The last film Weber made at her independent production company, The Blot shows that she did not abandon social critique in her later films, as is sometimes assumed. An indictment of a society so devoted to affluence and consumption that it undervalues its educators and clergy, The Blot sets the genteel poverty of a professor’s family against the ostentatious wealth of their daughter’s society beau and the gaudy materialism of an immigrant shoe-maker’s family next door. The film finds irony in the fact that those who produce and sell consumer goods make a better living than the teachers and clergy charged with sculpting the nation’s minds and souls. Objects take on out-sized importance in the film – the cars people drive, the shoes they wear, the food they have (or do not have) all become important indices of class status and longing. Praising Weber’s ability to capture “simple details, simply”, reviewer Joseph L. Kelley described how her filmmaking “revealed the obvious, the simple little happenings of everyday life in such a manner as to overcome and discount the old saying that the obvious is never interesting”. By focusing on the professor’s wife, Mrs Griggs, emphasizing her visual point of view and inviting audiences to share her humiliation at the family’s poverty, The Blot pointedly demonstrates the particular pressures placed on women in the consumer-driven economy. Perhaps most daring of all, Weber refuses to provide the expected happy ending and in doing so demonstrates the force of her critique.