From The Onion and Reductress contributor, this collection of essays is a hilarious nostalgic trip through beloved 2000s media, interweaving cultural criticism and personal narrative to examine how a very straight decade forged a very queer woman "Honest, funny, smart, and illuminating.” —Anna Drezen, co-head writer of SNL "If you came of age at the intersection of Mean Girls and The L Word: Read this book.” —Sarah Pappalardo, editor in chief and co-founder of Reductress Today’s gay youth have dozens of queer peer heroes, both fictional and real, but former gay teenager Grace Perry did not have that luxury. Instead, she had to search for queerness in the (largely straight) teen cultural phenomena the aughts had to offer: in Lindsay Lohan’s fall from grace, Gossip Girl, Katy Perry’s “I Kissed A Girl,” country-era Taylor Swift, and Seth Cohen jumping on a coffee cart. And, for better or worse, these touch points shaped her adult identity. She came out on the other side like many millennials did: in her words, gay as hell. Throw on your Von Dutch hats and join Grace on a journey back through the pop culture moments of the aughts, before the cataclysmic shift in LGBTQ representation and acceptance—a time not so long ago, which many seem to forget.

Welcome to Pop Culture 2.0. In the 2000s, Generation eXposure, emerged from the marriage of new technology and the nation's obsession with celebrity. Social media technology, such as MySpace, YouTube, Facebook, and countless blogs, gave everyman a voice and a public persona that they could share with friends across the street or around the world. Suddenly, it was not enough to imitate Britney Spears or Paris Hilton, technology gave everyone a platform to launch their own 15 minutes of fame. The fixation on self and celebrity acted as a diversion from more serious challenges the nation faced, including President George W. Bush's War on Terror. The wars overseas sharply divided the country, after a moment of national unity after the terrorist attacks on 9/11, which took away one of the world's most recognizable buildings. The era witnessed interest rates dropping to historic lows, but later subprime became one of the most searched terms on Google as the nation teetered on recession. Big was in like never before and suddenly people nationwide could buy or build their own McMansion-a slice of the American dream. While supersized homes and fast food meals became commonplace, the electronics and transportation advances proved that good things came in increasingly smaller packages. Apple's iPod reinvented how people interacted with music, hybrids changed thoughts on fuel efficiency as a gallon of gas topped $3. Cell phones usage ballooned in our always on society, while physically shrinking to the size of a deck of cards. Yes, me-centric Pop Culture 2.0, which the pundits predicted would some day arrive, burst onto the scene and ultimately transformed the way we interact with one another and the world around us. Chapters inside the latest volume in the American Popular Culture Through History series explore various aspects of popular culture, including advertising, literature, leisure activities, music visual arts, and travel. Supplemental resources include a timeline of important events, cost comparisons, and an extensive bibliography for further reading.

The first decade of the new millennium ushered in an age of unprecedented amounts of information through the Internet and electronic media. The US was attacked in 2001, changing the face of New York City forever. There was economic slowdown, political divisiveness, and unprecedented terrorism. US-led invasions of Afghanistan and Iraq achieved their initial goals, then devolved into bloody guerrilla conflicts. International competition for energy resources escalated dramatically. Then, in 2008, a time of change began when Barack Obama was elected president. As the 2000s moved forward, people changed the way they socialized, worked, and even entertained.

The decade from 2000 to 2009 is framed, at one end, by the traumatic catastrophe of the 9/11 attacks on the World Trade Center and, at the other, by the election of the first African American president of the United States. In between, the United States and the world witnessed the rapid expansion of new media and the Internet, such natural disasters as Hurricane Katrina, political uprisings around the world, and a massive meltdown of world economies. Amid these crises and revolutions, American films responded in multiple ways, sometimes directly reflecting these turbulent times, and sometimes indirectly couching history in traditional genres and stories. In American Cinema of the 2000s, essays from ten top film scholars examine such popular series as the groundbreaking Matrix films and the gripping adventures of former CIA covert operative Jason Bourne; new, offbeat films like Juno; and the resurgence of documentaries like Michael Moore’s Fahrenheit 9/11. Each essay demonstrates the complex ways in which American culture and American cinema are bound together in subtle and challenging ways.

American Life in the 2000s takes a look at the major events that occurred throughout this decade and offers information on the demographics of the United States at the time. Readers will gain an understanding of the politics, conflicts, science, inventions, pop culture, fashion, and sports of the decade, and they will learn about the legacy the 2000s left behind. Features include a glossary, a timeline, references, websites, source notes, and an index. Aligned to Common Core Standards and correlated to state standards. Essential Library is an imprint of Abdo Publishing, a division of ABDO.

Describes the important world, national, and cultural developments of the first decade of the new millennium.

This book provides coverage of the diversity of Australian film and television production between 2000 and 2015. In this period, Australian film and television have been transformed by new international engagements, the emergence of major new talents and a movement away with earlier films’ preoccupation with what it means to be Australian. With original contributions from leading scholars in the field, the collection contains chapters on particular genres (horror, blockbusters and comedy), Indigenous Australian film and television, women’s filmmaking, queer cinema, representations of history, Australian characters in non-Australian films and films about Australians in Asia, as well as chapters on sound in Australian cinema and the distribution of screen content. The book is both scholarly and accessible to the general reader. It will be of particular relevance to students and scholars of Anglophone film and television, as well as to anyone with an interest in Australian culture and creativity.