As the nation’s attention shifted toward ending the war in Vietnam, Jane Fonda supplanted Harry Belafonte as Hollywood’s dominant movement leader. Known for her work in the antiwar movement, her political activism continued long after the war’s end. For nearly twenty years, the Oscar-winning actress used her fame and money to build grassroots organizations that served as prominent left voices in American politics. Yet Fonda’s path into movement politics was almost the opposite of Belafonte’s. He was politically sophisticated before he joined a movement; she entered movement politics as a political naïf and grew savvier during the course of her activism. He tried injecting politics into his movies early in his career and then, frustrated, left Hollywood to join the civil rights campaign; she got involved in movement politics and then brought her politics to the screen by founding her own company and making Coming Home (1978), The China Syndrome (1979), Nine to Five (1980), and Rollover (1981). He preferred keeping the public’s focus on the movement rather than on the celebrity-activist; she operated in a highly visible manner and earned the enmity of many conservatives.