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I'm Jane Pauley, and this is Sunday Morning. It's the Sunday of the Tony Awards, so all through the morning we'll have stories with Broadway as their focus. But first, our cover story is a tale of one man against the sea. For people who earn their livelihoods on the water, it's your worst fear, falling overboard. Whether the person in the water is rescued or not depends a great deal on skill, plus a fierce will to live.

Jim Axelrod will report our cover story. 40 miles from shore in the dead of night, a commercial fisherman fell off his boat. US Coast Guard, I lost the crew member overboard.

I'm in shock. You're not betting that you're going to find this guy. My fear is we're not going to find anything. Lost at sea, later on Sunday morning. Wonder Woman is the first big hit of the summer movie season.

No need to wonder why, according to our Faith Salie. It is our sacred duty to defend the world, and it's what I'm going to do. Wonder Woman just smashed a bunch of box office records. Pretty unbelievable for someone who just turned 75. Just don't tell that to the original Wonder Woman, Linda Carter. The character is 75 years old.

Someone said, are you really 75? From the comics to the silver screen, the super life of Wonder Woman, later on Sunday morning. We have a summer song this morning from the singer known as Lord. Anthony Mason introduces us to a young woman of remarkable talent. At age 16, the song Royals made Lord an international pop star. I think you've said that you're not very good at being famous.

I'm not. Four years later, she's finally releasing her follow up record. And the inspiration came from underground. It's been nice being on the train again. It's been such a long time.

Lord, ahead on Sunday morning. In 1977, a musical based on a beloved comic strip made a girl named Annie, everyone's favorite orphan. 40 years and seven Tony awards later, she's gone from a phenomenon to an institution, as Nancy Giles will show us. 40 years ago, a feisty orphan won the hearts of Broadway audiences. We still love her.

I'm just thinking about. What is it about Annie that you think endures? She's the sign of hope. And her mantra is really like, you know, she has nothing, but she really has everything because she's got a dream and she's got hope.

The sun will come out tomorrow, actually, just a little bit later this Sunday morning. Morocco catches up with song and dance legend Tommy Tune way off Broadway. Rita Bravers at the school that's setting the stage for future stars. Jim Gaffigan turns a cold shoulder to massage and more. Welcome to Play It, a new podcast network featuring radio and TV personalities, talking business, sports, tech, entertainment and more.

Play it at play dot it. The CDC says that between 1992 and 2008, 155 commercial fishermen died after falling overboard, making commercial fishing among America's most dangerous jobs. Our Sunday morning cover story is from Jim Axelrod. John Aldridge and Anthony Susinski, best buddies since second grade, are co-owners of the Anna Mary, a 44 foot fishing boat. For the last 14 years, they've pulled up lobsters and crabs from the seafloor off the coast of Montauk, Long Island. It's like we got food, we got fuel, the boat's running, we got food.

It's running right. We're off on another adventure. But these two hardy lobster men could have done with a little less adventure one July evening, four years ago. 40 miles offshore at 2 30 in the morning, Anthony asleep below deck. John wanted to fill the tanks where they would soon store their catch. And I had to move the cooler off the hatch. A 125 pound cooler sat on top of the tank's hatch.

Come back here. John picked up a metal hook to move it. And I put it in the handle here and I pulled it all my might. And when I did, it just snapped. And no momentum just pushed me right out the back of the boat. The boat was on automatic pilot and John, wearing no life vest, watched helplessly as the Anna Mary motored away.

I could see the boat, but then I come down on it in the wave and I couldn't see the boat and they come up on the crest and then you see it and then it's gone. Were you screaming for Anthony? Screaming.

But knowing that, there's no way he's going to hear it. You know, you know, you're done. Today's the day I'm going to die.

With his mind consumed by impending death, some instinctive part of John Aldrich stayed focused on life. What'd you do? I realized that my boots were very buoyant. They were just like a life preserver?

Well, when I fell in the water, I was on my back and I was doing like this, you know, trying to stay afloat and my legs came up to the surface. I just clicked. All right, that's a sign right there. I got my boots on and I was like, I'm going to die. I just clicked.

All right, that's a sign right there. I got my breath and I go, wow, maybe I should just empty the water out of the thing and push it back in the water with some air pocket in it and see what it does. And I did that and I tested and I go, wow.

And I basically took it and put it under my arm. John, that is crazy fast thinking. You got to think quick or you die.

Afloat in the moonlit water, John Aldridge turned his focus to the next pressing issue the ocean provided. You're sitting there and you're spinning and you know, you're trying to, you know, it's something coming around me, you know, you don't know, you're freaking out. 15 feet away, I see two shark fins come up and I'm like, this is not getting, this is not real. You saw two shark fins? Yeah. So I had to come into this whole little mantra in my head of breathe, breathe easy, breathe easy, stop panicking, just go with the thing and then not focus on that they're right there. Staying calm worked.

The shark swam off. Who are you thinking of? I'm thinking of my family. I'm thinking that nobody in the world knows I'm missing. Four hours later, Anthony woke up in his bunk and could not find John. I was in disbelief, straight up disbelief. He can't be not here. U.S. Coast Guard, U.S. Coast Guard, Anna Mary. He radioed the Coast Guard. Anna Mary, this is the Coast Guard on 16, go ahead. I lost the crew member overboard.

I'm in shock. I never thought that he was dead. Right now he's alive and we're looking for him. At the Coast Guard station in New Haven, Connecticut, Commander John Thiele was in charge. If I give you truth serum, you're not betting that you're going to find this guy.

My fear is we're not going to find anything. Immediately, he put search and rescue protocols in place. We have all kinds of inputs that we put in there as far as how tall he is, whether he was wearing a flotation device or not, what the winds are doing, the currents. It just mathematically spits out anywhere from five to ten thousand computations. So each one of these dots could be John Aldrich.

The computer produced a zone of probability where Aldrich would most likely be. It was roughly the size of Rhode Island. How could you possibly search an area the size of Rhode Island and find them?

We train our people of what to look for. We talk about either a coconut or a basketball floating on the water, which is incredibly hard on board the Anna Mary, a critical clue. Anthony found the busted off cooler handle, helping the Coast Guard and a volunteer fleet of fishing boats narrow the search. Different fishing friends out on the ocean started calling me, asking me where I was. And he's talking to fishermen about, well, it doesn't make sense. We shouldn't have filled the tanks until the forty fathom curve. When the Anna Mary reached a depth of forty fathoms or two hundred forty feet, that was when John and Anthony would start filling those tanks. John was likely moving the cooler.

Probably the handle broke. You've got that kind of detective work going on? I kept setting goals for myself. I said, I just got to live till morning. Just got to live till morning. Back in the water, the sun was coming up. After a little while, I come up on a swell and I see a buoy way in the distance. It was just what John needed.

A shot of hope when his supply had nearly run out. Helicopters are going by to the west of me. And you're waving, you're yelling.

All of it. But I know they're too far away to even see me. With those boots keeping him afloat, Aldridge made it to that buoy and hung on for his life. And I guess within about 40 minutes later, all of a sudden, it's like, here comes this helicopter. Big, giant thing over the sky. And I start flailing my boots and splashing and waving and everything. And then all of a sudden, that thing turns over the top of me and then I know. Oh, my God, I'm saved.

Unbelievable. You know, you can't believe, wow, I am going to be saved. Coast Guard swimmer Bob Hovey was lowered into the water and helped John into the basket. 12 hours after he fell into the Atlantic Ocean. Sure, he was a dead man.

John Aldridge was safe. The pilot put his visor back, looked back at me and he goes, man, you got some will to live. I said, I got a lot of people that love me to just to die like that. And he goes, man, you're one tough dude. He goes, we don't find live people. We find bodies.

After the rescue, John didn't see Bob Hovey again. Damn, Mr. Aldridge. Wow. Until we brought them together on the dock in Montauk. Good to see you, man. Good to see you. Wow. What do you remember about the moment of making contact with him in the water?

His charisma. When I approached him in the water, I told him how long we had been looking for him. And after we said, holy cow, we've been looking for you for nine hours today. You know, and I said, well, I've been looking at you for 12.

Today, the Coast Guard uses the Aldridge rescue as a teaching tool. It's nice when it all goes right. It's nice when it works out. Kathy, how are you? Kathy, how are you? John's sister Kathy was also there when we brought the two together. Thank you so much for saving my brother. You're very welcome. John Aldridge's ordeal and miraculous outcome have turned into a new book, a movie deal, and a lot of treasured souvenirs.

This is the actual handle that had snapped that Anthony found on the back deck of the boat. None more treasured than those boots. They saved your life. These are the ones that saved my life.

Is there a lesson that people hearing your story should learn from what happened to you? Well, positive thinking saved my life. If I didn't have positive thinking in those boots, I would have never made it.

Positive thinking and those boots. Yeah. And now a page from our Sunday Morning Almanac, June 11, 1742, 275 years ago today. Hot times for one of our founding fathers. For that was the day Benjamin Franklin is widely believed to have invented the stove that bears his name. Franklin's cast iron creation was designed to fit inside a fireplace. To solve the problem of too much heat going up the chimney, Franklin hit upon an innovative way of using iron plates, as Susanna Carroll of Philadelphia's Franklin Institute explains. Franklin came up with the idea of using a baffle system that allowed the heat to travel throughout the stove. The iron plates inside the baffles would heat up and retain the warmth of that fire.

And then the heat would be released throughout the day. He's credited with more inventions as well. Among many, this glass harmonica, called an armonica. Parisian music man, Jean-Claude Choupuis, gave us a demonstration a few years back. Yet another side to our most multi-talented founding father. The folks at the Franklin Institute have sent along two more of Franklin's inventions. This original lightning rod, and a replica of his bifocals.

Incidentally, Franklin never patented any of his inventions. He once said, as we benefit from the inventions of others, we should share our own, freely and generously. It's a hard-knock life for us. Will the real Annie please stand up?

Next. Recognize the dress? Actress Shelly Bruce once wore it on Broadway in the Tony award-winning musical, Annie. And this morning, we're celebrating Annie with our Nancy Giles. The sun will come out tomorrow. When she was just 13 years old, Andrea McArdle had a precocious understanding of the solar system and psychology. Just thinking about tomorrow clears away the cobwebs and the sorrow, till there's none. Four decades later, she still sticks out her chin and grins.

And lonely, I just stick out my chin and grin and sing. Forty years ago, McArdle became a star in the Broadway musical, Annie. The show won seven Tony awards, including Best Musical, and ran for nearly six years. It changed a lot of lives. A lot of moms and dads probably curse us because their little girls are running around singing tomorrow, making them insane.

It's the hard knock life for us. It especially changed the lives of the young actresses who portrayed the redheaded orphan. Kristen Bygaard. I am Andrea McArdle. Shelly Bruce. Sarah Jessica Parker. Allison Smith.

Allison Kirk. They were all chosen to play Annie by Martin Charnin, who had the idea to turn the 1920s comic strip into a musical and then directed it. I mean, I've directed 20 companies of Annie, 20. He also wrote the lyrics.

Charles Strauss composed the music, and they won the Tony for Best Original Score. During the past four decades, Charnin says he has auditioned 3,500 girls around the world. The only Annies who really ever work are the ones who really take it seriously and deal with her, not as a cartoon, but as a real kid in search of her parents, with street smarts and optimism as the thing that drives her. The musical has had such an impact on cast members that the Annies recently staged their 40th reunion, a private party, and a public question and answer session. It is a perfect show.

Like, it really is simply a perfect show. The musical was less than perfect when it started out at the Goodspeed Opera House in East Haddam, Connecticut. Kristen Veigar had the title role. And Annie had to be naughty.

But Veigar was too sweet, and Annie had to be tough. After a few weeks, she lost the part. I wanted to be a doctor. This was something I did for fun. So you were really okay? I really, I cried a lot when they first, I was just humiliated.

But I was kind of excited to go home. Seriously? Another cast member, Andrea McCardell, was perfect for the part. We all knew everybody's lines. Kids always do.

They all, you know, they do. And so I was told on a Sunday night that I was going to be taking over the role Tuesday. And she took the role to New York City, which immediately took to her. Muhammad Ali, Barbara Streisand came back. Michael Jackson came to my 14th birthday party.

And I think he bought like Tito and Jermaine. And I was like, wow, that's so cool. It was also cool, really cool, that McCardell was nominated for a Tony Award. Nobody knew who you were.

And then all of a sudden, everybody knew who you were. Shelley Bruce was McCardell's understudy. She became Broadway's second Annie.

Back then, we were known as triple threats. It was like sing, dance, act, but not everybody did all three. Right.

So now it's required. After Sarah Jessica Parker saw the Broadway show, her stepfather was brutally honest. He said to me, you know you're not Annie material at all.

Like he was trying to prepare me that this was, that the fantasy should just be this audience experience. But she auditioned anyway and became the third Annie. Allison Smith was in the audience in 1979. So I saw Sarah and I, very differently than Sarah's experience, like I am going to be that girl. I am going to be Annie. At the age of nine, she became the youngest and the longest running Annie, eight shows a week. It's the most incredible training ground as an actor you could ever have, because you're playing a role for so long.

It really allows you to explore. And then there's Allison Kirk, who lived in the same town as Allison Smith. And I got so obsessed and I wanted to go see the show. And I saw it with Shelley.

I bought the album and my friends and I would record ourselves singing like Andrea. And then Allison went on Broadway and I was like, oh, I want to be Annie. And I, and I cried.

I really, and then I was eventually. Kirk was crowned the fifth Annie. Most of the Annies went on to careers in TV, film, and the theater. Shelley Bruce left the show in 1979.

Then. In 81, I got leukemia. And for six weeks, Andrea McArdle would visit Bruce in the hospital after she performed her nightclub act. She would literally come at one o'clock in the morning and we would take my IV pole, get sesame chicken out of the machine in the cafeteria.

We would sit and hang out and. Was it a hard transition for you to, to go from being an actress and whatnot. And then being sick.

Did you. Well, you know what, acting prepares you for so much at a young age, especially when you have a role like Annie, that you have to really be responsible. It was an amazing time. And I was so lucky to have so much support. While the original musical made theater history, the sun continues to come up for new generations of Annies. I love the songs.

I love the story. To be able to play a role that so many people know and so many people love, it's, it's, it's very fun. I love playing Annie.

Kenlee Merritt played Annie last month at Greenwich High School in Connecticut. I'm so excited. Are you ready? Just before opening night, Andrea McArdle sent this advice for Kenlee. What I would tell Kenlee is to, number one, trust your instinct. Trust your instinct.

Your instinct is golden. And when you have an opportunity to play a character like this, multifaceted at such a young age, it is life-altering. And be there, be there in every moment so you can enjoy it.

And it'll be unforgettable. Oh, my gosh. Oh, my gosh. Wow.

What do you think? Oh, wow. Is that something? Wow. Andrew McArdle just said my name. And so the torch is passed again. Still to come... I'm always on rat watch.

Are you good on spotting rats? I'm amazing. Lord of the subway.

The paint has been wet for opening night. But next... We could have been in vaudeville together. Curtain going up on Tommy Tune. Welcome to Play It, a new podcast network featuring radio and TV personalities talking business, sports, tech, entertainment, and more.

Play it at Play.it. Now, a story from way, way off Broadway. Maraca chronicles Tommy Tune's journey from Texas to the other side of the world. Song and dance man, Tommy Tune is known by theater lovers everywhere for his long list of Broadway hits and that long lanky frame. I was born to dance. I was born to dance. Your name is Tommy Tune.

What else am I going to do? Just like a dream, your spirit seemed to turn about. That sun to shine is a certain sign that you... The beginning, you had a sense of humor about it. They'd say, how tall are you? And you'd say... Five eighteen and a half. Sounded shorter. Care for a puff? You might stunt my growth.

If you're wondering, that comes to six foot six and a half inches. It's not where you start. It's where you finish. It's not how you go.

It's how you land. Tune earned the first of ten Tony Awards in 1974 and would go on to direct and choreograph some of the best loved musicals of the last half century. It was his idea to revisit the wit and wisdom of Will Rogers in a Vegas style review.

And to celebrate the songs of Gershwin in My One and Only. He starred in that show alongside British model and actress Twiggy. Born in Wichita Falls, Texas, Thomas James Tune started dancing at the age of five. While in high school, he saw a certain show by Rogers and Hammerstein. The kind of show he'd never seen before. I didn't know what The King and I was.

And then they not only acted and it made you laugh and cry, but they'd sing and when they couldn't sing anymore, they would dance. And there was all of it all together. And I went, that's it. That's what I was looking for.

And I didn't know that it existed. Tommy Tune had discovered musical theater. And throughout his career, he's made it his mission to deliver Broadway to people wherever they live. Because you've always loved touring.

I love it. If you were an A-list dancer on Broadway, you never took a national tour. I don't care where I'm working. And I want people to know about Broadway. You don't have to come to New York.

We're bringing it to you. Carol Channing taught me about touring. And these were her exact words. She said, Tommy Tune, if it is your desire to pursue a career in the theatrical arts, you must tour your shows through the capitals of the world. And I said, name one. And she said, Minneapolis, yes.

Or the capital of Japan, Tokyo, where Tommy Tune certainly stands out in a crowd. He was here in the 1990s, touring in my one and only, when he was asked by the Takarazuka Review Company, a 100-year-old all-female theater troupe, to direct his musical, Grand Hotel. I see. Talk about lost in translation. When they came to you and said, we want to do an all-girl version of Grand Hotel, did you think, this is an exciting challenge? Well, yes. My whole thing is, if you're good enough, anybody can play any part.

It doesn't matter. That's the magic of the theater. The review was founded by railroad and department store magnate, Ichizo Kobayashi, to draw tourists to the city of Takarazuka, where the theater was based. Today, the company tours around Japan and the world. Tomotsuku Ogawa is its president. In a given year, how many people will see a Takarazuka performance?

We attract about three million patrons. Our grand theaters have been sold out for the last few years. Around 1,000 young women a year audition for 40 spots in the Takarazuka Music School, where they learn to sing, dance, and act, and in some cases, act like a man. Did you go into this wanting to play male roles? Yes, I did want to play men. Me too. Ryo Tamaki, Reika Manaki, and Rurika Miya starred in a recent production of Grand Hotel, directed by Toon. I really wanted to play male roles. I simply thought it would be more fun. In Takarazuka, men are the stars and dominate the limelight, so I wanted to be one.

I played a male until my third year with the company, but it proved difficult for me, and I realized I enjoyed playing female roles, so I switched. This revival reunited 78-year-old Toon with veteran director Keiji Okada. We could have been in vaudeville together. Our staff and all of our performers are so in awe of Tommy. It's like we're believers in the Church of Tommy. It's quite a tribute. It's a tribute to the church of Tommy. Being able to work with someone of Tommy Toon's caliber is one of the great honors of my life.

The sensitivity of his direction is amazing. Talking to the different people with Takarazuka, all of them speak so glowingly of you, not just about your talent, but also your kindness and your mentorship. Well, the magic ingredient I learned long ago in what we do, the magic ingredient is love, and that sounds corny, but if you go about it just to get it done and to get it perfect and all, you miss something. You have to infuse every moment of it with love.

And love is a feeling that needs no translation. Could you ever have imagined growing up in Texas, all the things that have happened in your career, including this? My dream was to dance in the chorus of a Broadway musical. I went to the audition and I got the job. So my dream came true. My first day in New York, I got in the chorus of a Broadway show.

Everything else that has happened has been gravy. There are 254 blocks of Broadway in Manhattan, and I decided to draw every one of them. Artist Elise Engler loves Broadway, all 13 miles of it. It took me precisely one year to draw every block. Except I have one more drawing I need to do. I'm basically replacing Stephen Colbert's name with mine.

Sorry, Stephen. Day after day, month after month, she turned the streets of Manhattan into her art studio. I had to choose what was interesting to me about each block. Sometimes it was an architectural detail. Sometimes it was an iconic building or door front. Of course, New Yorkers are used to seeing just about anything happen on the streets of Manhattan. Of course, New Yorkers are used to seeing just about anything happen on their streets and sidewalks. It was surprising how infrequently people would stop to ask me what I was doing.

Nice to meet you. So if you could just get a few shots. On each block, I would hand my camera to someone and ask them to take a picture of me working. So there was a record of me drawing all four seasons. I can see Broadway from my bedroom window.

I just look out the window and there it is. A year on Broadway began after an unfortunate accident on another New York street. For 35 years, I rode a bike everywhere in New York, but on January 30, 2013, I was hit by a truck.

My left arm was badly damaged. It took a long time to recover, but as a result, I started drawing Broadway. A year on Broadway is a walker's drawing. It's about walking the city. Everybody knows Broadway.

Angler says she considers her drawings a form of journalism. Riverside Church. The famous Tom's Restaurant right out of Seinfeld. I drew in Times Square at night.

It was so bright there that there was enough light to draw by. It is the New York City street. And every now and then, the streets of Broadway leave Elise Angler's studio to stretch across art galleries.

I'm thinking about doing it in another city or in a different way. But now that I see the work hanging up, I'm thinking, whoa, I did it. And now, what's next?

Next stop. Do you stand or do you sit? Do you stand or do you sit?

I mean, I do sit. Lord. That's Royals from the singer-songwriter Lord. You probably know the song.

Now with Anthony Mason, meet the performer. One of the most anticipated albums of the year had its inspiration underground in the New York City subway. I love this train. It's my favorite. I think it's okay to have a favorite train. For nearly a year, Lord used the F train as her mobile office. Did you actually do writing down here in the subway?

Every day, twice a day. I like thanked the subway in my album notes because I wouldn't have been able to make the record without it. I found it such an amazing space to kind of be around people. On her daily ride to the recording studio. Do you stand or do you sit? I mean, I do sit.

All right, we'll sit. Usually unrecognized, the New Zealand born singer worked on the words and music for Melodrama, the album she'll finally release this week. On the train, there would be a lot of coming up to the idea and singing it into my phone kind of as quietly as I could so no one would hear me. I want to get that out. Would you freak out at all during the making of this record? I definitely had real moments of truth there. Like this is terrible.

I shouldn't be allowed to do this. The pressure was so great. It took her four years to follow up the record that literally changed pop music. Ella Yellich O'Connor, Lorde's real name, was 15 and still turning in homework when she wrote Royals.

It spent nine weeks at number one and earned her two Grammys. David Bowie said listening to her music felt like listening to tomorrow, but Lorde found the sudden fame an odd fit. I think you've said that you're not very good at being famous.

I'm not. It's hard. It's all body language and like, you know, the subtlety, the angles.

I don't know the angles. She aspired to be an artist, not a star. Ella, who grew up in a suburb of Auckland, was fronting the high school band at age 12 and devouring books. You read constantly. Yeah, I had no friends and I read a ton of books.

Her father's a civil engineer, her mother, a poet laureate. I remember being two and lying awake in my mom's bed talking about our favorite fruits and why we love them. And there's a lyric on the album where I say I'm my mom's child and I don't think I was ever going to be anything but an artist because of my mom. Because of my mom.

Sonja Jelic still accompanies her 20-year-old daughter on her travels. Your mom has said that your head is always on fire. Oh, great. Is it true?

I don't know about on fire. It's definitely... And there's such a current around me all the time. The way I go through the world and the way I see things is so... It's in Technicolor. It's like magic to me and I feel like I have to get people to see what it is that I'm seeing. Her sensitivity is heightened by a neurological condition called synesthesia, where sounds conjure colors and textures in her mind. You see or feel what?

It's like a colored gas that fills the room. Sounds pretty cool. It's pretty cool.

It's pretty crazy. Does it help your writing? I think it definitely sends the writing in a certain direction. I think that I make the choices that I make with songs in part because of having synesthesia.

This is a song called Liability. While you were making this record, you had a pretty big breakup. Yeah. I was able to make a record about being alone and celebrating that and, you know, absolutely hating that. But being solitary was the thing that really unlocks the process. You yourself have said this record in spots is a little weird. It's kind of weird, yeah. I think about someone like David Bowie and every record was such a pivot and, you know, you almost felt afraid pressing play on a new record.

Am I going to even understand this? And I think that throwing people into that sort of fear is like the most important thing you can do as an artist long term. Have you had a lot of rehearsal time so far? The day we followed Lorde, she was headed to a rehearsal studio where she began by jumping online to release her latest single. It's all happening, Anthony. OK, now Twitter. This is so weird. Those great whites, they have big teeth.

Hope they bite you. Thought you said that you would always be in love, but you're not in love. She was rehearsing for her appearance at last weekend's Governor's Ball Festival. I'm here performing for you and it feels so incredible. Are you as happy on stage as you are in the studio? I think I'm happiest in the studio. Stage is different because I get so nervous that it's sort of like a weird trance. Like I really have to, it's quite, I definitely when I'm on stage, I feel myself like go right to the edge of the cliff, so to speak.

Like if I broke my arm on stage, I wouldn't know, I don't think, because you're just so dialed into this crazy environment. After nearly four years away from that crazy environment, with her album release, Lorde returns this week. Do you feel ready to be back, if you will? I don't know if I'll ever feel ready to be. Being back is quite, you know, it's that thing we talked about, of like not being a very good, famous person. But no, I'm ready for, I'm ready to be in conversation with the world, again. Thank you for your service, Alan.

Coming up. Thank you for your service, Samuel. Flags for our fathers. Welcome to Play It, a new podcast network featuring radio and TV personalities, talking business, sports, tech, entertainment, and more.

Play it at Play.it. Just in time for Flag Day, Steve Hartman has the tale of a pied piper of patriotism, with quite a following. Young boys aren't easily appalled, but 11-year-old Preston Sharp sure knows the feeling. Yeah, I was really surprised. And disappointed. Yeah, I'm really disappointed, yeah.

Had you seen him like that before? I'm not this angry and passionate. Preston's mom, April, says what upset her son so, was visiting his grandpa's grave in Redding, California, and realizing not every veteran in the cemetery had a flag. April says even hours later, he was still harping on it.

And I was like, son, if you're going to complain about something, you have to do something about it or let it go. And he's like, well, I'm going to do something about it, mom. Next thing she knew, Preston was taking odd jobs and soliciting donations to buy flags and flowers for every veteran in his grandpa's cemetery. And when that cemetery was covered, he moved on to another, and then another. And here we are two years and 23,000 graves later. And he does this every week, rain or shine, especially rain.

Why? Like they were out there in the rain doing their job, protecting us. Preston says coming out here in the rain, or in this case 100 degree heat, is the least he can do. Thank you for your service, Michael. His devotion really is enormous. Thank you for your service, Samuel.

And contagious. Thank you guys so much for coming out today. Now when word gets out that Preston will be at a cemetery, a lot of folks feel compelled to join in.

It's just amazing. People like Vietnam veteran Fred Loveland. What he's doing brings them out because they can't believe that a young man in this country is doing what he does. We got to put the flower in.

It is a movement of young and old. Thank you for your service, Louis. Of those who serve their country and those who are so grateful they did. Thank you for your service, Alan. All led by this little pied piper of patriotism, who saw an injustice and decided to do something about it. Wednesday is flag day, but for Preston Sharp, it's just another one of 365 chances to do what's right.

Thank you for your service, Norman. Next, Batman at his best, Adam West. A battle will never be fair.

And Wonder Woman, queen of the box office. When you're dead, Batman. Not quite. We foiled your villainous death plot.

That's right. We foiled your villainous death plot. That's Frank Gorshin's Riddler, surprised by Burt Ward's Robin, and of course, Batman, as portrayed by Adam West, who died Friday night of leukemia. His deadpan portrayal of the caped crusader in the 1960s drove the comic book spinoff to the top of the TV heap for a time. Remember?

A drop in ratings forced cancellation after three seasons. But Adam West remained a Batman fan, writing in his memoir, he enjoyed a love affair with the character because of the joy he brings to people. Actor Adam West was 88. This weekend, it's Wonder Woman who's bringing excitement to her fans at the movies.

It's number one at the box office. And as Faith Salie tells us, she's carrying on a long superheroine tradition. It may be considered impolite to reveal a woman's age, but when it's this woman, turning 75 is a wonder. Born in 1941, Wonder Woman, along with her predecessors, Superman and Batman, are the only superheroes to be in continuous print since their debut. For many of us, though, it was TV's Linda Carter who brought Wonder Woman to life. For a lot of people, when they think of Wonder Woman, they think they see you. How does it feel? It's bizarre. It's humbling, honestly, particularly after all this time. I don't really think that I'm Wonder Woman, by the way. Carter says she got the role back in 1975, largely because she looked the part, which was both a blessing and, as one of the show's producers warned her, a curse.

It's like, oh, women are going to be so jealous of you. Well, I said, not a chance. Not a chance. They won't be, because I'm not playing her that way. I want women to want to be me or be my best friend. And it turns out, providing a role model was exactly the point in creating Wonder Woman way back in 1941. You see, in the face of growing concern that comics were too violent for children, DC Comics publisher Max Gaines turned to noted psychologist and author William Marston for help. And as the story goes, Marston says, what you need is a female superhero. She'll be essentially a pacifist. I mean, she'll fight for democracy, but she'll be fighting for equal rights for women. And her superpowers will be love and truth and beauty. Harvard professor Jill Lepore is the author of The Secret History of Wonder Woman. And Gaines is like, yeah, well, maybe I guess we could give that a shot.

It's very skeptical. And so that's always been Wonder Woman's origin story. But perhaps the true inspiration behind Marston's fictional Wonder Woman were the real women in his life. What was hidden from the historical record was the whole Marston family story and the women in his life that egged him on and that created that commitment in Marston's part. Those women were his wife, Elizabeth Holloway, and his student turned mistress, Olive Byrne. They all lived together and raised four children under one roof.

That was kept secret by the family for good reason because they had a sort of scandalous family life. And get this, the aunt of Marston's mistress was Margaret Sanger, you know, the famed feminist, birth control pioneer and Planned Parenthood founder. What's more, Marston was also influenced by the suffragist movement he witnessed as a Harvard student in the early 1900s. American suffragists chained themselves to the gates outside the White House.

And Marston was really inspired by this. And by seeing these women in chains. By seeing these women and by hearing these stories. No doubt that's why we see Wonder Woman breaking out of chains in so many of Marston's early comics. He says she's got to be chained up because she's an allegory for the emancipation of women and so she has to be chained up so that she can break free, break herself free. No one ever rescues her, she rescues herself.

And that golden lasso that magically forces villains to break down and tell the truth? You cannot lie, who are you? I am Dr. Heinrich von Klempe. And you made the clone of Adolf Hitler? Yes. No lie.

Psychologist Marston was one of the early pioneers of lie detection. And when we first meet Wonder Woman, she's got a fairly long skirt on. Actually, it's not a skirt. As archivists for DC Comics, Benjamin Leclear takes even Wonder Woman's wardrobe seriously.

It actually culottes. There was a big debate about this. So not heroic.

Well, no, no, it's actually heroic. It was Elizabeth Holloway Marston. Mrs. Marston said she can't have a skirt. If she's a female superhero, a skirt's going to end up over her head.

That's true. Whatever she was wearing, she was selling 2.5 million comics a month. But after Marston's death in 1947, other writers, all male, took over. And Wonder Woman became a little less wonderful. The way that Wonder Woman has changed demonstrates what our culture was thinking women should be in each kind of era. It's what I love about comic books and really all art forms.

They're mirrors on where we were in society. It wasn't until 1972 when women's rights activist and Wonder Woman fan, Gloria Steinem, put her on the inaugural issue of Ms. Magazine that Wonder Woman got her star-spangled groove back. And now Wonder Woman is beating up the bad guys and box office records as well.

A battle will never be fair! Her silver screen debut, starring Israeli actress Gal Gadot, was the biggest opening ever by a female director, Patty Jenkins. Proof that after 75 years of heroics, Wonder Woman's real superpower is the power to inspire.

There is something about the character where in your creative mind, for that time in your life where you pretended to be her, or whatever the situation was, that it felt like you could fly. A message about massage is just ahead. We get massages from strangers because we can't count on the people who love us to touch us. Our Jim Gaffigan is turning a cold shoulder to a certain type of hands-on therapy. I've had a sore neck recently. My friend asked, he goes, why don't you just get a massage?

And I had to explain to him because I'm not one of the Real Housewives of Beverly Hills. Don't get me wrong, I've gotten a massage, but they're expensive and rather decadent. I mean, think about it, you never hear someone say, I'm going to protest the income inequality in this country, and then I'm going to get a deep tissue massage, maybe that hot stone treatment I deserve. Massages are decadent and weird. They're always from strangers. We get massages from strangers because we can't count on the people who love us to touch us.

It could be your best friend. See that guy? I'd take a bullet for him. I mean, I'm not going to touch him. I'm not a weirdo. My wife, the woman I love, the mother of my children, here's the massage I give her.

You good? My hand's starting to cramp. So we pay absolute strangers. Hey, I know nothing about you. Why don't I take off my clothes and climb on this padded dining room table? Then you do whatever you want.

We know nothing about these people. I don't even ask if they're a masseuse. Well, you're dressed like an orderly in a mental ward. Why don't I get in the most vulnerable position I can think of? How about face down in the donut pillow?

Does that work for you? What do we know about massage therapists? They like to rub strangers while they listen to the Avatar soundtrack. That's a red flag. Those are the traits of a serial killer. I never know what to say during a massage.

Sometimes I'll try and break the ice. Hey, you're not allergic to leprosy, are you? They never laugh. You know why? Because they're busy imagining making a suit out of my skin.

Because they're murderers. They already put the lotion in the basket. So that's why I still have a sore neck. A theater outside New York has been setting the stage for acting careers for half a century. Rita Braver takes us to the Yale Rep. All right, everyone, gird your loins. She's considered one of the greatest actresses of our time.

And you have no style or sense of fashion. No, no. That wasn't a question. Acclaimed for her roles in scores of films.

We shall never waver, not for a second. But did you ever wonder where Meryl Streep got her professional start? Playwrights, actors, directors, designers, dramaturgs all studied and worked together.

And we worked crew at the Rep. The Rep, what insiders call the Yale Repertory Theater, now marking its 50th season. This is going into Love Spring International.

Any questions before we do this? It's a unique entity on the American theater scene. A place where graduate students at the Yale Drama School work side by side with experts in every aspect of theater. We are working at a high professional level.

And at the same time, we are teaching and giving young artists an experience of world-class art. James Bundy runs both the Yale School of Drama and The Rep, a theater with an unusual past. What did this building start out as? This was originally the Calvary Baptist Church. It was built in 1871. Some of the students who've tried these boards include Liev Schreiber, Angela Bassett, Paul Giamatti, Frances McDormand, Lupita Nyong'o, and Henry Winkler.

But the classes of 1974 and 75 are probably the most famous. Actress Sigourney Weaver, Tony Award winners, playwright Christopher Durang, and costume designer William Ivey Long, and Meryl Streep, who put on a false nose for a play called The Idiot's Karamazov. Oh my God, it's unnervingly close. Yeah, that was fun. You weren't trying to look beautiful. No, that wasn't the aim, no. I succeeded. But it's one of the things that I think has made your movie so wonderful, because although you look beautiful in a lot of them, you don't seem to care whether you do or not.

Well, there's so many different kinds of people to play, and not all of them have long blonde hair. So I realized that if I wanted to have an interesting career, you know, you just got to upend people's expectations. It'll be nice having someone over there.

It'll be nice having someone over there, unlike what was empty. In addition to training students, the Yale Rep prides itself on producing plays by emerging playwrights. How come you ain't never liked me? Like you? The recent film Fences is based on an August Wilson play that premiered at the Yale Rep in 1985. Who in the hell ever said, I got to like you? What law is there to say, I got to like you? Starring James Earl Jones, already an established actor, in the role of a troubled father. His son was played by then Yale grad student, Courtney B. Vance. Let's get this straight right now.

We'll go long any further. I ain't got to like you. And he ends up saying, don't ever expect anybody to like you. The best advice any black father could give a black son.

In this society, they are trained not to like you. And that was better than Shakespeare for me. You were pretty happy on Tony night. He won a Tony for Fences. That's wonderful. Yeah, we're very happy. And tonight, Jones will get a lifetime achievement Tony award.

As for the Rep, it sent 17 productions to Broadway, earning nine Tony awards with more than 40 nominations, including three this year for Indecent. And after 50 seasons and more than 300 productions at the Yale Rep, Meryl Streep thinks it's just getting started. It's just getting started. Now, especially with all the competing screens that you can look at, there's just a real appetite for the actual as opposed to the virtual. And people are piling in to see live theater, see something happen in front of them. I'm Jane Pauley.

Please join us here again next Sunday morning. This is Intelligence Matters with former acting director of the CIA, Michael Morrell. Bridge Colby is co-founder and principal of the Marathon Initiative, a project focused on developing strategies to prepare the United States for an era of sustained great power competition. The United States put our mind to something we can usually figure it out. What people are saying and what we kind of know analytically and empirically is our strategic situation, our military situation is not being matched up with what we're doing. Follow Intelligence Matters wherever you get your podcasts.