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This is news because \"Futurama\" is the much-anticipated second show from Matt Groening, creator of \"The Simpsons,\" a man who had a great deal to do with establishing Fox as a legitimate network. No doubt much of the trouble with \"Futurama\" (8:30 p.m. Sunday, Channel 2) stems from the fact that the pilot sent to TV critics spends all of its time creating the back-story for the characters. Lost along the way is any trace of humor. The pilot is flat-out unfunny. In another person's hands, the tendency would be to write this show off immediately. But Groening deserves as much slack as he needs because \"The Simpsons\" is not just one of the funniest TV shows ever created - and still the funniest half-hour on television - but it was a landmark show that ushered in this current tidal wave of animation. Groening is a visionary who is proven. Because of that, viewers need to step back from the pilot of \"Futurama\" and let it build its story line. Life would have been easier had the \"Futurama\" writers zinged something - anything - with half the wit of their \"Simpsons\" counterparts, but while the show is intriguing to look at, it rarely musters up even a tired smirk.

In 1978, Robert Craft expressed the hope that some record might be found of the lessons that the virtually unknown American composer Earnest Andersson (1878–1943) took with Stravinsky in Hollywood during 1941–42. Also missing were scores of the symphony Andersson worked on with Stravinsky. These documents have now come to light. A private collection in Pennsylvania houses Andersson'sFuturamasymphony and the notebook he kept of his lessons, items heretofore unseen except by family members. These sources contribute to our understanding of Stravinsky in at least two unique ways. First, Andersson's notebook is the sole record of any long-term pedagogical commitment by Stravinsky, one that eventually numbered 215 lessons. Second, the manuscripts of both composers forFuturamaand for two other large orchestral works establish Stravinsky's only known compositional collaborations (with the exception of a one-month stint with Ravel in 1913), which stretched over almost two years. This article examines Stravinsky's previous sporadic role(s) as pedagogue, outlines the various careers of polymath and composer Andersson, questions Stravinsky's final and self-serving remarks in 1966 aboutFuturama, offers preliminary analyses of two movements fromFuturamaupon which both men worked and which are discussed in Andersson's notebook, and suggests how and what Andersson may have learned, as recorded in his 58-page notebook (late February–early October 1941). The notebook is here transcribed in full.

This chapter explores how sounds acquire meaning in specific audiovisual contexts. Even if we know, in raw technical terms, what a sound is – where it comes from, who or what made it, how to reproduce it precisely – we still won’t have enough information to caption it. To explore this claim, this chapter analyzes a single recurring sound – the Hypnotoad’s drone on Futurama – through the variety of captions attached to it over the course of nine years (2001-2010). The sheer variety of captions for a single non-speech sound points to a deeply subjective practice in which captioners rhetorically invent meaning that hasn’t quite existed before within the universe of the show. This same variety of captions also raises questions about the need for consistency in episodic television captioning. This chapter is rounded out with five additional examples from Family Guy, Twilight, Sunshine Cleaning, Hick, and Alien vs. Predator: Requiem.

Here we explore the educational implications of classroom activities related to the backgrounds and motivations of talented Hollywood comedy writers and the mathematical moments they created for the Emmy Award-winning animated sitcom Futurama.

Groening says future episodes involve the invention of the eyePhone (embedded in your eyeball); the origins of boozy robot Bender (John DiMaggio) at a Mexican factory and his later fight for robosexual marriage rights; a Comic-Con set in 2999 San Diego; and more on the relationship of Fry and love interest Leela (Katey Sagal), the ship's one-eyed captain who's particularly imperiled by that crash in tonight's opener.

[...]one episode revealed that \"Star Trek\" had become a banned religion.) The show conveniently debuted amid real-life worry that power grids and the Internet would fail on Jan. 1, 2000, because our dumb computers wouldn't recognize the calendar rollover - a crisis that turned out to be laughably overhyped.