My question, then, is how does Thank You For Smoking, in addition to othercultural and social phenomena such as Parrish’s stance, enact this same divorcebetween the abstract form of corporate America and its particular contents oremployees? My answer is that, to win its viewers’ identification with itscharacters and, through them, its ideological assumptions, the film organises itscontent around an ethical form, that of the tragic hero in Søren Kierkegaard’ssense. Consequently, what I hope to enact in this essay is the revenge (...) of contentupon form, because the form that produces the tragic hero, in Thank You ForSmoking and for Steve Parrish, ignores its own content and thereby threatens toundermine an authentic ethics, which is often intolerant and not necessarilyconsensual. In short, the film, based loosely on the ‘smoking wars’ that began inthe mid 1990s, ultimately champions an impoverished ethics, an ‘ethics ofconsumption’ with the ‘right to consume’ figuring as its first principle. (shrink)