Monthly Archives: August 2022

Multiple realities(covers information from several alternate timelines)

Eugenics Wars

"Superior ability breeds superior ambition."

The Eugenics Wars (or the Great Wars) were a series of conflicts fought on Earth between 1992 and 1996, and during the 21st century (aka as the Eugenic War, Second Civil War and World War III). (SNW: "Strange New Worlds") The result of a scientific attempt to improve the Human race through selective breeding and genetic engineering, the wars devastated parts of Earth, by some estimates officially causing some thirty million deaths, and nearly plunging the planet into a new Dark Age. (TOS: "Space Seed"; ENT: "Borderland")

The script of "Borderland" stated forthrightly, "The Eugenics Wars are a dark subject."

Records from this period are fragmented, but what is known is that the wars' roots lie in a group of Human scientists' ambitious attempt to improve the race through selective breeding and genetic engineering. They created a race of "supermen," popularly known as the Augments, who were mentally and physically superior to ordinary men and women. They were five times stronger than the average person, their lung efficiency was fifty percent better than normal, and their intelligence was double that of normal Humans. They also had enhanced senses, including an ability to hear beyond that of Human capabilities. (TOS: "Space Seed"; ENT: "Borderland", "Cold Station 12")

The Augments were created by the scientists in the 1950s Cold War era in the hopes that they would lead Humanity into an era of peace in a world that had only known war. (Star Trek Into Darkness) One aspect these scientists overlooked was the personality of the Augments. Along with their superior abilities, the Augments were aggressive and arrogant, flaws which the scientists were unable to correct at the time due to the infancy of the science. One of the Augments' creators realized the error, writing that "superior ability breeds superior ambition." That same scientist was ultimately killed by one of his own creations. (TOS: "Space Seed"; ENT: "Cold Station 12", "The Augments")

Khan Noonien Singh in the 1990s

The Augments rose to power and held dominance over a large portion of Humanity, beginning in the early 1990s. Among the most notorious of these superhuman conquerors was Khan Noonien Singh, who in 1992 became the "absolute ruler" of more than a quarter of the planet, from Asia through the Middle East. (TOS: "Space Seed")

The following year, a group of fellow "supermen" followed in Khan's footsteps, and simultaneously seized power in over forty nations. The people of these conquered nations, in most cases, were treated as little more than slaves by the Augments. Khan considered himself "a prince, with power over millions". It was unknown how he viewed or treated those under his rule, although they had very little freedom. Unlike the other Augment despots, however, Khan's reign had enjoyed peace. The people were not massacred, and Khan avoided war until his region was attacked. Khan considered himself a benign dictator or one who led by a form of "gentle authoritarianism", as such he was thus among the most admired of the so-called "tyrants" into the 23rd century, being called the "best of the tyrants" by James T. Kirk. (TOS: "Space Seed"; Star Trek II: The Wrath of Khan; ENT: "Borderland")

Reports as to exactly how the wars began vary; some claim that Humanity rose up against Khan and his fellow "supermen," while others believe the Augments began to fight among themselves. Regardless of their origin, two factors were certain: the Eugenics Wars had a devastating impact on Earth, as entire populations were bombed out of existence, and that humanity had ultimately deposed the Augments. (ENT: "Cold Station 12"; TOS: "Space Seed")

Among the areas affected by the wars was North Africa. One conflict that occurred there involved a battalion of soldiers that included the future great-grandfather of Starfleet Captain Jonathan Archer. In this encounter, Archer's great-grandfather was able to convince the Augment commander of his enemy's forces to hold their fire long enough to evacuate a school that was directly between them. Some or all parts of that account may be non-factual as Archer was evidently in an altered state of mind around the time he disclosed it. (ENT: "Hatchery")

The Augments were eventually defeated by Humans who were not genetically enhanced. Khan was the last of the tyrants to be overthrown, in 1996. Khan and over eighty of the "supermen" were condemned to die as war criminals. They however went unaccounted for, a fact the governments of the time did not disclose to the public in order to prevent panic. Rumors were later confirmed in the 23rd century that Khan and 84 of his followers had managed to flee the planet aboard an early sleeper ship, the SS Botany Bay. (TOS: "Space Seed"; Star Trek II: The Wrath of Khan; Star Trek Into Darkness)

The official number of casualties from the wars was placed at 30 million, although some historians believed it to be closer to 35 million, with another figure established as being 37 million. Although the wars may have ended, Humanity's fear of genetically-engineered beings remained well into the 24th century. (ENT: "Cold Station 12"; TOS: "Bread and Circuses"; DS9: "Doctor Bashir, I Presume")

Following the wars, controversial debates ensued between Earth's governments regarding the fate of thousands of Augment embryos. Uncertain of how to handle the issue, the governments opted to have the embryos placed into cold storage. This fact was also kept from public knowledge. The issue of genetic manipulation and Human genome enhancement continued to plague Earth well into the 21st century. In 2024, Doctor Adam Soong began examining an old file from 1996, which was called "Project Khan." This was no doubt a project masterminded by scientists who had the intention of making augments similar to Khan, who disappeared in 1996. Presumably, Adam Soong went forward with that project sometime after 2024. this would have been around the time of the Second Civil War, which eventually became another Eugenics War that in time escalated into what was known as the Third World War. (ENT: "Borderland", "Cold Station 12", "In a Mirror, Darkly, Part II" historical archive; TOS: "Space Seed"; PIC: "Farewell"; SNW: "Strange New Worlds")

As both conflicts were fought over the issue of genetic manipulation, this suggests the Eugenics Wars were regarded as the initial cause and prelude for the Third World War, much like how the Second World War is often seen as a result of the First.

Doctor Keniclius

Soong and the Augment embryos

Genetic engineering of Humans was ultimately banned on Earth, as the concept was considered anti-Humanistic by Earth leaders. As a result of this, Doctor Stavos Keniclius was exiled from his community, which eventually led him to depart Earth permanently. The ban was placed primarily as an attempt to prevent another event like the Eugenics Wars, and to ensure that Humanity did not endure the wrath of another Khan Noonien Singh-type tyrant. (TAS: "The Infinite Vulcan"; DS9: "Doctor Bashir, I Presume", "Statistical Probabilities")

The ban on genetic engineering was challenged by the geneticist Arik Soong in the 2130s, when he stole some of the Augment embryos left over from the wars which were being stored at Cold Station 12. Soong believed that genetic engineering was the key to improving Humankind and preventing illness, and that it should be given another chance. By raising the Augments himself, Soong believed he could prevent them from behaving like their brethren from the Eugenics Wars. His plan failed as the aggressive nature of the Augments dominated, and they threatened to incite war and cause mass murder. Starfleet's mission to hunt down and capture the renegade "supermen" ultimately led to the destruction of the Augments, as well as most of the embryos. (ENT: "Borderland", "Cold Station 12", "The Augments")

Not all of the embryos were destroyed, though. Some found their way into the hands of Klingons who, believing Humans were improving themselves in order to conquer the Klingon Empire, attempted to use the DNA from the embryos to enhance themselves. The end result was a mutation of a highly-contagious virus that caused massive changes in physical appearance, biological structure, and even basic personality traits of large portions of the Klingon race. (ENT: "Affliction", "Divergence")

The continued banning of genetic engineering ultimately became a point of contention between the Federation and the Illyrian race. Since the Illyrians were known for using genetic modification within its members, Illyrians were usually barred from entering service into Starfleet and even use of their medical technology became banned within the Federation. The mixing of Human and Illyrian blood was similarly banned. (SNW: "Ghosts of Illyria")

In the 2260s, after the Enterprise encountered a spaceship from the 1990s, Spock described the mid-1990s as the era of the Human crew's "last so-called world war", which was affirmed by Doctor Leonard McCoy to be the Eugenics Wars. (TOS: "Space Seed")

In "Space Seed" the "supermen" of the Eugenics Wars were said to be the products of selective breeding; this was later retconned into genetic engineering.

Both "Space Seed" and Star Trek II: The Wrath of Khan give the dating of the Eugenics Wars as the 1990s. At one point during that decade in reality, Ronald D. Moore and Ren Echevarria had a discussion in which they observed it as odd that the Eugenics Wars seemed to basically be the only evidence of genetic engineering in Star Trek. "It's virtually never discussed, aside from the fact that there was this thing called the Eugenics Wars at some point, and Khan came out of it," stated Moore. (Star Trek: Deep Space Nine Companion(p. 431)) Consequently, while writing DS9 Season 5 installment "Doctor Bashir, I Presume", Moore focused on the idea that the Eugenics Wars had motivated the Federation into deciding not to meddle with genetic engineering. (Cinefantastique, Vol. 29, Nos. 6/7, p. 49)

In contrast to the Eugenics Wars having previously been established as taking place in the 1990s, "Doctor Bashir, I Presume", set in 2373, references the Eugenics Wars as having occurred two centuries prior to the episode, placing the Wars in the late 22nd century. As Ronald D. Moore later admitted, this statement was a production error, a line he had taken from The Wrath of Khan, but he had accidentally forgotten to account for the episode being set a century later than the film. (AOL chat, 1997) Confessed Moore, "It was simply a mistake. The date of the Eugenics Wars is something that we have been studiously trying not to pin ourselves down about, because obviously they aren't happening around as we speak [....] What looked like the distant future in 1967 is not so distant any more. I don't blame them for not having the foresight to see that in 30 years this would become important in the series." A production staffer from Star Trek: Voyager suggested the date had deliberately been changed on DS9 to account for the Eugenics Wars having not been mentioned in the "Future's End" two-parter. Moore flatly rejected that theory and responded, "We never talked to Voyager about it." (Cinefantastique, Vol. 29, Nos. 6/7, p. 50)

The original dating of the Eugenics Wars was reaffirmed by Phlox stating in "Borderland" that Arik Soong's Augments were pretty sophisticated for 20th century genetics. Phlox later mentions to the Klingons that genetic engineering on Earth was "banned decades ago," suggesting that the ban was not necessarily adopted by Humans immediately after the Eugenics Wars.

Manny Coto was a fan of this series of conflicts. "I was always fascinated by this idea of this Eugenics Wars," he commented. "I love the backstory of that story. I just found that just compelling, the idea that it was instigated by these genetically superior individuals." ("Inside the Roddenberry Vault, Part I", Star Trek: The Original Series - The Roddenberry Vault special features)

In "Space Seed", Spock describes the mid-1990s as "the era of your last so-called world war," with Leonard McCoy directly referencing the Eugenics Wars in response, suggesting this conflict could be World War III. In TOS: "Bread and Circuses", Spock states that thirty-seven million people died in World War III consistent with Phlox's assertion that over thirty million died in the Eugenics Wars (again connecting World War III and the Eugenics Wars) but not Riker's claim that six hundred million died in the nuclear conflict in Star Trek: First Contact, and again repeated by Burnham in "New Eden". As Spock was speaking in the context of despotism, and what constitutes despotic "responsibility" is open to interpretation, his statement may not give the total death count.

In TNG: "Up The Long Ladder", Data states that Humans were still recovering from the effects of World War III in the early 22nd century. This statement makes more sense within the context of a mid 21st century war than that of a late 20th century war, suggesting that World War III and the Eugenics Wars are not the same conflict, as confirmed in Star Trek: First Contact.

According to show runners, Spock was wrong and that Eugenics Wars happened much later during 21st century. Terry Matalas: "We discussed endlessly. We came to the conclusion that in WW3 there were several EMP bursts that kicked everyone back decades. Records of that 75 year period, the 90s on were sketchy. Maybe Spock was wrong?" In response Khan's own references to the 1996 date, that they simply have be ignored to make the series more relatable to the present; "No easy way to do it if you want the past to look and feel like today. Maybe because in 1967 they didn't anticipate the show still going for another 6 decades." Aaron J. Waltke added: "There's also the ripples of the Temporal Cold War shifting the Prime Timeline in Enterprise at least until the Temporal Accords put an end to that wibbly wobbliness." [1]

The Star Trek: The Eugenics Wars books portray a different view on the Eugenics Wars as being a more covert hidden battle between the genetically engineered "supermen" rather than an overt one in an attempt to marry the original dates of the Eugenics Wars with the events of the present day. This explains why the United States of America is seen as relatively unaffected in the episode "Future's End" and also raises the quite logical hypothesis that Gary Seven, who was present on Earth at the time of Khan's birth and would have known of the eugenics movement, was involved in the overthrow of Khan and the other tyrants. Numerous 20th century Trek characters appear in the story, including Rain Robinson (who at the end of the second book becomes Roberta Lincoln's assistant), Ralph Offenhouse (an early financial backer of the genetic engineering program), Clare Raymond (her death is not an embolism but collateral damage from a nerve gas attack, Khan's assassination of Vasily Hunyadi, the fellow Augment secretly behind the Balkan conflicts of the early 1990s), Gillian Taylor, Flint (as "Wilson Evergreen"), and Jeff, who designed the Botany Bay with Shannon O'Donnel and Walter Nichols involved in the project primarily with technology reverse-engineered from Quark's Treasure.

In the Star Trek: Khan comic book series associated with the alternate reality, the creative team went with a portrayal of the wars as being an open conflict that outright affected the whole planet. The depiction of the wars however was filtered through the lens of Khan telling his own version of the events to a Federation court. As such, the series frequently cast doubt on how much of the events he depicted were actually true to his memory and how much of it was perhaps Khan simply spinning a fanciful version that would garner him sympathy with those present to hear his words.

In "The Rules of War", a short story from the anthology Strange New Worlds 9, the enemy commander whom Archer's great-grandfather Nathan Archer negotiated with in North Africa is Stavos Keniclius.

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Eugenics Wars | Memory Alpha | Fandom

The new three-part documentary The U.S. and the Holocaustdirected by Burns, Lynn Novick and Sarah Botstein and written by Geoffrey C. Wardsheds light on how the American people grappled with one of the greatest atrocities of the 20th century and the humanitarian crisis that followed and how this struggle tested the principles of our democracy. The U.S. and the Holocaust airs Sunday (9/18), Monday (9/19) and Tuesday (9/20) at 8pm on GBH 2.

The idea about making a film specifically about the Holocaust started to take shape after Burns, Novick and Botstein produced The War, a seven-part PBS miniseries released in 2007. Also written by Ward, that film recounted life during World War II as told by residents from four communities across America.

After The War came out, people came up to us and asked us questions that were familiar and recurring, Burns said, including why more than 900 Jewish refugees aboard the MS St. Louis were denied entry to the U.S. in 1939 and why the Allies didnt bomb Auschwitz. It made us want to delve into it more deeply, he said.

And then, very coincidentally, the U.S. Holocaust Memorial Museum in Washington, D.C., approached us. They were just launching an exhibition called Americans and the Holocaust filtered through the eyes of the United States, he said.

The filmmakers worked in cooperation with the museum and scholars to refine the story. Combining the first-person accounts of Holocaust witnesses and survivors and interviews with leading historians and writers, the film dispels competing myths that Americans either were ignorant of the unspeakable persecution that Jews and other targeted minorities faced in Europe or that they looked on with callous indifference.

It also explores the historical record of Charles Lindbergh and Henry FordAmerican heroes at the time but among the most vocal antisemites. Also noted was Madison Grant, a well-known conservationist who helped save the Redwoods in California but was a major proponent of eugenics, a pseudoscience that promoted the propagation of a superior White race through genetics.

Other prominent historical figures include Franklin D. Roosevelt, Dorothy Thompson, Rabbi Stephen Wise, as well as Anne Frank and her family, who applied for but failed to obtain visas to the U.S. before they went into hiding. This unexpected aspect of the Franks story underscores an American connection to the Holocaust that will be new to many viewers.

Although 200,000 Jews eventually found refuge in the United States, many more were rejected. I realized that this is a story of all the missing human beingswho mostly do not have names, who do not have relatives to save their memories because, in many cases, entire families were wiped out, Burns said.

I can tell you that I have never cried once when I have read narration. But reading narration for The U.S. and the Holocaust was different for the Academy Award-winning executive producer. I broke down at all these unusual places, he said.

We plowed ahead for a long time, not really realizing how much it would affect us all, Burns said. The way I would describe this is that I will never work on a more important film than this one.

And while many Americans remained detached from the genocide that was taking place a world away, others responded by denouncing the Nazis, marching in protest and boycotting German goods. Some Americans even performed heroic acts to save individual Jews and stood up to Nazism at home and abroad.

We have told a very complicated and dark story punctuated by hopeful bits of light and heroism, he said.

And the story is still relevant today. The U.S. and the Holocaust tackles a range of issues that remain essential to our society, including how racism influences policies related to immigration and refugees as well as how governments and people respond to the rise of authoritarian states that manipulate history and facts to consolidate power.

This film is usall of usat our worst, Burns said. We have an obligation as human beings to be better.

See a preview and learn more here.

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Behind the Scenes: The U.S. and the Holocaust - GBH News

In April, Netflix announced that, for the first time ever, its number of paid subscribers had dropped. In August, HBO Maxpreviously known for sheer show budget sizeannounced that it would be pulling 36 titles from its streaming platform in one week alone. (This followed the news of the upcoming merger between HBO Max and Discovery+.) Talk of the precariousness of the streaming bubble has simmered all year, but a hearty slate of offerings persists to keep you entertained this fall.

Amazons The Rings of Powerthe most expensive TV show ever madewill hit small screens around the country with a dose of Lord of the Rings lore on Friday. Star Wars: Andor will arrive on Disney+ in late September, bringing with it a star turn by Diego Luna in an epic about Star Wars intelligence officer Cassian Andor. The highly anticipated HBO drama from the creator of Euphoria, The Idol, stars Lily-Rose Depp and singer-songwriter The Weeknd in a twisted tale about romantic awakening.

On the less traditional side, the Spanglish cult favorite Los Espookys returns to HBO Max on Sept. 16, promising to be more espookier than before with more hilariously fabricated horror. In the meta-comedy Reboot, which releases Sept. 20, Hulu tries to reunite the cast (Keegan-Michael Key, Judy Greer, Johnny Knoxville) of a fictional, dysfunctional early 2000s sitcom. And Entergalactic on Netflix bears the artistic fingerprints of musician Kid Cudi and Black-ish creator Kenya Barris in an animated project out Sept. 30.

Sept. 2 on Prime Video

The long-awaited fantasy series, based on J.R.R. Tolkiens Lord of the Rings, takes place thousands of years before Lord of the Rings or its prequel, The Hobbit, in the Second Age of Middle-earth.

Sept. 8 on Hulu

Katie and Stefan fell in love at a weddingeven though Katie already had a fianc. Now, Katies getting marrieduntil her new husband and his whole family are murdered. Who did it?

Sept. 8 on Peacock

When the world begins to run out of oil, the Yeats family is separated: petro-chemist Andy is in the Middle East, his wife, Elena, and young son, Sam, are in Paris, and his teenage daughter, Laura, is alone in London. The five-episode drama follows them in their desperate quest to reunite.

Sept. 9 on Showtime

Jon Bernthal stars as Julian Kayealso the protagonist of the original 1980 film by the same namein this drama about a sex worker who was framed for murder.

Sept. 11 on Fox

The Roman family has established a country music dynasty, from the king and queen of the genre, Albie and Dottie Cantrell Roman, to the heir to the throne, Nicolette Nicky Roman, and her brother Luke and sister Gigi.

Sept. 12 on Fox

Jennifer Hudson, who picked up a Tony Award in June for her work on A Strange Loop, will now have her own daytime talk show, which will include music, celebrity interviews, viral sensations, community heroes, and topical stories.

Sept. 18 on PBS

This three-part documentary, directed and produced by Ken Burns, delves into the rise of Hitler and Nazism through the lenses of international antisemitism and racism, eugenics and immigration in the U.S., and race laws in the American South.

Sept. 20 on Hulu

In this meta comedy, Hulu reboots a fictional early 2000s family sitcom, Step Right Up!, and mayhemand a healthy dose of dysfunctionalityensue.

Sept. 21 on Disney+

Diego Luna stars in this Star Wars backstory as Cassian Andor, an intelligence officer whose personal journey brings him closer to becoming a rebel hero.

Sept. 30 on Netflix

Rapper Kid Cudi collaborates with Black-ish creator Kenya Barris to build an animated world inspired in part by Spider-Man: Into the Spider-Verse and Insecure.

Oct. 2 on AMC+

In 1910 New Orleans, Louis de Pointe du Lac became a vampire, turned by vampire Lestat du Lioncourt. Flash forward to the present day, and Louis is telling his story to a renowned journalist.

Oct. 10 on Netflix

Based on the series by Christopher Pike, the eight members of the Midnight Club meet every night at midnight in a mysterious manor to tell scary storiesand to hunt for the supernatural.

October 21 on Netflix

Zoe Saldaa leads this romantic drama as Amahle Amy Wheeler, who meets the Sicilian chef of her dreams in Florence. What happens when they translate their lives back to Los Angeles in another story.

Oct. 25 on Netflix

Oscar-winning filmmaker Guillermo del Toro created this eight-episode horror anthology, directed by the directors of Mandy, The Empty Man, Splice, The Babadook, The Vigil, Twilight, Hannibal, and A Girl Walks Home Alone at Night.

Nov. 13 on Paramount+

Sylvester Stallone is back, starring as Dwight The General Manfredi, a New York mafia boss freed from prison after a quarter century and consigned to Tulsa, Okla.

Nov. 22 on Hulu

Somen Steve Banerjee (Kumail Nanjiani), an Indian immigrant, founds the worlds greatest male stripping empire in this true crime saga.

This November on Prime Video

An English woman and a Native American man share a deeply intertwined pastbut they dont realize it yet. In the meantime, they tackle the barren expanse of the wild West together.

This fall on Prime Video

From the creators of Westworld (Jonathan Nolan and Lisa Joy) comes another sci-fi drama thriller series, this one based on the 2014 book of the same name written by William Gibson, and starring Jack Reynor and Chlo Grace Moretz.

This fall on FX

Perhaps lesser known than hip-hop icon Tupac Shakur himself is the fact that both of his parents were political activists and Black Panther Party members. This five-part series delves into the relationship between Tupac and his mother, activist Afeni Shakur.

This fall on Peacock

David E. Kelley, creator of countless shows, from M.D. to Nine Perfect Strangers, is back with a crime drama, which follows NYPD detective Avraham Avraham (Jeff Wilbusch) and his faith in humanity.

This fall on HBO

Euphoria creator Sam Levinson and singer The Weeknd have teamed up on what the trailer dubs the sleaziest love story in all of Hollywood, starring Lily-Rose Depp and The Weeknd himself.

This fall on Netflix

Jenna Ortega stars as Wednesday Adams, the only daughter of the moody Adams Family, in this comedy horror series directed by Tim Burton.

Sept. 14 on Hulu

After the Supreme Court overruled Roe v. Wade in June, eyes have turned to the upcoming fifth season of The Handmaids Tale, in which a fundamentalist regime views women as property of the state.

Sept. 16 on HBO

The long-awaited second season of the oddball comedy arrrives this fall with more fabricated horror hijinks and a hearty serving of deadpan satire.

Nov. 13 on Paramount+

Kevin Costner leads this wildly popular neo-Western, which drew in a whopping 15 million viewers to its season 4 finale.

November on Netflix

Two whole years later, The Crown will come back with more than enough royal drama to go aroundthis time featuring Elizabeth Debicki as Princess Diana.

This fall on HBO

Armando Iannuccis darkly funny twist on outer space might be on its last trip around the sun, but that wont stop it from returning with profane gusto.

This fall on HBO Max

Kimberly, Bela, Leighton, and Whitney are back and better than ever at Essex College, where financial struggles, relationship woes, and college comedy groups persist.

This fall on Apple TV+

Workplace drama meets gamer comedy in this show about a fictional video game studionow down two core members after the dramatic season 2 finale.

Sept. 6 on OWN

This epic saga, created by executive producer Ava DuVernay, has followed the Bordelon family in rural Louisiana through their fathers recent death and their subsequent inheritance of his sugarcane farm.

Sept. 8 on Paramount+

The final season of The Good Fight, a spin-off and standalone sequel to The Good Wife, sees its protagonist, Diane (Christine Baranski), feeling full of melancholy and dj vu.

Sept. 15 on FX

In its fourth and final season, Donald Glovers comedy-drama follows its characters back home to Atlanta after a season in Europe in a homecoming of sortsand a fond farewell to the city.

More Must-Read Stories From TIME

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The 32 Most Anticipated TV Shows of Fall 2022 - TIME

Boston public media producer GBH and the Boston Symphony Orchestra will host THE U.S. AND THE HOLOCAUST: An Evening with Ken Burns, Lynn Novick, and Sarah Botstein on Monday, September 12, 2022 at 7 p.m. at Symphony Hall, Boston.

This special event is being presented in connection with the release of THE U.S. AND THE HOLOCAUST, a new three-part documentary directed and produced by Ken Burns, Lynn Novick, and Sarah Botstein. The film explores America's response to one of the greatest humanitarian crises in history.

THE U.S. AND THE HOLOCAUST: An Evening with Ken Burns, Lynn Novick, and Sarah Botstein will feature clips from the film, followed by a behind-the-scenes conversation with the filmmakers. Music from the film will be performed live by musicians Kyle Sanna and Johnny Gandelsman, who performed the music in the documentary. The discussion will be moderated by Pam Johnston, general manager of GBH News. Tickets are $15-$25 and are available now at bso.org/events and at the box office at Symphony Hall, Boston.

Inspired in part by the United States Holocaust Memorial Museum's "Americans and the Holocaust" exhibition and supported by its historical resources, THE U.S. AND THE HOLOCAUST examines the rise of Hitler and Nazism in Germany in the context of global antisemitism and racism, the eugenics movement in the United States, and race laws in the American South.

The film features interviews with some of the country's leading scholars on the period, including Daniel Greene, Rebecca Erbelding, Peter Hayes, Deborah Lipstadt, Daniel Mendelsohn, Daniel Okrent, Nell Irvin Painter, Mae Ngai, and Timothy Snyder. On-camera witnesses include Susan Hilsenrath Warsinger, Eva Geiringer [Schloss], Joseph Hilsenrath, Marlene Mendelsohn, Sol Messinger, and Guy Stern, who recently turned 100 years old.

THE U.S. AND THE HOLOCAUST will air September 18, 19, and 20, at 8-10 p.m. ET on GBH 2, PBS.org, and the PBS Video app. Funding for THE U.S. AND THE HOLOCAUST was provided by Bank of America; David M. Rubenstein; the Park Foundation; the Judy and Peter Blum Kovler Foundation; Gilbert S. Omenn and Martha A.Darling; The Arthur Vining Davis Foundations; and by members of The Better Angels Society. Funding was also provided by the Corporation for Public Broadcasting and by public television viewers.

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BSO and GBH Host 'An Evening With Ken Burns, Lynn Novick, And Sarah Botstein' at Symphony Hall Next Month - Broadway World