Which brings up the interesting case of the U.S. Pavilion. As Expos fell almost completely from the American radar, Congress passed a law banning the use of any public money to fund U.S. participation in World Expos, unless by special congressional decree. So, rather than being the nationally-backed showcase of everything that makes our science, technology and culture great, the U.S. pavilion in Shanghai and in all Expos prior is forced to cajole every dollar from private investments (often, somewhat ironically, from major corporations based in the host country--Toyota was a major U.S. pavilion benefactor for Expo 2000 in Aichi, Japan). In a piece for Foreign Policy, Adam Minter, keeper of the excellent Shanghai Scrap blog, delves even deeper into the somewhat shady tale of the pavilion's conception and execution. Essentially, delays in fund raising, nepotism and general lack of attention until it was too late led to an exceptionally boring-looking U.S. pavilion. Supposedly representing an eagle's spread wings, the drab, gray hulk's main attraction is a film depicting a young girl's dream to transform a vacant lot in her neighborhood into a garden. Coincidentally or not, the two primary organizers of the U.S. pavilion are former Warner Bros. executives.