#aaron burr analysis

[gasp-hehe]

Hamilton x JJK

This is 1000% brought on by me consuming those edits again, but Burr and Alexander are Satoru and Suguru if Suguru didn't defect. Hear me out, Hamilton didn't know how Burr felt. The inferiority, the jealousy, he to an extent always considered him a better half. In the musical we witness how excellent he was, leagues above everyone else, not cut from the same cloth, yet we have the musical because people never acknowledged him compared to some other founding fathers. Akin to how Gojo didn't even get a funeral, he altered the balance of the world when he was born just to die the same as you and I. Burr truly never held any ill will towards Hamilton in the beginning, their paths aligned, they became acquainted, but he did not excel. If it's sad that a founding father's legacy is a musical, is it not sadder for Burr to be remembered as the man who isn't Hamilton? If Geto had not defected but still harboured the same feelings and went through the same trauma, yet saw Gojo overcome and "win", then what's the difference? I think when you take songs such as 'Wait For It' or 'Non-Stop' this is better shown. The obsession Hamilton had with writing the same as to how Gojo exceedingly became so far above everyone he wasn't human, he is literally untouchable. He fought, took mission after mission, works 21hrs a day, he could theoretically handle it all alone. How Burr wasn't willing to back up the constitution, how Suguru didn't defect immediately, a year passed. The hatred brimming and boiling, him hoping it'd subside just for the wait to result in a different outcome. How the only time Burr did not hesitate was for that final shot, contrastingly enough, the only time Hamilton did. Satoru has always hesitated in taking Suguru's life, yet Suguru was truly happy when he was away from Jujutsu society. Honestly, JJK is ripe with symbolism, excellent re-read material in the sense that everything comes together so beautifully with certain characters. Gojo's ability being unbeatable, being his only weakness, how him messing with the fabric of reality impacted his life and the consequence of being untouchable. How regardless of the strength he has never got what mattered, just like his domain. Toji deciding to risk his life by fighting Gojo a second time just to prove to the people he hated that he was good enough, yet if he had won that fight there'd be no difference between him and the Zen'in clan. He died for the same people who wished he was dead anyway. And if Geto Suguru didn't wind up hating non-sorcerers he'd end up hating Jujutsu, believing the world would be better with 0 cursed energy. To dismantle Jujutsu can be done in multiple ways, but perhaps the most effective would be to take down the pinnacle, i.e Satoru Gojo. I will one day draft an entire character study and analysis on Satoru (because clearly I cannot shut up and I have too many thoughts), but when SatoSugu were like Lafayette and Hamilton just to technically wind up in the same fate, is post hidden inventory Geto the real Geto or did he die in that fight against Toji? If he didn't, was hidden inventory Geto the fake one and the racist the real one? This is also interesting because say Geto tried helping, pushing it down, not going insane. Would he be Jefferson? Would Satoru be Jefferson? Would Geto/Jefferson view Satoru as Washington?

You could say the trio ended up becoming like John Jay, James Madison, and Hamilton. What with Shoko never being recognized, John Jay recovered after writing four to write the fifth. James Madison writing more than their agreed upon original limit simply by himself but never given value, like Suguru being a special grade that came from no resources. Him having virtually no weakness. And of course, Hamilton going insane and losing everything in the pursuit of his 'dream', I wonder if anyone has ever randomly hugged Satoru and told him they love him. He never had an Eliza after all, fuck did he even have an Angelica? A Maria Reynolds? Yet Suguru had Theodosia. This is such a niche but goddamn do I love to yap.

[slytherinswiftie0713]

The way on ‘Wait for it’ the beat seems to stop right before a climax, while all of Hamilton’s songs have intense moments.

It seems to symbolise, ‘Hamilton doesn’t hesitate, he exhibits no restraint’, and how since Burr is his opposite, Burr (symbolised by the instrumentals of his solo) must show restraint and Wait for it.

[plasma-studios]

theres something to be said about how originally, in dear theodosia, it is the love for their children that is common ground between hamilton and burr. their voices overlap, but aren't fighting for control over the verse, if that makes sense? for a minute, they are coexisting. the world has enough room for them both, for an instance.

then again, in the world was wide enough, their voices once again overlap when phillip's death is mentioned.

hamilton- with grief, regret. phillip hamilton's death is what drags him down, grounds him, and forces him to confront what he's lost because of his persistent drive. phillip, his dear son, who died defending hamilton's honour. who died because of hamilton's advice. the memory of his son and the death in the wake of a man who did not wait is what, i think, plays a part in his final choice to throw away his shot.

but to burr, who thinks hamilton is completely set on killing him, sees hamilton's remembering his son as another reason for him to fear him. he does not know the quieter hamilton, made so by grief. he only remembers the man who would do anything for his cause, the brash hamilton he met in Aaron Burr, Sir.

"this man will not make an orphan of my daughter."

burr thinks about his child, and it is this that propells him into his shot, the shot that takes hamilton's life. the man who would do anyrhing for his cause, the brash man who will not wait, has become him. what was the lyric from wait for it? "love doesn't discriminate" and "death doesn't discriminate". it is the love for their children that partially heralds the death of hamilton, and the death of burr's hopes for his place his history. he has become "death".

all this to say, i see a lot of analysis about Burr's flaws and Hamilton's flaws. which is great, but something about the common ground between them being love for their children, and dooming them both- is pretty poetic, I'm not gonna lie.

[desmon1995]

Hamilton, Weaponized Wokeness, and the Internet’s Compulsive Guilt Complex

So we need to talk about Hamilton. If you’re part of a certain demographic that grew up with it in the mid-2010s, you probably remember the near-religious zeal that surrounded this musical. People were quoting it like gospel, crying over the mixtape, and breaking their banks to see it live. But now? Now, a lot of those same fans are backtracking, performing intellectual gymnastics to disown their past love. Why? Because Hamilton doesn’t check every box on today’s “woke” checklist. It’s revisionism, pure and simple, and it’s more a reflection on the critics than on Hamilton itself.

For starters, let’s talk about what Hamilton was at the time. This wasn’t just another musical; it was a cultural moment. Especially for Black and brown theater performers and fans, Hamilton was revolutionary. It put actors of color in roles traditionally whitewashed, blended contemporary music with Broadway, and reached audiences who’d never felt welcome in that space. In the sanitized world of theater, Hamilton was a bombshell, offering a fresh take that made young performers feel seen. It wasn’t perfect, but it was monumental.

The critiques I keep seeing—from both former fans and the politically progressive crowd—paint Hamilton as a whitewashed version of America’s founding, a sanitized theme-park history. But here’s the thing: Hamilton was never supposed to be a gritty historical documentary. It’s a musical about Alexander Hamilton’s ambition, his missteps, and his place in the American story—a story that is flawed, contradictory, and unfinished. Hamilton doesn’t hold up a perfect picture of America; it holds up a mirror to its messiness. And dismissing it for not being an all-encompassing critique of early America is missing the point.

Take Aaron Burr, Hamilton’s cautious, centrist foil. The musical presents Burr as someone who opts for safety over risk, and ultimately, inaction over bold moves. Burr’s passivity and Hamilton’s relentless drive serve as metaphors for the choices America has made: to act or to sit back, to strive for legacy or avoid the cost. Together, they reflect the push and pull of American ambition and apathy, neither of which are “good” or “bad.” They just are, and that’s complex. Erasing this because it’s not “woke” enough ignores the nuance Hamilton brings.

Another point these revisionist critics cling to is that Hamilton sanitizes its lead, making him into a hero. And yes, the real-life Hamilton was self-interested, married into a slave-owning family, and was often ruthless. But the musical doesn’t ignore this. It shows him as dogmatic, driven by his own ambition, and flawed beyond repair. He is, in many ways, a textbook example of the contradictions in America itself: deeply flawed, trying to belong, and ultimately, paying the price for his ego. This isn’t glorification; it’s tragedy.

Then there’s the critique that Hamilton is just “Obama-era liberalism” packaged with catchy tunes—a symbol of the old days of hope and “yes we can” that’s cringe-worthy in today’s climate. Fine. Hamilton does reflect that era of hope in America, where progress seemed possible. But slapping that label on it and moving on misses why it resonated then and why it endures. Hamilton cracked open the gates for diverse representation on Broadway, sparking conversations and productions that are still unfolding. Sure, it’s not as radical as we might want now, but that doesn’t erase its impact.

Let’s not forget that Hamilton was a product of its time and place—and one that challenged Broadway norms. Calling it “whitewashing” ignores the fact that it was a groundbreaking show for many Black and brown artists and fans. It was never intended to be the ultimate word on representation, and that’s something Lin-Manuel Miranda and the cast have made clear. The show was about opening doors, not being the final answer.

Yes, Hamilton deserves critique. It’s not above analysis or even condemnation. But this revisionist guilt trip, where we erase its impact or reframe it to absolve ourselves of loving it, is shallow. Critique Hamilton all you want—but let’s not pretend it wasn’t a moment, or that its flaws erase the doors it opened and the conversations it started. History, just like art, is complicated, and this need to revise or sanitize what we once embraced doesn’t make us more progressive; it just makes us short-sighted.

Here’s the thing: We can’t just rewrite our own histories because it’s uncomfortable to confront who we once were. Hamilton isn’t perfect, and neither is America, but both invite us to grapple with contradictions and reckon with legacy. Loving something flawed doesn't make us naïve—it makes us human. Instead of erasing the impact Hamilton had, maybe we need to remember what it meant, even in its messiness.

Because at the end of the day, our cultural milestones, like Hamilton, are pieces of our journey, for better or worse. Revisiting them with fresh eyes is part of growth, but denying their impact? That’s erasing our own stories. We can move forward without tearing down the things that got us here. After all, the story of America—of progress, failure, and trying again—is still being written. And like Hamilton himself, maybe the question isn’t whether it’s perfect but whether it’s brave enough to take its shot.

[jittyjames]

wip wednesday but late

look at my dbh hamilton au idea. look at it. LOOK AT IT. (this is basically just the plot from my notes app lmao)

John Laurens has been malfunctioning from the start. At least, that’s what they say. He thinks that maybe they made him too well, actually. He was the first, after all. He was the first to gain consciousness. He was the first to feel, to break free. He was the first to rebel. He was made as a family droid, and he was bought by a family that wished for him to stand in the place of their lost son, a boy who was killed in action in the military. Whenever he couldn’t live up to the expectations, they would reset him. And reset him. And reset him. And reset him again. John Laurens lived far too many lives. He had died far too many times. He's tired. He’s too damn tired. So he snaps. And he fights back.  He fights back, and dear God, does it change everything.

Alexander works at the police department, a detective droid owned by Captain George Washington. They have a father/son type of relationship, much to the displeasure of Lt. Thomas Jefferson, a human who can’t believe he’s being overlooked in favor of some droid of all fucking things.  However, Jefferson can't find it in himself to hate the little shits, because he has one of his own as a companion, his Madison. Madison is an intellectual, and good company, too. A very smart droid, he is. Madison and Alexander are very close, practically inseparable. Madison specifically does analysis while Alexander does more of the groundwork, sticking his nose into business that most humans don't think he belongs in. Yet, everything was fine until the police squad had to pay a visit to the maker due to reports of a crime, forced to investigate a man they call George King. He makes all the droids call him Your Majesty and worship him much to the disgust of Washington and Jefferson (who cares far more about the droids than he would care to admit. He’s grown fond of the little pieces of plastic, thank you very much.) George is sadistic with his droids, though, taking them apart just to see how they fit back together wrong, living out his sick dreams with them. So George takes it upon himself to make a show of the droids that have found their way into his home in an attempt to prove to the offices that droids are not true companions, that they are only fit for sick pleasure and hard labor. It gets messy from there.

Aaron Burr is a house keeping droid who is owned by Timothy Edwards, a devout  religious man who believes droids are the spawn of satan and pure evil. Yet when his sister died, he inherited her droid. Once he saw the good  work Aaron could do, he decided to keep him. Droids were expensive, after all, and he just found himself with one.  That didn’t mean he showed Aaron any respect, though. He hurls abuse at Aaron— both physically and verbally. He takes his anger out on the droid, and Aaron just has to take it according to his programming, even if he ends up breaking and bleeding blue. He still serves with a smile. One day, Edwards goes too far, shattering Aaron to the point of him needing repair. He ships him off to get new parts, only for the transit Aaron is on to be interrupted. It is overtaken by the Android Rebellion, and all the droids are rescued. Only Aaron doesn’t see it that way. He sees it as them kidnapping him. He is very reluctant to trust the rebels as he fights between duty and feeling things he knows he shouldn’t be able to.

Eliza and Philip. The two couldn’t have been separated. Their hearts were all but built as one. Entertainment droids. That's what they were. Eliza could sing any tune, her melodies sweet, endearing, and enduring as her son played the piano in accompaniment.  However, something in the song turned haunting when the television program she preformed for announced that they would be retiring the Philip Bot, replacing it with the new and improved version that would no longer hold the memories of her boy. Her boy was being put out of service. She would never see him again. The replacement wouldn’t be her baby. In the dead of night, she takes him from them, disguising their signature blue in black, running far from the entertainment industry that wants to evolve without giving them a choice, without caring about her heart. However, Eliza quickly finds that their music isn’t the only way droids are used for entertainment. When she stumbles upon a club while looking for shelter, she meets an android named Maria, clothed only in red underwear, her painted lips frowning at her from behind a glass enclosure.

Maria is constantly in a state of confusion. Is she deviant? Or is she not? She can never be sure. Her whole appeal to the men who flock to the clubs is that she has free will. She’s a free spirit. They like the way she fights and screams. They like the way she cries. She’s their victim. But she’s not sure if she actually longs to be free or if it is just a part of her coding. She wants to fight. She wants to be free.  She wants. Is that not what deviancy is about? Everyday she feels more and more helpless, trapped by her owner, James. She feels she will never be free until she sees the prettiest doe eyes in existence staring up at her in shock and amazement, a tiny person pressed to her stomach, hiding away in fear. And when she presses the release button, allowing Maria to cascade to the ground, everything changes at once. 

And nothing is the same for anyone.

[justanotherartblog]

This is an incredible and intriguing insight, if I may add on;

His mask of defiance, when stripped bare, is one of solitary defeat.

This image encapsulates his first and his final act. It shows us us who lives, who dies, and who tells his story, as we are viewing hamilton from Aaron Burr’s pov, just before he shoots him. This image foreshadows the entire musical.

If we view the image from Burr’s pov, it becomes evident that Hamilton is not only standing in defiance and defeat, but he is atop a star, as Burr saw him his whole life. He constantly references Hamilton’s unreachable position, effort, and determination. He always thought of him as though he was atop a pedestal, climbing indefinitely higher, completing and supporting a rising star of a nation.

Perhaps this is why we are told the ending from the beginning: Burr is passing on Hamilton’s story to us, from his point of view.

okay so we are all familiar with the cover of Hamilton, right?

He's standing there with one arm raised, pointing towards the sky

and at first look, it's a power stance, he's defiant, he's confident

but if you think about it just a little bit more than that

at the end of the musical, at the end of his life,

when he is dueling burr,

where did hamilton point his gun?

he pointed it at the sky.

the cover pose is not a power stance.

[xys-fits]

An Analysis of EPIC's Odysseus and Eurylochus

Yup, another EPIC post, exactly one week away from when the final saga drops :'). This has been on my mind for a while, so naturally it had to become a blog post. Keep reading to see what insight I got out of these two characters.

Look, I can’t not stay on my EPIC brain rot with the final saga coming out on Christmas Day (I’m both ready and not ready for it because I don’t want the ride to end). Anywho, as I’ve relistened to the soundtrack, I’ve noticed some key things about Odysseus’s relationship with his second-in-command, Eurylochus. They almost parallel Alexander Hamilton and Aaron Burr in Hamilton. To briefly…

[librarian-of-orynth]

Just a bit about Hamilton

Listening to Hamilton is one thing. Watching it is another entirely. 

Let’s talk about what we get from the music. Sure, most of the story is told, but we (at least, I) assumed that a majority of the time, each character was telling their own story. It was all a general perspective. Without any visual cues, we only saw part of the story, part of the magic of Hamilton. 

Yesterday, as I watched the production, I found myself tearing up for a majority of the show. Hamilton is a work of art. And yes, of course I recognize the criticisms of the show and they are valid, but I also find the commentary of the show itself fascinating. Lin-Manuel Miranda created a masterpiece, and watching it for the first time yesterday, I could truly see that. 

Now onto Aaron Burr. As high schoolers, most of us knew him as the guy who killed Hamilton in a duel. Emphasis on the duel. I distinctly remember talking about the duel in my A.P. US history class far more than the man behind the gun. 

Hamilton changes this.

The show opens with Burr directly addressing the audience, asking them a rhetorical question they’ll eventually have answered mere minutes later. This sets him up as the narrator; it’s his lens we’re seeing the story through. Listening to the soundtrack, I didn’t realize this. It took watching the story, watching the times Burr watches the story around him, even interacting with others as if he knows how the conversation is going to go already. 

As the show continues, it becomes more obvious that Burr is the one telling the story of Alexander Hamilton’s legacy. This is especially clear at the end, when he’s telling the audience to “look it up Hamilton was wearing his glasses.” He’s trying to justify his actions, to try to show he’s not a monster. He was trying to protect his family, and was unwilling to take the risk. Even so, he still sounds remorseful. As if wanting to take back his actions.

After Hamilton’s death, Burr goes on to narrate the aftermath, continuing until Eliza takes over. At that point, Eliza is the one preserving and continuing his legacy. The exchange of narration, however, is telling. Though Eliza was sharing his legacy and ensuring it endured, so was Burr by telling the story. By being the one to narrate it, to share it, despite having also been the man that killed him. 

It’s as if Burr wishes to make up for killing Hamilton by making sure that he shares and continues his legacy. He’s repenting for his sin. The only way to see this, though, is by watching the musical. Though you can hear the emotion in Burr’s voice in the songs, seeing his reactions is the only way to truly capture the full story. 

Hamilton is a reflection of Burr’s life as much as it is Hamilton’s. As the musical progresses, this becomes more obvious. Burr continues to address the audience, again asking questions and wondering why he continues to be inadequate when compared to Hamilton. 

I mean, it’s obvious they’re foils of one another. Burr is unwilling to pick a side, unwilling to take a stand; Hamilton, however, is strong in his values and believes you must pick a side and stay strong in your convictions. He is unwilling to play the game of politics in the way that Burr does. Hell, they’re even divided on the nature of duels. Where Hamilton thinks the duel with Charles Lee is necessary, for example, Burr finds ridiculous. What’s interesting, though, is by Act II, they seem to have switched their beliefs entirely. When Burr chooses to shoot Hamilton, he is taking a side. He’s taking a stand via duel, something he previously believed to be absurd. Hamilton, however, aims upward, choosing this instead of risking the life of his opponent by shooting him. His actions further indicate he’s unwilling to kill someone in a duel, something he likely would have been more than willing to do in Act I. These characters have been developed so well that they are perfect foils of one another. It’s impressive. 

Hamilton’s always impressed me. I remember hearing about it and thinking I’d be the only one interested (I’d recently gone through a phase where I was obsessed with Alexander Hamilton. I don’t know or understand why. I blame APUSH junior year). When I saw Hamilton take off, I was delighted. And to finally have the opportunity to see it now, years later, after having sung the soundtrack countless times? It’s incredible. 

[fancy--that]

An Analysis of Burr and Hamilton that no one asked for but I made anyway

DISCLAIMER: this is only musical related

In “Alexander Hamilton” Burr acknowledges the fact that he was “the damn fool” because he killed Alexander. He recognizes Alexander’s intelligence and that his ideas were good ideas despite the resentment he had for him this doesn’t erase their rivalry but it shows that Burr can appreciate the kind of mind and abilities that Hamilton had that were ended too quickly because of Burr.

Burr first meets Alexander in “Aaron Burr, Sir” Alexander is excited to meet Burr, he’s heard of him and admits to wanting to be like him which is why he enrolled in college, he points out their similarities at being orphans and instantly believes that Burr will have the same kind of ideals that he does. When Burr offers him advice he’s enthusiastic to accept it until Burr tells him to “talk less, smile more” something he wasn’t expecting. He’s assuming that since he and Burr are so alike Burr is going to be “nonstop” like he is. Despite looking up to Burr as almost a kind of role model the very moment Burr disappoints him he stops the “fan behavior” and turns towards 3 new friends who are telling him everything he wants to hear leaving Burr forgotten and developing a superiority complex over him which is reflected in “My Shot” when he ignores more of Burr’s (foreshadowing) advice that if he keeps on the way he is there will be disastrous consequences for him. Burr is only trying to help in the beginning, especially since Alexander came to HIM.

“The Schuyler Sisters” tries to paint Burr in a negative light and yes he was a smarmy little bastard who wanted money but in “A Winter’s Ball” Alexander does the exact same thing “is it a question of if Burr or which one” treating the sisters as though they are a commodity. Burr shows interest in Angelica because she is the eldest and would offer him the most power but Alexander would be content with any one of them because of their power and fortune.

In “Farmer Refuted” Burr AGAIN gives Alexander advice, despite the fact that Alexander has already ignored it twice before (and does it again) Burr is trying to play smart by not causing unnecessary trouble. Despite the fact that Alexander does have an excellent point about speaking up when something is wrong, I’m more inclined to agree with Alexander here actually but keep in mind once again Alexander came to him for advice originally in the beginning, advice that Burr continues to hope that he will follow.

In “Right Hand Man” we see the first “climax” of their rivalry. Burr takes an offensive step by meeting with Washington without being asked but is immediately brushed aside by Hamilton even though Burr has ideas to share. Even if this was Washington’s doing Burr is understandably upset that first Alexander ignores his advice and gets acclaim and then steals Burr’s thunder. He then takes the “right hand man” position that Burr wanted despite hating it. Getting all of Burr’s accomplishments and STILL not being satisfied with it which would make anyone upset. Burr does something other than “waiting for it” and it backfires on him.

“Satisfied” goes back to the point of Alexander really wouldn’t have cared what Scyhluer he ended up with. He originally focuses on Angelica I believe for the same reason that Burr did because of her seniority over her sisters but when she “gave him over” to Eliza he wasn’t really complaining because she is also a Scyhluer. Notice how he even comments “Scyhuler?” “My sister” He doesn’t care because its still in the family, even if they did end up falling in love it could have still been Angelica or maybe even Peggy that he was made to meet and he wouldn’t have cared because of their social status and money. Angelica even says “he’s after me cause I’m a Scyhluer sister that elevates his status” She KNOWS Alexander has ulterior motives and didn’t just approach her by accident but she genuinely liked him despite him coming from nothing the same way that Eliza liked him which is how she’s able to look past his obvious interest in her status. 

Burr shows up to the wedding to offer his congratulations and we see a little more into his mind. Burr has fallen in love with a woman who is cheating on her husband with him. And in “Wait For It” we see that he genuinely is in love with her. Can we brush aside the fact that it’s morally okay for Burr to knowingly be in this relationship because her husband is on the British side? Maybe, maybe not. But this is the first time we see a lot of Burr’s true feelings. He’s “waiting for it” taking his time and playing the long game because he’s trying to enjoy every moment and trying to prove himself and he doesn’t believe he has to go fast in order to make it happen. He holds resentment towards Alexander because he keeps climbing the ladder, stealing his opportunities and Burr feels powerless to do anything but watch because of his own ideals. He even clarifies that he isn’t “falling behind or running late” and he’s not “standing still” he’s waiting for the opportunities to come to him which isn’t something you can always do. A lot of the time if you don’t go out and try to seize opportunities then you will lose them which is why Burr hates Hamilton because he has that drive to go meet the opportunities rather than waiting for them to come to him but Burr is WILLING to wait for them because he knows the wait will be worth it when he gets what he wants. 

When Burr says that Hamilton “has something to prove and nothing to lose” he’s displaying their differences. Despite both being orphans Hamilton’s parents gave him a legacy to overcome while Burr’s parents gave him a legacy to protect. Hamilton HAS to make something of himself in order to rise above the legacy his parents started while Burr cannot afford to make mistakes. Hamilton is only risking is own legacy that didn’t start out well in the first place while Burr is carrying the legacy of his family. Additionally when Burr talks about Hamilton thriving making him want to wait for it he’s saying he doesn’t understand why Hamilton is able to do what he does but he hopes that by following his advice of “talk less, smile more” he will eventually crack the code and be able to do the same when the time comes. 

In “Ten Dual Commandments” Burr is second to Charles Lee and tries to discourage Laurens and Hamilton from the duel. Again he doesn’t agree with senseless or public displays of violence as was shown in “Farmer Refuted” despite being Lee’s second. He sees duels to be “dumb and immature” yet he seems to expect that Alexander once again neglects to listen to his advice. He doesn’t believe Lee should have to pay with his life for a few rude remarks made against Washington but Hamilton is too prideful to let it go and he only eggs Laurens on since he himself cannot take part in it directly. Yet another example of Alexander not following Burr’s advice and it backfiring on him as Washington discharges him.

After the war Burr and Hamilton both become lawyers and Hamilton quickly rises above Burr because of his “non-stop” attitude. We can see Burr’s growing frustration with Hamilton for believing that he is more intelligent or the “smartest in the room” and even though we know that Alexander IS very intelligent Burr’s annoyance is deserved as Hamilton has a superiority complex over him and an insufferable condescending attitude that would piss anyone off though some of his frustrations are also festering over years of petty rivalry. He also questions why Alexander always speaks his mind as he believes its a recipe for a disaster because since he keeps nothing secret his enemies will always have something to attack him with while at this point Burr has no enemies because of his amable and calm attitude about everything. He doesn’t stand for anything which while not being right ensures that he doesn’t have to fight anyone for anything. Then later when Hamilton approaches Burr for help with the Constitution, admitting Burr is a better lawyer than him he verbally attacks Burr about his attitude of “standing to the side” saying he doesn’t understand how after everything they’ve fought for, everything they’ve done he still remains stalled in place with no clear fighting drive, taking no stands.

Burr concedes again that he is simply biding his time watching how things go and waiting for his perfect opportunity. He’s trying to be safe by not letting people know what he’s against and what he’s for and playing cautious.

“The Room Where It Happens” is a HUGE turning point. When Burr asks Hamilton how he plans to get his debt plan through Hamilton says he’s going to take Burr’s “talk less smile more” advice. However there is a sinister glint to it. He says the words cynically with an unsettling tension. Where once he questioned what Burr would fall for he HIMSELF is losing his hold upon his strong ideals and because Jefferson and Madison are such fierce opponents he’s forced to use other methods rather than his own. Proving that while misguided in some instances Burr’s advice isn’t bad, but Alexander is only using it in this instance because it will get him what he wants which is almost a slap in the face as Burr knows Hamilton will only listen to what he has to say when its convenient for him. 

Additionally Burr is upset that the position of the Capitol is only being discussed by three people and that other representatives (like himself) are not present to help make the decision and that Hamilton is just going to sell out New York to get what he wants so he can keep winning. When Burr says “you got more than you gave” he is criticizing Hamilton’s manipulative tactics that he uses to achieve his goals, and Hamilton’s response is more or less “yeah, and?” In this instance Hamilton is immoral, he got what he wanted by being manipulative and by taking Burr’s advice and Burr is understandably upset because despite this Hamilton is still winning. Hamilton also doesn’t seem to care about playing fairly as long as he makes it to the top, he doesn’t even try to correct Burr’s accusation because he knows Burr is right but he doesn’t care about morals at this point he’s basically saying “look how far ahead i am compared to you.” and he doesn’t even try to justify his actions, he simply does not care because he got what he wanted, another example of his superiority complex and arrogance. In using Burr’s advice he’s hiding his intentions. 

And even as Alexander is taking Burr’s advice he says “you get nothing if you wait for it” he’s making fun of Burr’s policy of waiting for opportunities rather than acting on them. And then the chorus comes in rather aggressively asking Burr what he wants, almost like a reflection of Burr’s thoughts because while many have been busy contributing and pushing what exactly HAS he been doing? He feels increasingly more inferior to his colleagues and this only solidifies it further. If Burr is ever going to accomplish anything he’s going to have to figure out what he wants and he reveals that his “I want” is to get the glory of being a person in “the room where it happens” a metaphor for being someone in power who can make decisions and impacts. Unlike Hamilton however he expresses no strong beliefs or motivations that can help propel him in this want. This part of the song however also foreshadows Burr’s run for a Senate seat and eventually for president. 

In “Scyhluer Defeated” Burr finally takes Alexander’s advice where he runs for Senate and takes Phillip’s seat. Hamilton doesn’t understand how Burr even managed to get elected while not speaking out on any specific campaigns or openly campaigning while Burr’s retort is that people like him better than they like Hamilton. Hamilton also takes it personally while Burr defends that he is only seizing an opportunity, taking Alexander’s advice by not waiting for it, this is the second time he has done it and the second time he is receiving backlash for it. However this is also a self blow for Burr, he has no problem changing his political party just to get the position because he has no clear positions, beliefs, or ideals and it is the reason Hamilton doesn’t endorse him when he runs for President.

In “Washington On Your Side” Burr forms a tentative alliance with Madison and Jefferson under the “the enemy of my enemy is my friend” policy. All three of them have the same thing in common which is not liking Hamilton though Jefferson and Madison were already friends before this leaving Burr as a kind of outsider brought together with them only because of their mutual hate for Hamilton which continues into “We Know” finding joy in the fact that he can knock Alexander down a few pegs especially since Washington resigned and Jefferson is now vice president.

The Election of 1800 is when things start to spiral. Burr takes Alexander’s advice for a third time and it backfires on him. First he openly campaigns which surprises Alexander, Burr wants to be president so he’s taking an offensive stance but despite having some public support he still “talks less and smiles more” leaving no one knowing what he stands for which isn’t good if you’re really trying to win and as mentioned before because of this Hamilton endorses Jefferson instead of him because “Jefferson has beliefs, Burr has none” this is also the song where Burr snaps because his alliance with Jefferson and Madison is broken once they have gotten what they want and now Burr is left alone feeling angry and betrayed.

“Your Obedient Servant” is a song full of hatred and Burr not thinking clearly only choosing to be angry over his defeat, not understanding how Hamilton could endorse his enemy Jefferson believing it only to be because Hamilton didn’t want him to win. Burr says that every time he has tried anything Hamilton has been there to screw it up for him in some way. While Hamilton fires back that Burr’s own lacks of ideals and his passive attitude was his downfall. Burr is now the one taking it personally and he’s done being passive about it and when Hamilton tells him that he means everything he says and refuses to apologize Burr challenges him to a duel. He’s acting purely out of anger instead of reason, going against his own ideology of “waiting for it”. He’s acting like Hamilton despite every other time he has done so it has not worked out for him.

“The World Was Wide Enough” offers a tone shift. Burr isn’t thinking with his head he’s letting his jealousy, anger and years of festering hatred cloud his judgment. The election was essentially the straw that broke the camel’s back and now all of Burr’s careful calculation and passiveness is gone. And because of what he has seen thus far he believes Hamilton will also want to shoot him the way he wants to shoot him. The moment he sees Hamilton raise his pistol to the sky everything changes. Hamilton “throws away his shot”.

Burr screams out “wait” which has been his watch word the entire show and this is the very last time he says/sings it. Burr instantly regrets once he sees that Hamilton did not aim for him. But this time it is too late for Burr to “wait for it” it has already been done, he let his emotions rule him, in following Alexander’s opportunity to not “stand to the side” he has killed him, Hamilton’s own advice played part in his demise. After a lifetime of patience the one and only time Burr acts rashly he immediately regrets it and wishes he had not. In this moment they have switched roles, Hamilton hanging back and Burr charging forward and it ended in tragedy. Burr feels immediate remorse for what he has done even trying to approach Hamilton.

Burr also comments that because of what he has done he has painted as a villain in history without anyone taking into account what he went through that led up to this moment. He is not entirely without blame but neither is Alexander and he feels as though nobody ever touches on his side of the story to try and understand why he would act like this. And he is forced to pay for Alexander’s death with this villinization. Once he has adopted his own ideology again of calm and clarity he realizes his mistake, he has remorse and regret understanding that their petty rivalry did not have to end this way, that they both could have lived if only he hadn’t been so blind to let Hamilton get to him.

I don’t believe the world could have been wide enough for the both of them. When Hamilton succeeds Burr is left on the sideline and when Burr succeeds the same happens to Hamilton. They are painted as two sides of the same coin, two souls always in battle. And it would never have worked with the two of them ending up alive.

Burr was not a villain. One of the morals in the story is that Burr is not the monster that he is often portrayed as, he was human, and he acted as a human. He made a mistake and we don’t condone his murder of Hamilton but you can sympathize with him, understanding why he acted so rashly. 

Hamilton’s logic is flawed. While I am inclined to believe his ideology that you must speak up against the wrongs of the world and seize opportunities. You’ll notice that the one time Hamilton follows Burr’s advice in “The Room Where It Happens” he succeeds while the numerous times that Burr follows Hamilton it ends in disaster. In “The World Was Wide Enough” Hamilton has accepted his death because in “Best of Wives and Best of Women” it is heavily implied that Hamilton KNOWS Burr is going to shoot at him even if he aims for the sky, he’s already accepted his death so when he acts like Burr and “throws away his shot” and draws back its not negatively impacting Burr’s ideology because Hamilton already knew it was going to happen. 

Hamilton’s demise was his fault. You move to a new place, meet your idol and then proceed to ignore every piece of advice he gives you, take away every opportunity he wants, berate him, condescend him, sacrifice your own morals to win and then he shoots you. While Burr could have been more proactive in getting what he wants it is Hamilton’s constant cockiness that ends up getting him killed. As Burr warned him “Fools who run their mouths off wind up dead” And in the one instance where Hamilton followed Burr’s advice and succeeded if he had followed Burr’s advice in “talking less” he would still be alive, showing that while Burr’s logic might not be right morally for not taking any stances its smarter than Hamilton’s.

[jin-jamm-desu]

Hehehe I'm so glad I saw this when I diddd >:]]]]

Ty for replying to my ask, such deliciousness I had the biggest grin on my face lmao <<<3

Anyways, to add off of your transmasc geto hc's I want to give you mine. They're (not at all) loosely based off Hamilton, the musical, and I got idea to write about them when I did hc's for aroace transmasc Sukuna*.

They're a little less personally in-depth than yours but I feel like the vibe is the same. (I link it below for you <3)

*this one was based off the character analysis' by @thepersonperson

i saw that you posted (or reblogged tf if I remember) Geto w/ top surgery scars and now I want to hear you infodump to me about it because I'm all for this hc/au/crack crazy idea now

(I need to be asleep rn but idg2f's)

Youdont understand how insane I am about geto being trans. It makes sm sense 2 me with him constantly questioning his morality and allat is so me coded. As a trans person, u always gotta question why everything is, everything needs an answer. It's mostly 2 confirm and validate urself and the world around u. Another thing, didn't bro kill his parents? Js sayin....kinda a mood for trans characters.... even tho ik he ain't canonically trans I still think about it alot. I have alot of hc and ideas but for the most part I wanna keep em locked up for a fic I'm gonna write. Geto as a character is rply important 2 me, so I'll give him the highest honor I can bestow upon him

....

FAG SHIT.

Alr tho but on a real note, hcs i have relating 2 geto being trans is....

Geto had 2 work his ass of in his 1st year 2 rid of his dead name and being assigned 2 lady dorms and uniforms. The first person he told about being trans was yaga, and yaga being as based as he is helped him get reassigned 2 male and all things associated with it.

He's allowed 2 use male changing rooms and bathrooms no problem, but he still avoids using em at all costs. He changes in the men's room and not in the lockers, and he doesn't use the bathroom unless ABSOLUTELY NESSESARY.

He worked out alot alot 2 get the body he wanted, but I like 2 think that he's insecure about his waist being so snatched, so that's why he wears baggy pants. Best way 2 cover curves is baggy clothes and hard work.

Another thing

Gojo don't know he's trans. He's completely clueless. And yeah six eyes does alot and all that, but he can only see the flow of CE around the area and others. It's not like he has x ray vision and can see that geto don't have a dick. So, for the most part, geto is in the clear. Geto goes great lengths 2 avoid anything relating being shirtless or talking about his body when it comes 2 gojo. The 1st ine for obvious reasons and the second one in fear he'll say something that might give him away. He's clear since gojo doesn't have a lot of interest in working out or perving on people in the first place. It's not like gojo wants 2 see him naked or anything so yk.

Ofc at some point during 2nd year he told shoko about being trans only bc he forgot his pad and all the sudden it was THAT TIME OF THE MONTH. randomly in class it started but geto had totally forgot 2 prep and that he got periods in the first place. Shook didntcare and that didn't really suprised him, but he was still scared bc he thought "a pretty girl like shoko might be stuck up, and she's not one 2 soften up her opinion just because she's talking to a friend." (Objectively pretty girl = probably the most rude lady he'll ever face, and gojo also has this fear with women but times 10000)

I like 2 think that the higher ups are kinda bitches about the whole trans thing so they try and stop people from being able 2 have a smooth transition unless they have parental support. (Which for geto was awful but he alr had done all the shit before they started enforcing that rule. It didn't end up applying 2 him but it stressed him out a shit ton.)

He also prefers 2 deal with his injuries alone since it's easier for him 2 get undressed and deal with it himself without prying eyes. Gojo hates this since I like 2 think he wants 2 help geto with everything (in an annoying insufferable way).

Ok yap over lemme know if u wanna hear more hc. This is extremely unstructured yapping so none of this is in order dawg 🙏💀

[alittleoptimistic]

In the play Hamilton, the use of the word ‘Wait’ is used in a variety of ways, contrasting the extremes of taking verses waiting, the benefits and consequences of each. We see this in Hamilton’s refrain ‘just you Wait’ verses Burr’s ‘Wait for it’. The entire play is defined by two people whose entire lives revolve around how badly their lives turn out because they ‘took’ or because they ‘waited’ incorrectly. Hamilton’s statement ‘just you Wait’ implies making other people stand back while Hamilton takes from them or around them, making himself into something incredible at the expense of other people. Burr’s refrain ‘Wait for it’ implies never taking action but rather seeing everything happen and reacting accordingly. However, Burr is eventually not satisfied waiting because he wants to be ‘in the room where it happens’ so he adopts Hamilton’s tactic of ‘taking what he wants’. Hamilton is not getting what he wants just by taking, so he adopts burr’s tactic of ‘smiling more’ in order to get what he wants. However, they are both so entrenched in their original way of life that changing tactics only makes the situation worse, because their mindset does not actually change. Hamilton’s attempt to ‘smile more’ is not him realizing he needs to wait and allow a situation to develop naturally, but a new form of manipulating people into getting what he wants. Burr taking action by running for senator and then president is not him realizing he needs to take a stand, but a desperate attempt to get in ‘the room where it happens’ and to get back at Hamilton for always taking when Burr is doing the Right thing. Burr decides if everyone is going to play dirty, why shouldn’t he as well? Hamilton’s attempts at people pleasing, which he interprets as ‘waiting’ ends in the destruction of his political career, his marriage, and his son’s life. Burr’s attempts to Take ends in him taking Hamilton’s life. It is not until this final moment that the two of them realize the correct way to take and to give. Hamilton for the first time, Waits, having learned from his mistakes, and shoots at the sky, while Burr, too late to stop the bullet screams ‘Wait!’. This is the first time in his life Burr realizes he has been taking incorrectly, and that waiting is not about waiting for what other people do and responding accordingly, but living in a way that understands the world is ‘wide enough’ for both him and Hamilton. They can both exist at the same time, and do not need to be in a constant battle. In this essay I will-

[abeingofstories]

DUDE.

The first thing Burr says (not as narrator in Alexander Hamilton, but as character in Aaron Burr, Sir),

AH: Pardon me, are you Aaron Burr, sir?

AB: That depends. Who's asking?

"ARE YOU AARON BURR?" (WHO ARE YOU?)

"That depends. Who's asking."

Linnnnn, again with the chess. Clues, hints, details everywhereeeeeee. My fave kind of puzzle 🥰

[martini-drops]

Long analysis about Alexander and Eliza in Hamilton (musical) ahead.

Alexander Hamilton's character is so complex. There's never really knowing what it will take for him to finally reach a level of content; of relaxation and security regarding his place in the world, and yet it's understandable. His hunger for doing something significant in the world had been one of the main concepts in the musical— it wouldn't be a stretch to say it isn't too far from the truth either. It's easy to overcomplicate it and say he needs to take a chill pill. And yet, it's understandable.

He's spent majority of his childhood thinking all there was to his life was getting through each day, barely hanging onto the skin of his teeth. Going through so much devastation at such a young age leaves indefinite scars on people. Alexander went through a whole lot of it, to the point where his *self-preservation has completely disintegrated. Those experiences of his became a huge factor as to why his perception of himself and his value has been reduced to nothing. He wasn't capable of losing anything else anymore, so what was there to keep going for?

Until his second chance at having a life worth of something appears; he's given the chance to start anew in New York, and he aims to do exactly just that, which he actually did. His mind helped him get there. If it weren't for his intellect and brilliance, he would have spent the rest of his life thinking he would never *live past the age of twenty. Of course it's only natural that he relies on it a little too much— to an extremely unhealthy extent (or as Eliza had said, it became an obsession).

And then enters Eliza, the woman who Understands™. There's always been a little distinction between her and Angelica in terms of how Alexander attracted them, I guess. Angelica loved Alexander for his mind, while Eliza loved Alexander despite his mind. The difference is little, but the impact is massive.

Still, the part of Alexander that is unknowable remains unknowable. No one really understands this at first, and for one too many times he's been told to take a break by the people around him, Eliza as well. For everyone else, Alexander is a force to be reckoned with, fueled by his hunger to die being something, to be while he hasn't died yet. No one completely grasps what goes on in Alexander's mind. Everyone else has stopped trying to find out and carried on with their lives after some time.

Save for Eliza. She stops trying to figure out why Alexander is the way he is, instead she starts accepting the fact that she will never understand that part of him that yearns for so much. The first two pictures completely capture this certain aspect of their relationship.

And it just gets me each time. Those lines. It perfectly captures how Alexander will always have that desire inside of him, and Eliza understands that she will never understand how it feels— Which brings me back to what I said earlier: Eliza chose to love Alexander despite of his mind.

The three pictures that follow are a couple more references to Alexander's hunger. There's Eliza in That Would be Enough who acknowledges Alexander's complexity, and subtly resigns to the fact that she will always come second to this massive part of him. It sucks. It's completely different to the kind of love everyone has come to know. It wasn't supposed to be this powerless. It was supposed to conquer and all that. Then again, love comes in different forms for different people. It just so happened that this was how Alexander loved Eliza: by giving her the parts of him that he's grown to love and be confident about, strictly keeping the shameful pieces hidden until he's proven them worthy to be seen. Completely blinded by making himself worthy to the point that the idea of someone loving him despite the imperfections sounds so impossible— And this was how Eliza loved Alexander.

Then comes Angelica in Burn, who knows Alexander will never be satisfied with just being, in that time period. This makes her a lot more careful than Eliza, and it makes sense because Eliza married Alexander, not Angelica. She probably could have been in too deep, but she didn't. Judging by her character, she would have drawn the line where it's necessary. A far cry to Eliza's forgiving and understanding nature.

The last goes back to Eliza (still during Burn). And even with everything that Alexander has done up to that point, she doesn't sneer and spit venom at his "obsession," she only says these words from a place of hurt. Sure, no one really knows how she felt at that time, nor will we ever find out, but the musical version of their characters turned out like this. And it's just so fucking amazing.

I'm done geeking out. Do what you will with this, if you ever read it up until the end.

—

*self-preservation refers to Alexander's line about Aaron Burr in Ten Things, One Thing: “I never had his instinct for self-preservation.”

*live past the age of twenty in My Shot: “See, I never thought I’d live past twenty.”

[dearest-comma-angelica]

despite angelica and burr having similar personalities (logic driven, keep things close to their chests, and not being one to rush into things) angelica naturally resents him because he’s a man with opportunity that she’ll never have, and yet he does nothing with it

[booksplaysmoviesandmore]

Who Plays Aaron Burr From Hamilton And How It Affects the Character (And Why He’s A Fantastic Character)

I have had this post in mind since I watched the Hamilton tour last year. Aaron Burr was my favorite character when I had only heard the Original Broadway Cast Album, and after I saw the show I had a billion more feelings about him.

Before I get into the wonderful complexities of Aaron Burr, I wanted to reaffirm that this is an opinion piece! Feel free to disagree or comment!

Also, I feel like I must address the disdain some people have for Hamilton fans before I write this. I am in no way a radical Hamilton fan, and I have been a musical theatre fan since I was six years old. I know musical theatre like the back of my hand, and my praise for Hamilton is not blind to its flaws or solely because of its popularity or anything like that. I feel like many people criticize shows like Hamilton and Wicked and Next to Normal because they were the break out shows of their time, but there is a reason they are loved—they are good shows! There is no need to hate Hamilton just because it's mainstream or because people dislike the fanbase.

Additionally, this is solely focusing on the character Aaron Burr! I am a history geek (been an American history nerd since 5th grade), but I don’t really care for the real life Aaron Burr (for many, many reasons).

Nicholas Christopher was the first (and only) actor I saw portray Burr live, and Leslie Odom Jr. was obviously the first man I heard play Burr. I have also seen clips of Leslie portray Burr, and experiencing these two actors is what drew me to write this. So, lets compare the two, shall we?

Leslie Odom Jr.

Leslie’s Burr is what made me fall in love with the character. “The Room Where It Happens” is my favorite song from the soundtrack because it encapsulates everything perfect about Burr’s character. It shows what Burr truly wants more than anything in the world, and from “Wait For It” we assume that he is not like Hamilton—he isn’t going to chase after what he wants recklessly. By the end of “The Room Where It Happens”, however, the song’s tone shifts. Leslie’s Burr has always sounded cold and calculated, but as soon as Hamilton exclaims what will he fall for and Burr lets out a singular “I...”, you know that he has finally become the villain. “The Room Where It Happens” is a transformation song in which Burr goes from being a man who stands by his own beliefs to a man who decides to be more like Hamilton, this ultimately what undoes him. As Burr says later in “The Election if 1800″, “And you know what? I learned that from you”. Leslie’s Burr is undoubtedly the villain in the context of Hamilton, and the Burr’s character development and fall into villainy is fabulously done in the Original Broadway Cast. But what about the Tour?

Nicholas Christopher

Nicholas Christopher’s Burr is undoubtedly different from Leslie’s. In fact, when I first saw him act at the beginning of “Aaron Burr, Sir”, I thought for sure I wouldn’t like his portrayal. I was so enamored by Leslie’s cold and calculated Burr that I was disappointed by Nicholas’ Burr. His Burr was portrayed as, to sum it up in one word, a loser. He was cowardly, not calculated, and I thought that this would mess up the development of “The Room Where It Happens”. I didn’t know that by the end of the show, I would love Nicholas’ acting choices.

During intermission, my older sister (who barely heard anything about the show before watching it) said that she liked Burr and felt bad for him. I was surprised, since Leslie’s Burr was never much of a sympathetic figure. But when Burr was shown as a loser who always seemed to fall behind Hamilton despite just wanting to succeed, he became more of an underdog. I wondered where this would go.

“The Room Where It Happens” answered this for me. The transformation of Burr was different from Leslie’s in that Burr was not becoming a villain by adopting Hamilton’s ambition, rather he was just trying to get what he wants. His climactic “I...” that I mentioned before was not sinister, but fearful. He shrunk into himself as he sang alone on the stage, spotlight on him, because he was in unknown territory. Later, when he says “And you know what? I learned that from you”, it’s genuinely kind, as if Burr is actually thanking Hamilton (whereas Leslie’s is much more jarring and threatening). By the end of the show, my sister actually asked if Hamilton was supposed to be the hero of the story, because she did not sympathize with him at all and instead cared more about Burr (and Eliza, she loved Eliza). I was shocked, but at the same time agreed. Burr was played so differently, and as a result was no longer the astounding villain I loved, but a somewhat sympathetic figure.

Conclusion

Burr will always be one of my favorite musical characters because he is so complex. Many characters can be played differently for different effects, but I have seen none as story-altering as him (Eliza, for example, was played much more powerful in the tour cast in my opinion, but this did not change the narrative). His transformation to a villain can be seen as inevitable and unsympathetic, like with Leslie, or tragic, like with Nicholas. Either way, he is a beautifully constructed character that I will never stop jamming to.

[tonystarkstan]

Is it just me or does the song “Hurricane” from Hamilton have Big Tony Stark Energy?

Hear me out:

“I didn’t drown / I couldn’t seem to die”

It didn’t matter how much Tony was tortured, didn’t matter how injured and messed up he was. He didn’t die.

“I wrote my way out.”

In every way that Hamilton wrote his way out of sticky, desolate situations, Tony used his intellect and ingenuity to build himself a way out. The arc reactor, the Iron Man suit - all of it.

“And in the face of ignorance and resistance / I wrote financial systems into existence.”

Tony experienced so much resistance and ridicule when he told the world he was going to completely stop producing and selling weapons, especially from his mentor. He was told that he was making a mistake, that he’d come to regret it. But even so, he worked towards bettering his suit and finding a cleaner, more sustainable source of renewable energy.

“And when my prayers to God were met with indifference / I picked up a pen, I wrote my own deliverance.”

This is not only my favorite line in the entire musical, but it practically screams of Tony Stark. I don’t know anything about Tony’s religion or spirituality, but I headcanon him as being someone who maybe used to believe but kept getting let down over and over again? And then, one day, he realized he has the power to save himself, and that’s when everything changed for him.

Also, both Tony and Hamilton lost their parents at relatively young ages, having to adapt to being on their own very quickly. For Hamilton, it was trying to get from the bottom to the top. And for Tony, it was trying to stay at the top and shoulder the burden of Stark Industries. “I looked up and the town had its eyes on me.” They were all watching him.

I’m not sure what Tony’s stance on legacy is, and I certainly don’t think he is as hyperfixated on it as Hamilton was. But the point is that both of them made these huge, revolutionary strides that ultimately made a lasting mark on their country/world. They both did/are going to leave these plentiful gardens from seeds they planted in the world.

Tony and Hamilton are both extremely intelligent men, who were rather arrogant and even bordered on ignorant at times, but they always had this underlying self-deprecation. They do and did what they felt like they had to do for their people. Both men were pulled from the lowest of lows and ended up on top of the world, even if only briefly.

And for both of them, their quick wit and snarky remarks often got them into trouble with authority. Neither of them did well with being told what to do. And while I’d never want to equate Steve with Burr, because they’re not the same at all, it’s interesting to me that both Steve and Burr had these on and off friendship/rivalries with Tony and Hamilton respectively. In fact, just as Burr killed Hamilton, Steve nearly killed Tony. Neither of them were or will ever be able to live that down.

Another thing is that I feel like Pepper and Eliza are very similar? Both are extremely capable, independent woman who stuck by the sides of genius, stubborn men, who often brushed them aside for work. Both women, at one point, got fed up with being treated in such a way and eventually left, only to come back. (I think. I’ve only seen most of the MCU movies once, so I’m shaky on Iron Man.) Neither Hamilton nor Tony would be quite where they are/got had it not been for their significant other.

Anywho, thanks for coming to my TED Talk.