The Hollywood figure Faith Hubley has maintained that the mob, anticommunist unions, and right-wing Republicans were linked in a corrupt triangle: to continue working, the blacklisted artists could provide payoffs that ultimately made their way into the pockets of each side of this triangle.110 She has a point. The central—though tacit—metaphor for the postwar United States was the simultaneous rise of organized crime and decline of the organized left, and the fulcrum of this seesaw was the film industry and the crushing of CSU.