Character
Mom owns and manages 99.7% of MomCorp, a large, multi-billion dollar industrial complex with numerous subsidiaries and a monopoly on robot production. Publicly, she retains the corporate image of a sweet, bustling old woman who often slips into the stereotype of a hapless grandmother (she wears antiquated clothes that greatly accentuate her bust and general figure, while using rustic similes and metaphors such as "squeaking like an old screen door"). Behind the scenes, however, she is malevolent, foul-mouthed, chain-smoking, cold-hearted, and narcissistic. She routinely abuses her sons into submission, treating them like gofers. In the episode "Mother's Day", it is revealed that some of her bitterness originates from an ill-fated romance with Professor Farnsworth 70 years earlier, who, while reformatting the basic robot design, terminated their affair following savage rows about his work. According to Bender's Game, this has happened at least three consecutive times. Due to Farnsworth's increasing senility, he would forget why they originally broke up or that they had even broken up in the first place.
She occasionally attends charity functions as a way of boosting her public image, but really has no empathy for any of the people she's supposed to be supporting (in "A Fishful of Dollars" she describes one such gathering as "some charity BS for knocked up teenage sluts"). In the episode "The Tip of the Zoidberg", it is revealed by Dr. Zoidberg that her first name is Carol.
Read more about this topic: Mom (Futurama)
Famous quotes containing the word character:
“For character too is a process and an unfolding ... among our valued friends is there not someone or other who is a little too self confident and disdainful; whose distinguished mind is a little spotted with commonness; who is a little pinched here and protruberent there with native prejudices; or whose better energies are liable to lapse down the wrong channel under the influence of transient solicitations?”
—George Eliot [Mary Ann (or Marian)
“An actor rides in a bus or railroad train; he sees a movement and applies it to a new role. A woman in agony of spirit might turn her head just so; a man in deep humiliation probably would wring his hands in such a way. From straws like these, drawn from completely different sources, the fabric of a character may be built. The whole garment in which the actor hides himself is made of small externals of observation fitted to his conception of a role.”
—Eleanor Robson Belmont (1878–1979)
“The family circle has widened. The worldpool of information fathered by the electric media—movies, Telstar, flight—far surpasses any possible influence mom and dad can now bring to bear. Character no longer is shaped by only two earnest, fumbling experts. Now all the world’s a sage.”
—Marshall McLuhan (1911–1980)