Abstract
What exactly was revealed on February 24, 2013, when Michelle Obama opened the envelope announcing the winner of the Academy Award for Best Motion Picture of 2012? Th e First Lady stood in the Diplomatic Reception Room of the White House, fl anked by a dozen young servicemen and women in full regalia (see fi g. 1). Th ey grinned uncharacteristically as Mrs. Obama described the year’s best fi lms as a set of “lessons” that “took us all around the world” and “reminded us that we can overcome any obstacle if we dig deep enough and fi ght hard enough” (Zakharin 2013). Despite this cliched celebration of individual agency, the more obvious lesson of this spectacle— as conservative pundits were swift to deride— was its open celebration of the entwinement of the state and the entertainment industry. Th is is hardly news, but it is signifi cant— not, as conservatives suggested, because it refl ects the political sympathy between Hollywood
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