Aunt Harriet's Lament

Madge Blake as Aunt Harriet

Not long after I first set foot in Stately Wayne Manor, I knew Bruce Wayne, the guardian of my orphaned nephew Dick Grayson, was in reality Batman, the scourge of crime and Dick was indeed his youthful  associate Robin the Boy Wonder. Did they think I was stupid or something? At least once a week, Alfred the butler would pull Bruce aside, often in my presence, and inform him in a stage whisper, "It's the Bat-phone, sir." Did they think I was deaf as well as blind? Then he and Dick would offer some lame excuse about fishing or bird watching and charge off into the study and disappear for days on end. Did they think I wouldn't notice they never took a car on their expeditions? The few times I encountered Batman, I recognized Bruce's voice and his distinctive chin through the cowl.

Of course, I never let on that I knew. It would endanger me and spoil the boys' fun as well as jeopardize the safety of Gotham City and indeed the world. On many occasions, the Caped Crusaders prevented global catastrophe. So I just played along, acting the dithering clueless aunt. 

I entered Bruce and Dick's lives when my niece and her no-good acrobat husband died in a circus accident. Dick is actually my great-nephew. His mother was shunned from the family when she joined the disgusting profession of trapeze artistry. No one in our family has ever been associated with the degrading profession of show biz, let alone the even lower realm of the circus. But Dick is my only living relative and I cared deeply for him. When I heard that Dick had been adopted by millionaire playboy Bruce Wayne I hot footed it over to Wayne Manor to provide a maternal influence and some homecooked meals for the poor dear. (Actually, it was after Alfred had mysteriously died, but he later came back to life and insisted I stay.) Besides, there was something unsavory about a bachelor raising a young boy by himself if you know what I mean. 

Anne Baxter as Zelda the Great. I think that's a
stunt person, not Madge Blake suspended
over the tank of boiling oil.

Living with Batman was dangerous and I did face my share of trouble. There was the time I was kidnapped by this awful magician woman and she suspended me over a tank of boiling oil. Bruce paid the ransom and I was released unharmed but my shoulders were sore for a week. Then Alfred enlisted me in pretending I was Mrs. Batman so the Masked Manhunter could avoid a forced marriage to another conniving female, Marsha Queen of Diamonds. I think the young folks would have called me a beard. I nearly fell for the famous pianist Chandel, but he turned out to be a con man. It was lovely drinking root beer with the dear man, but I sensed there was something not quite right about the set-up, and I'm not just talking about his designs on the Wayne fortune, if you catch my drift.

Everything changed when Dick got his driver's license and Barbara Gordon and Batgirl suddenly showed up at the same time. I think there's a connection there. Dick didn't seem to need me as much. So I went traveling, even visiting Londinium. Eventually Dick went to college and I felt like a useless appendage around Wayne Manor. Batman moved his headquarters into Gotham City and as a result Bruce was at the Manor less and less. I missed the excitement of costumed crooks breaking into the house now and then. The Bookworm gassing me, Clock King threatening to kidnap me, being mistaken for the Black Widow. After a while, Bruce had me placed in the Gotham City Home for Old Ladies. Bruce and Dick would visit me occasionally. I read about the original Robin becoming Nightwing and several new Robins replacing him. I like to think by keeping my mouth shut, I was aiding in Batman's crusade against crime. 

Trump Wants Us Divided

Have you noticed that Trump never (Or almost never) addresses the entire country on TV? (The only time he does apart from the State of the Union is to brag about bombing Iran.) Growing up, I remember whoever was president--LBJ, Nixon, Carter, Reagen, both Bushes, Clinton, etc.--would periodically go on TV and talk to ALL the country about the current crisis. (I didn't always agree with them but at least I felt they were trying to include me in their decisions.) When Trump is down in the polls or there is a crisis, Trump doesn't do that (or rarely). He usually stages a rally in friendly territory and speaks to his MAGA cult like he did in Pennsylvania just now. And just after Charlie Kirk was killed, he was asked by a Fox host, "How do you unite the country?" His reply was "I couldn't care less." This shows he does NOT want us united. He wants us divided. Rather than appeal to the greatest number of citizens by comprising or being moderate, he plays up to his base and the rest of us can go to hell as far as he's concerned. He wants to punish those who dare disagree with him.

Battle and Lotus Dominate GG Noms

One Battle After Another and HBO's The White Lotus earned the most Golden Globe nominations in film and TV categories respectively. Battle, which already been named Best Picture by the NY Film Critics Circle, the Los Angeles Film Critics Assoc. and the National Board of Review garnered 9 noms while Lotus picked up 6. The awards will be presented on Jan. 11 on CBS in a ceremony hosted by Nikki Glaser, repeating her stint from last year. In addition to the competitive categories, Helen Mirren will receive the Cecil B. DeMille Award for Lifetime Achievement in film and Sarah Jessica Parker will be honored with the Carol Burnett Award for Lifetime Achievement in TV. These will be presented in a prime time special on Jan. 8 also on CBS and streaming on Paramount Plus. The GGs are voted on by about 300 international journalists. It used to be a much smaller number and the awards were administered by the Hollywood Foreign Press Association. In 2023, the HFPA was disbanded after numerous controversies and the assets were acquired by Dick Clark Productions and Eldridge Industries. Former HFPA members were allowed to resume their voting duties as salaried employees of the production companies. But in Feb. 2025, the practice of paying the previous HFPA members ended. (according to Wikipedia, they were being paid $75,000 a year!)

This year, the new category of Best Podcast has been added. (The only one I'm listening to now is Newcomers with Nicole Byer (Nailed It!) and Lauren Lapkus.)

Jessie Buckley and Paul Mescal in Hamnet.
Lead or Supporting?

The GGs often act as a forecaster for the Oscars and Battle's strong showing indicates it as an Oscar front runner. However, Hamnet, Chloe Zhou's film based on the novel by Maggie O'Farrell about young William Shakespeare and his wife Anne Hathaway, look likes its nearest competitor. Also, Hamnet is lot more emotional and involving while Battle is technically brilliant, but violent and cold IMHO. The GGs divide the major categories into Drama and Comedy or Musical, so Battle (Comedy) and Hamnet (Drama) could both be winners. And another thing, why is Paul Mescal who plays Shakespeare in the Supporting Actor category? Probably the Hamnet producers think he stands a better chance of winning there and yes, he has a few minutes less screen time than Jessie Buckley who plays Anne (or Agnes) Hathaway who is the focus of the story. But he's definitely the leading male of the film.

A complete list of GG nominees follow:

Battle Wins Again at the LAFCA

Teyana Taylor in One Battle After Another.
Credit: Warner Brothers

One Battle After Another continues to dominate the pre-Oscar film Award season, winning three awards from the Los Angeles Film Critics Association including Best Picture, Best Director for Paul Thomas Anderson and Best Supporting Performance for Teyana Taylor as Perfidia Beverly Hills, a violent revolutionary. Battle has already won the top award from the New York Film Critics Circle and the National Board of Review. The LA critics met on Dec. 7 to vote for their 51st awards. 

The gender-neutral Leading Performance Awards went to Ethan Hawke of Blue Moon and Rose Byrne of If I Had Legs, I'd Kick You, who also won Best Actress from the New York Film Critics and the NBR. The LAFCA began gender-neutral acting categories four years ago with the top two vote-getters declared winners regardless of their sex. (The Drama Desk does that too.) In the Supporting Acting category, the winning pair were Taylor and Stellan Skarsgård of Sentimental Value. 

Battle's dominance with the critics' groups is not a guarantee of an Oscar win. LA Confidential and The Social Network similarly took the top three critics' prizes as well as the Best Picture slot from the National Society of Film Critics, but ultimately lost the top Oscar. Schindler's List is the only film to win all four critics' awards and the Oscar.

A complete list of winners follows:

Battle Dominates Early Film Awards

Leonardo DiCaprio in One Battle After Another,
Best Picture winner for the NYFCC, NBR
and Gotham Awards.

Film award season is upon us and One Battle After Another, Paul Thomas Anderson's action epic of a former radical (Leonardo DiCaprio) rescuing his daughter from a right-wing nut job (Sean Penn), is dominating the field, winning Best Picture and several other awards from the New York Film Critics Circle, the National Board of Review and the Gotham Awards. Benicio Del Toro who plays a martial arts instructor and underground activist who aides DiCaprio's character, was named Best Supporting Actor by both the NYFCC and NBR. Rose Byrne won Best Actress from both of those groups for If I Had Legs I'd Kick You (which is also my choice for Best Title of the Decade.) 

The Gotham Awards were announced Mon., the NYFCC on Tues. and the the NBR on Wed. I have not been as excited about the movie awards this year as in past seasons. I used to obsessively keep track of all the eligible films I'd seen and where I'd seen them. Maybe I'll do that this year, but it's looking like Battle is the top film and I wasn't crazy about it. The direction was excellent, Anderson keeps the suspense tight and the action sequences were skillfully edited and shot, but the theme left me cold. Anderson appears to be condemning political extremism of all kinds. DiCaprio plays a former resistance fighter whose daughter is kidnapped by racist Army officer Sean Penn. DiCaprio's character appears to be an innocent caught between two extremes. The left-wing radical underground army he was allied with resorts to extreme violence to achieve its ends. His lover, played by Teyana Taylor, is a horrible person, abandoning their daughter and the cause when she is caught. Penn's forces are equally heinous, representing not only the current cruel immigration policies of the Trump administration, but also a cultish, deep-state powerful network of bigots called the Christmas Adventurers. 

I didn't sympathize with any of the characters except Del Toro's activist who is the only one who doesn't resort to violence to help his community. Having said that, I didn't find his performance exciting enough to warrant all these Supporting Actor prizes. I didn't really get the point of the film, except to film people getting shot and chasing each other across the desert.

Hamnet is the only other film getting major award buzz and it's not even been mentioned by these early accolade dispensers. (Still haven't seen it, but I plan to.) I did catch Wicked: For Good yesterday in 3-D and 4-DX at the Union Square theater. The seats moved while Cynthia Erivo was flying her broom, so that was fun and we were sprinkled with water during the cyclone scenes. It will probably garner a few Golden Globe nods. 

A breakdown of the winners follows:

B'way Update: Death of a Salesman

Nathan Lane, Laurie Metcalf and 
Christopher Abbott with star in
Death of a Salesman next spring.

Willy Loman is returning to Broadway. The seventh Main Stem production of Arthur Miller's Death of a Salesman will begin previews at the Winter Garden Theater on March 6, 2026 prior to an April 9 opening. Tony winner Joe Mantello (Wicked, Little Bear Ridge Road) will direct Tony winners Nathan Lane and Laurie Metcalf, Christopher Abbott (James White, House of Blue Leaves) and Ben Ahlers (Jack the footman/now rich clock maker from The Gilded Age). Scott Rudin and Barry Diller will produce. The production was originally planned in 2020, but the COVID pandemic delayed it. Earlier this year, it was announced for 2026-27. Salesman opened on Broadway in 1949, starring Lee J. Cobb, Mildred Dunnock, Arthur Kennedy and Cameron Mitchell. winning the Tony, NY Drama Critics Circle Award and Pulitzer Prize. Broadway revivals have starred George C. Scott (1975), Dustin Hoffman (1984), Brian Dennehy (1999), Philip Seymour Hoffman (2012), and Wendell Pierce (2022).

In a statement, Kate Miller, Trustee of the Arthur Miller Literary and Dramatic Property Trust said, “This production promises to channel Salesman's dynamic power in a completely new way. Part of what's so exciting about Joe Mantello’s approach is that he has been immersing himself in our extensive archives and interacting with Arthur's earliest drafts of Salesman—sounding out a deeper understanding of the play's inner workings. It's been wonderful to work with someone who is successfully finding new ways into a play that's been thoroughly studied, taught, and performed by the greatest artists in the world for nearly 80 years. Mantello’s approach will bring Salesman’s impactful and ever relevant commentary on the American dream to modern audiences, and we're so eager to see it come to life."

Mantello added, "It’s been incredibly rewarding to work closely with the Arthur Miller Estate, who’ve so generously opened the archive and encouraged real exploration. Looking through Miller’s early drafts revealed insights into the play’s first impulses—including some surprising theatrical ideas that feel both deeply familiar and unexpectedly modern."

Lane revealed, “In 1995 while rehearsing a Terrence McNally play with Joe, he turned to me one afternoon out of the blue and quietly said, ‘Someday you and I are going to do Death of a Salesman.’ And true to his word, 30 years later, that day has come. I couldn’t be more thrilled and honored to follow in the footsteps of so many great actors in tackling the role of Willy Loman, especially with the brilliant Laurie Metcalf by my side and the remarkable cast Joe is assembling. It’s a privilege to do what is arguably the greatest drama of the twentieth century, and like all great plays it always seems to speak to us anew each time we see it.”

Metcalf said, “Collaboration is everything in the theatre. I am lucky to be going from one exciting project to another with Joe Mantello—and in the very same season. Joe and Nathan are longtime collaborators, and my shared history with—and deep respect for—them makes what might otherwise feel daunting feel familiar, and absolutely thrilling.”

Off-B'way Review: The Seat of Our Pants

Shuler Hensley and Micaela Diamond in
The Seat of Our Pants.
Credit: Joan Marcus

At this year’s Thanksgiving dinner, a young relative expressed her fears the world might be doomed because of AI and a certain lawless occupant of the White House. Us old folks had to reassure her that America and humankind in general has faced worst crises and we’ve come through, if only by the skin of our teeth or the seat of our pants. In similar conversations, friends have expressed the overwhelming fear that freedom and democracy are kaput in this country, that we are headed for becoming another Gilead (the fictional right-wing dystopia of Margaret Atwood’s The Handmaid’s Tale), and where can they safely emigrate to? 

These encounters brought home the realization that this is the perfect historic moment for Ethan Lipton’s The Seat of Our Pants (at the Public), a musical adaptation of The Skin of Our Teeth, Thornton Wilder’s crazy comedy of civilization triumphing over countless disasters. Debuting on Broadway in 1942, as America had just entered the Second World War, Wilder’s Pulitzer-Prize winning existential extravaganza imagines a typical modern suburban family, the Antrobuses standing in for all of humanity as they face glaciers, floods, and devastating wars. Characters speak directly to the audience, the fourth wall is broken numerous times, dinosaurs and mammoths romp through living rooms, and Noah’s Ark, the Ice Age and World War III are recreated. It’s insane but it works. As does Lipton’s adaptation which cleverly balances Wilder’s original, slightly dated script with modern sensibility and appropriately off-kilter, satiric songs. (John Kander, Fred Ebb, and Joseph Stein attempted their own musical version of Skin which went through regional productions, readings, and workshops, but never made it to New York.)

Michael Lepore, Micaela Dimaond, 
Ruthie Ann Miles, Geena Quintos, and 
David Ryan Smith in The Seat of Our Pants.
Credit: Joan Marcus

Lipton follows Wilder’s original fairly closely with a few well-placed detours into 2025 territory and his songs strike just the right note of whimsical earnestness. The Antrobus family and their maid Sabina are first seen in their New Jersey home struggling to stay warm as a sheet of ice threatens to obliterate mankind. As they gather around a diminishing fire with homeless refugees representing philosophical, religious and artistic figures, they sing “We were born out of the darkness/And should the darkness call us back/Let us pray we smell a brisket/As we slip into the black.” It’s that specific absurd image of a brisket that brings us into the Wilder mindset of bizarre comedy amidst terror. Director Leigh Silverman stages the goofy goings-on with a serious edge, allowing the comedy to subtly come through and the seriousness to slowly surface.