In Popular Culture
"Hyperion" (poem), by John Keats
Hyperion (Hölderlin novel), a book by Friedrich Hölderlin
Hyperion (Longfellow novel), a book by Henry Wadsworth Longfellow
Hyperion (Simmons novel), the first in a series of novels by Dan Simmons
Hyperion (journal), a literary journal
Hyperion Books, a book publisher
In the Harry Potter series, Draco Malfoy's son, Scorpius Malfoy's middle name is Hyperion, named for this deity.
In 1974 movie version The island at the top of the world, Hyperion is the name of the french Zeppelin used to reach the Arctic. Though the film is based on Ian Cameron's novel The Lost Ones, Hyperion doesn't appear in the novel.
In the video game series, Borderlands, Hyperion is a weapon manufacturer. It returns in Borderlands 2 as a manufacturer and the main enemy faction.
In Angel (TV series), Hyperion is the name of the street that the hotel that Angel Investigations works out of.
In the Percy Jackson and the Olympians book series (based on Greek mythology in modern-day life) by Rick Riordan, Hyperion is shown in the last book The Last Olympian and is ordered by a resurrected Kronos to help in the Battle of Manhattan where he leads an army through Central Park to get to the Empire State Building (the modernized version of Mount Olympus). He fights the series' main protagonist, Percy Jackson, and is defeated when an army of satyrs use nature magic to turn him into a Maple tree.
In Starcraft, Hyperion is the flagship battercruiser used by Jim Raynor.
In the 2011 film, Immortals, Hyperion is depicted as a brutal human king intent on releasing the Titans from captivity to overthrow the Olympians and is killed by Theseus.
Read more about this topic: Hyperion (mythology)
Famous quotes containing the words popular and/or culture:
“Like other secret lovers, many speak mockingly about popular culture to conceal their passion for it.”
—Mason Cooley (b. 1927)
“Any historian of the literature of the modern age will take virtually for granted the adversary intention, the actually subversive intention, that characterizes modern writing—he will perceive its clear purpose of detaching the reader from the habits of thought and feeling that the larger culture imposes, of giving him a ground and a vantage point from which to judge and condemn, and perhaps revise, the culture that produces him.”
—Lionel Trilling (1905–1975)