:10his quill
26:11to write out
26:11the letter
26:11that will spell
26:12doom for the two men
26:25Next time you watch
26:26Hamilton
26:26keep an eye out
26:27for her
26:28What if this bullet
26:29is my legacy
26:30legacy
26:30Did you catch
26:32all of these moments?
26:33Let us know
26:33which hidden details
26:34you'll be keeping
26:35an eye out for
26:35in your next
26:36Hamilton rewatch
26:37in the comments below
26:38I'll see you in the comments below
26:38I'll see you in the comments below
26:39I'll see you in the comments below
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