References in Popular Culture
- In the TV special The Easter Bunny Is Comin' To Town, the chickens tell a story in a song explaining that "the chicken came first" while retelling the Hebrew Bible story of Noah's Ark and comparing the riddle to who came first: "the pussycat or the fiddle" (a reference to the nursery tune Hey Diddle Diddle), "the fountain or Ponce de León" (a reference to the Spanish explorer known for the legend of the Fountain of Youth), and "the cow or Mrs. O'Leary" (a reference to Catherine O'Leary and her cow, who are rumored to be the instigators of the Great Chicago Fire of 1871).
- At the end of the film Chicken Run, the rats, Nick and Fetcher, can be heard debating this question when they consider starting a chicken farm so they can have all the eggs to eat, but have different ways of how to start said farm. Nick thinks the egg comes first while Fetcher thinks the chicken comes first.
- In one episode of QI, the panellists were discussing the riddle, when one cracked, "A chicken and an egg are lying in bed enjoying a post-coital cigarette. The chicken turns to the egg and says, well, I think you've just answered that old riddle."
- In the novel Harry Potter and the Deathly Hallows, Luna Lovegood answers a question regarding the chicken or the egg by stating that "a circle has no beginning."
Read more about this topic: Chicken Or The Egg
Famous quotes containing the words popular culture, popular and/or culture:
“Popular culture entered my life as Shirley Temple, who was exactly my age and wrote a letter in the newspapers telling how her mother fixed spinach for her, with lots of butter.... I was impressed by Shirley Temple as a little girl my age who had power: she could write a piece for the newspapers and have it printed in her own handwriting.”
—Adrienne Rich (b. 1929)
“For those that love the world serve it in action,
Grow rich, popular and full of influence,
And should they paint or write, still it is action:
The struggle of the fly in marmalade.”
—William Butler Yeats (1865–1939)
“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)