Boca Raton, Florida - Boca Raton in Popular Culture

Boca Raton in Popular Culture

Boca figures in many forms of popular culture.

Boca has been mentioned in many movies, including All the President's Men, Back to the Future, Bewitched, Cats & Dogs, Marley and Me, The Mexican, Mr. 3000, Music and Lyrics, A Perfect Murder, Wag the Dog, and Wonderland, and in many TV shows, such as American Dad!, American Dragon: Jake Long, Code Name: The Cleaner, Dexter, Entourage, Lizzie McGuire, Nip/Tuck, The Golden Girls, Histeria!, Mad Men, MADtv, My Name Is Earl, The Nanny, Phil of the Future, Robot Chicken, The Sopranos, SpongeBob SquarePants, Two and a Half Men, The Venture Bros., Weeds, and Wipeout. These references usually have something to do with the large number of luxury resorts and condominiums in Florida, or the considerable number of retired persons residing in Florida (especially in the case of Seinfeld),.

Boca Raton is almost idiomatically used for indicating retirement. For example, Fran Drescher's character in The Nanny is always pushing her parents to move to Boca, and Chelsea Handler frequently uses the city in reference to the elderly on her talk show, Chelsea Lately.

Development of Boca Raton features prominently in the 2008 Stephen Sondheim/John Weidman musical, Road Show, which centers on the lives of Addison Mizner and his brother Wilson Mizner.

Boca Raton has also been the stage and background for many movies filmed on location in Boca Raton, including Paper Lion (1968), Paper Moon (1973), Caddyshack (1980), Caddyshack II (1988), Where the Boys Are '84 (1984), Stella (1990), 2 Fast 2 Furious (2003) and Sex Drive (2008).

Read more about this topic:  Boca Raton, Florida

Famous quotes containing the words popular culture, culture and/or popular:

    Popular culture is seductive; high culture is imperious.
    Mason Cooley (b. 1927)

    The fact remains that the human being in early childhood learns to consider one or the other aspect of bodily function as evil, shameful, or unsafe. There is not a culture which does not use a combination of these devils to develop, by way of counterpoint, its own style of faith, pride, certainty, and initiative.
    Erik H. Erikson (1904–1994)

    What is saved in the cinema when it achieves art is a spontaneous continuity with all mankind. It is not an art of the princes or the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their single lives.
    John Berger (b. 1926)