The end of the war may have brought ecstasy to some, but it seemed to bring only gloom to the movie moguls. After the war, the studios faced several challenges: foreign quotas limiting markets for U.S. exports; competition from the nascent television industry; the unfavorable conclusion of an antitrust lawsuit seeking to disrupt the vertical integration of the industry; and a proliferation of independent producers as a partial result of new capital gains tax advantages for individuals forming their own companies. In fact, the antitrust litigation that had forced studios to divest themselves of theaters reduced their need to supply “product” for themselves, which in turn opened the door for more nonstudio film productions. Janet Wasko reports that “between 1939 and 1947,” there was intense “competition among banks to provide funds for film production,” but this ended abruptly by 1948. Allegations about Red labor leaders in the industry repelled capital, for there were many other less “tainted” areas in which to invest.27 Moreover, this decline was detectable by 1946, helping to feed the months’-long lockout.