Jeanne Fleming. It was not known until October 25 whether it would even take place. Linda Elbow commented, "We certainly weren't saying 'Hooray for the terrorists.' We were saying, 'Look what you're doing to the people of Afghanistan.'" An unattributed quote in Bacalzo's report — "What you're bringing, we don't want" — suggests it was the group's selection of material that was unwelcome, not the group itself. The report did not make it clear how the decision was made, or who made it; the incident was included as secondary background material in a piece publicizing an upcoming Bread and Puppet show. Fleming, who was not interviewed by Bacalzo (but is quoted as if she was), says that Bread and Puppet was not "disinvited", adding that it was she who first invited the company to march in the parade when she took over as organizer. In December 2001 the Theater returned to New York with The Insurrection Mass with Funeral March for a Rotten Idea: A Special Mass for the Aftermath of the Events of September 11th. It was presented at Theater for the New City, and billed as "a nonreligious service in the presence of several papier-mâché gods." The "Insurrection Masses" are a common format for the Bread & Puppet Theater, as are such "Funerals", though the "rotten" ideas change. Critics' comments Writers to have praised Bread & Puppet include historian Howard Zinn, who cited its "magic, beauty, and power", and poet and NPR commentator Andrei Codrescu, who wrote: "The Bread & Puppet Theater has been so long a part of America's conscious struggle for our better selves, that it has become, paradoxically, a fixture of our subconscious." The theater’s protestations of the Vietnam war and message of peace generally received positive television coverage, as noted in peace focused magazine WIN. Keith Lampe, in WIN, also positively comments on the theater's 1966 anti-war demonstration by commending Peter Schumann’s “concern for movement,” “sound,” and “appearance.” In a 2015 criticism of the theater’s production “The Seditious Conspiracy Theater Presents: A Monument to the Puerto Rican Political Prisoner Oscar Lopez Rivera,” Gia Kourlas describes the show as “patchy,” at times “more cute than pointed,” and seemingly “preaching to the converted.” Reference in popular media The Bread & Puppet Theater has a visual reference in the 2007 Julie Taymor film Across the Universe. The movie replicated characters such as Uncle Fatso, Washer Women, White