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Word: sci-fi (lookup in dictionary) (lookup stats)
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...Hard boiled Wonderland and End of the World, 1985 A sci-fi tale set in the Tokyo of the future amid a technology war. In alternating chapters, the unnamed protagonist, the sole survivor of an experiment to implant decoder chips in humans, fights to reunite his mind and shadow. Winner of the Junichiro Tanizaki award, the Japanese Pulitzer...

Author: /time Magazine | Title: By the Book | 8/9/2007 | See Source »

...model for the cavemen spots--owes a debt to the deadpan ads from FedEx, Monster.com and so on that target the same upscale demographic. The crossover hasn't always worked: Baby Bob, a talking-baby sitcom based on an ad, was insipid. But Max Headroom, a black-humored sci-fi series based on a Coca-Cola campaign itself based on a British TV show, was brilliantly subversive, set in a media-saturated dystopia in which it was illegal to turn...

Author: /time Magazine | Title: It's an Ad. But Is It Art? | 6/21/2007 | See Source »

...original version of this article referred to the series Max Headroom as a "sitcom". It is more accurate to describe it as a "black-humored sci-fi series...

Author: /time Magazine | Title: It's an Ad. But Is It Art? | 6/21/2007 | See Source »

...oppressed are betrayers of their cause. It may be the most honest - and certainly the most exciting - movie about the secret war ever made. It also represents a comeback for Verhoeven, who left his native Holland in the mid-1980s for Hollywood, where he made big budget sci-fi movies like Starship Troopers and sexually controversial pictures like Basic Instinct, before the resounding failure of Showgirls nearly drove him out of the business. He talked to TIME's Richard Schickel about his new film and the wild ride that brought...

Author: /time Magazine | Title: Q&A with Paul Verhoeven | 4/5/2007 | See Source »

Contrary to popular belief, the entertainment industry isn’t actually getting any more violent, raunchy or sexy than it was a decade ago. We’ve always had violence on TV in different forms, from the sci-fi variety represented in “The X-Files” to the crime in hits like “NYPD Blue.” Crudeness, too, has always sold—“Married With Children” had far more so-called ills than anything we see today...

Author: By Malcom A. Glenn | Title: Love It, or Leave It Alone | 4/2/2007 | See Source »

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