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In his biography of Bernard Shaw, Michael Holroyd makes a noteworthy claim about Shaw's relationship with the United States. Assessing a disjointed, antagonistic speech Shaw made to the Academy of Political Science in New York in 1933, Holroyd claims that Shaw's "ringing warfare against the United States sounds like an echo from within his disunited self . . . mak[ing] his objection heard to the feted progress of G.B.S. around the world. Was not the spell of money on G.B.S. an American spell; his trick of overstatement 'an American trick; his gift for monologue, an American gift,' as Blanche Patch was to suggest?"1 Shaw's public bashing of the United States reached its sardonic height in a newsreel he recorded in 1931. In "A Little Talk on America," Shaw calls Americans "dear old boobs" and America "a most awful country," even as he claims immense popularity with American readers.2 He appears, as Holroyd notes, "at his most child-devilish encircled by immense lights like furnaces welcoming Americans into hell."3 That Shaw mocks from a position he imagines he shares with his audience lends support to the claim that the author suffered internal divisions. It also reminds us of Shaw's savvy about the media environment in which he operated. Shaw's relationship to the film industry further illustrates this position. In 1933 he visited Hollywood and pronounced it "the most immoral place in the world."4 At the same time, he actively sought ways to make money through the industry and to increase his fame. Shaw even stayed with William Randolph Hearst, who, though primarily a newspaper owner, represented many of the excesses of the new media Shaw enjoyed mocking. His theatrics were clearly intended to goad his American audience, but in each case they were performed on platforms associated with the United States the well-paid American lecture circuit, the press, and the budding film industry. During these public appearances Shaw inhabited a paradoxical critical posture: on the one hand, he denounced his hosts and audience