Matt Groening developed together with his friend and colleague David X. Cohen the TV-Show Futurama, set in New York in the year 3000. Groening describes his ‘vision of the future’ in Futurama as corporate, commercial and confusing which is not what he expects it to be, and it is not necessarily valuing this world as good or bad. Thus, the assumption of this study is that Futurama presents a stereotyped science fiction-world that deals with themes and problems of our present time. This becomes clear when looking at the excessive use of allusions and references to political and historical events as well as to popular and classical culture. The creators comment that way on topics that concern us – or at least should concern us – today. The task of this study is to identify these topics and references (focusing on America as a political entity), and thereby discuss the points of criticism Futurama raises.

Matt Groening developed together with his friend and colleague David X. Cohen the TV-Show Futurama, set in New York in the year 3000. Groening describes his ‘vision of the future’ in Futurama as corporate, commercial and confusing which is not what he expects it to be, and it is not necessarily valuing this world as good or bad. Thus, the assumption of this study is that Futurama presents a stereotyped science fiction-world that deals with themes and problems of our present time. This becomes clear when looking at the excessive use of allusions and references to political and historical events as well as to popular and classical culture. The creators comment that way on topics that concern us – or at least should concern us – today. The task of this study is to identify these topics and references (focusing on America as a political entity), and thereby discuss the points of criticism Futurama raises.

Examination Thesis from the year 2005 in the subject American Studies - Miscellaneous, grade: 2,7, Johannes Gutenberg University Mainz (Amerikanistik), course: Abschlussarbeit 1. Staatsexamen, language: English, comment: Die Arbeit wurde nach Bewertung nochmals uberarbeitet., abstract: It is a valid question whether an animated cartoon can be subject to a dissertation or not. It is important that it consistently comprises of satirical jokes as well as having the aspiration of teaching its viewers something; it has to make them think. A cartoon does not necessarily only have to be entertainment, neither requesting critical review nor treatment. Matt Groening describes Futurama like this: "It's about a pizza delivery boy named Fry who, on New Year's Eve 1999, gets inadvertently frozen in a cryogenics lab and wakes up 1,000 years later. The themes: If you are a loser, is it possible to reinvent yourself? How do you deal with the desire for youth, for the return of dead loved ones, and what does it mean to be finite in the universe? Boy, is this too pretentious or what?" [...] The idea of projecting problems of the present into the future has its genesis in Edward Bellamy's Looking Backward 2000-18875. Unlike famous dystopias like Aldous Huxley's Brave New World, George Orwell's 1984, H.G. Wells' Time Machine, or Ray Bradbury's Fahrenheit 451, Looking Backward draws a positive picture of the future in order to encourage his coevals to work towards the society he depicts. In contrast to that, dystopias use current events, like technological breakthroughs or political changes, consider a possible development and present a worst case scenario, which needs to be avoided. In the next two chapters it will be discussed whether Futurama stands in a dystopian tradition and in how far allusions to possible literary and other archetypes are important.

An indispensable resource, this book provides wide coverage on aliens in fiction and popular culture. The wide impact that the imagined alien has had upon Western culture has not been surveyed before; in many cases the essays in Aliens in Popular Culture are the first written on the topic. The book is a compendium of short entries on notable uses of aliens in popular culture across different media and platforms by almost 90 researchers in the field. It covers science fiction from the late nineteenth century into the twenty-first century, including books, films, television, comics, games, and even advertisements. Individual essays point to the ways in which the imagined alien can be seen as a reflection of different fears and tensions within society, above all in the Anglo-American world. The book additionally provides an overview for context and suggestions for further reading. All varieties of readers will find it to be a comprehensive reference about the extra-terrestrial in popular culture.

This book explores expertise relevant for two working groups of NeDiMAH, a European Science Foundation (ESF) funded Research Networking Programme. It examines mapping methods, procedures, tools, criticism, awareness, challenges and solutions around the concepts of “Space and Time” and “Information Visualization”. The chapters explore digital methods in the representation of natural disasters, industrial design, cultural, and the history of architecture. The conclusions link to related research and present suggestions for further work including representing landscape not just as another 3D model but as historic evolution with specialised tools.

Science fiction series have remained a staple of American television from its inception: classic programs such as The Twilight Zone, The Outer Limits, and Star Trek, along with recent and current series including Babylon 5 and Stargate SG-1, have been some of the most enduring and influential of all television shows. In this chronological survey, author M. Keith Booker examines this phenomenon and provides in-depth studies of the most important of these series. Science Fiction Television traces the development of the genre as a distinct cultural phenomenon within the context of broader developments in American culture as a whole. In the process, it offers a unique and informative guide for television fans and science fiction fans alike, one whose coverage is unprecedented in its scope and breadth. A must-read for anyone interested in its subject or in American popular culture, Science Fiction Television is a perceptive and entertaining history of one of television's most lasting forms of entertainment.

The sprawling story of a Czech-American family's determined struggle and unforgettable odyssey from the hunger and hardship of Eastern Europe, across the cold and gray Atlantic in steerage, and on into America's growing cities and isolated farms. The Novaks survive and grow through love and loss, peace and war, epidemic and Depression, in a wondrous new land far from home a young and raw America immersed in the restless throes of change. JOURNEY is a great, new family saga of turmoil, heartbreak, and humor with characters as vivid and colorful as the rich American landscape of the last hundred years.

In the words of Walt Disney, "Animation can explain whatever the mind of man can conceive." Part biography, part history, part artistic commentary, this volume looks at major figures in the field of animation and discusses how their contributions have affected the course of the industry--and, in many cases, popular culture as a whole. These gifted artists are divided into several classifications: Idealists (Art Babbitt, John Hubley); Mavericks (John Kricfalusi, Terry Gilliam); Technicians (Max and Dave Fleischer); Influencers (Frank Tashlin, Matt Groening, Ray Harryhausen, Ed Benedict); Trailblazers (Lotte Rieniger, Lillian Friedman); Teller of Tales (Henry Selick); Teachers (George Newall, Tom Yohe, the FMPU); and Storytellers (Joe Grant, Bill Scott, Michael Maltese). A selective list of each animator's key films and awards is included.

Silicon Valley wants us to believe that technology will revolutionize our cities and the ways we move around. Autonomous vehicles will make us safer, greener, and more efficient. On-demand services like Uber and Lyft will eliminate car ownership. Micromobility devices like electric scooters will be at every corner, and drones will deliver goods and services. Meanwhile visionaries like Elon Musk promise to eliminate congestion with tunnels, and Uber help with flying cars. The future of transport is frictionless, sustainable, and according to Paris Marx, a threat to our ideas of what a society should be. Road to Nowhere exposes the problems with tech's visions of the future and argues that we cannot allow ourselves to be continually distracted by technological fantasies that delay the collective solutions we already know are effective. Technological solutions to social problems and the people who propose them must be challenged if we are to build cities and transportation systems which serve the public good. In response, Paris Marx offers a vision for a more collective way of organizing transportation systems which considers the needs of poor, marginalized, and vulnerable peoples. The book also argues that rethinking mobility can be the first step in a broader reimagining of how we organize our social, economic, and political systems to serve the many, not the few.

Profiles the Casbah club and its owner, Mona Best. Looks at the Mersey beat music scene in Liverpool in the late 1950s and 1960s.