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'V AS IN BARNUM 293 Few issues of the period were more inflammatory. The con- troversy was certain to attract wide attention if on no other basis than DeMille's great prestige. To his advisors there was another encouraging factor; they knew what a fighter he was, for up to that time or since, no Hollywood executive had made bold to take so vigorous a position publicly. Around the country, supporters of "right to work" legislation were jubilant; already a few states had passed such laws, for- bidding union membership as a condition of employment. A DeMille success in California, a key state, would jolt unionism and something that unionism had to have to stay alive, collec- tive bargaining. In mounting an anti-union crusade DeMille gave solemn thought to his own losses should AFRA rule him off the air. He would lose his weekly contact with a vast audience. The feeling of varied union members who populated every movie set would inevitably worsen. He considered public reaction. He wondered about the millions of union families who attended the cinema. Moreover, he had come to love the Lux show, showering much care upon his part in it. So much so that on one occasion he harried a writer who was trying to prepare a suitable tribute to the filmdom's star moppet, Shirley Temple. DeMille felt the man wasn't putting forth his best efforts. The writer thought he was, and finally lost his temper. He demanded to know what on earth anyone could say about Shirley Temple. "That's for you to figure out," snapped DeMille. "If you'll tell me what you have in mind Til try to do it." "Just this/' replied DeMille. "I want to say something about Shirley Temple that people will remember forever." It was not unthinkable that AFRA might back away, being unwilling to project so important an issue with so worthy an opponent. Indeed, prestige was viewed by AFRA officials as the strongest weapon in DeMille's arsenal.