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This article reassesses the relationships of the Central Intelligence Agency and Department of Defense with the American entertainment industry. Both governmental institutions present their relationships as modest in scale, benign in nature, passive, and concerned with historical and technical accuracy rather than politics. The limited extant commentary reflects this reassuring assessment. However, we build on a patchy reassessment begun at the turn of the 21st century, using a significant new set of documents acquired through the Freedom of Information Act. We identify three key facets of the state-entertainment relationship that are under-emphasized or absent from the existing commentary and historical record: 1. The withholding of available data from the public; 2. The scale of the work; and 3. The level of politicization. As such, the article emphasizes a need to pay closer attention to the deliberate propaganda role played by state agencies in promoting the US national security state through entertainment media in western societies.

The CIA and the U.S. Department of Defense are both engaged in programs to influence the content of movies produced by Hollywood studios. Although they claim their only purpose in these ventures is to guarantee the accuracy of how military and intelligence activities are conducted, it is clear that their agenda goes beyond that goal. Their true aims include ensuring that movies project a positive image of the relevant government agencies. However, the CIA and DoD differ in their understanding of what constitutes good publicity. Films scrutinized and supported by military agencies are primarily evaluated according to whether they provide a vehicle for showing the technical and organizational competence of the Pentagon. To that end, films based on comic book characters or extraterrestrial invaders are viewed positively because they show the war‐fighting capacity of the military without having to name any actual enemy. The CIA, by contrast, prefers to support films that enable citizens to develop a stronger sense of patriotism in a world of moral ambiguities. As a result, the CIA is much less fearful of revealing the dark side of its undertakings, as long as a given movie presents a story that shows the value of the CIA in protecting the security of the nation.

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Exploring two case studies – Thor and Black Panther – the article reveals how the use of Science and Entertainment Exchange (SEEX) advisers can help inspire the next generation of STEM careerists and popularize a variety of formerly marginalized scientific concepts. Blending interviews with SEEX leaders, the science consultants who worked on the films and Marvel Cinematic Universe (MCU) producer, Jeremy Latcham, this article blends a production economy perspective with critical analysis to better understand how the ideology of science circulates within the MCU and how its films are working to disrupt outdated notions of science and scientists.