Oh hello, you found waypoints with the waypoint staff and friends take a break to nerd out and deep dive on the culture art and entertainment that's been inspiring and provoking us lately.

We've got Oston Walker and Kato.

Hi.

Today we're going to be discussing the musical Hamilton which I finally saw due to a Christmas gift from my parents over the holidays.

And then in the second segment we're going to be discussing Knives Out but I'm going to warn you up front here that the nature of Knives Out is such that you can't really say a lot of interesting things until you begin getting into plot details and spoilers.

This is a movie where a lot of the pleasure is seeing how it is going to come together and experiencing some of the twists from a naive perspective.

So if this is an experience you're looking forward to having, I strongly recommend maybe you put a pin in this podcast and come back to it after you've seen the movie because that second segment is going to spoil the entire film.

But first, yeah, so over the winter break I finally finally finally saw the saw Hamilton.

I was visiting family in Chicago and they bought us tickets to go check out the Chicago production before it closed and I was surprised by my reaction because I fully expected to be much more negative on the play.

And I think part of that is and this is kind of what I wanted to put put to y'all.

The thing I've been trying to figure out is Hamilton itself kind of an insidious or toxic work or is it mostly the phenomenon that is Hamilton and the fanbase that attracted and the discourse around it that kind of poison the well.

And Hamilton just one of those unfortunate works that becomes way more popular and bears way more cultural significance than the work itself can sustain.

That is a good question. I want to say atop I've listened to the Hamilton soundtrack point eight times point eight.

I could not get couldn't you get all the way through.

No, I couldn't. My relationship with the show is pretty distant outside of distant and made more distant because of the kind of cultural response to it that you're gesturing to here Rob.

I don't know about y'all but it was unbearable. I went very quickly from trying to get tickets to see it to never wanting to see it on my feed.

If I was a better person, I would have muted it saved myself a lot of grief.

But instead I just kind of like okay white people y'all are really into this, huh, which is reductive obviously it's a it's a show led by a man of color and starring lots of people of color and a show that is.

Completely except for one one characters King George right is yeah, yeah, and obviously is a show that's been supported by you know many black and brown folks and enjoyed by many black and brown folks.

But the response to it always felt like it carried a degree of handwashing of the people liking it if that makes sense.

Like it was your gateway away from I listened to everything except for rap and country to a world in which you could say I like conscious hip hop.

Of course rap can be art like and and when I say those things I very I truly mean that that was the way I was seeing it deployed by kind of a cultural coastal elite type you know media elite folks who were above 45 you know lots of people in our age group.

...