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I keep thinking about how both Hamilton & Mrs. America offer a uniquely effective artistic model for political art. Take a lesser-known figure who is the linchpin of a revolutionary structural dispute—
Could be a villain, like Phyllis, or a flawed hero, like Hamilton... then exploit that odd premise to pivot out to a broader, richer ensemble portrait of real-life figures debating their way through the crisis. If you do it well, you skirt the cheesy glowing-biopic cliches...
But also, avoid the pedantry of a preachy manifesto, while still dramatizing the grandest ideals & conflict of the period, and if you do it well, it illuminates the structural moment that made change hard to achieve, instead of just A Person.
