Stanley Kubrick’s choice to appropriate the opening gesture of Strauss’s Also sprach Zarathustra (1896) in his science fiction masterpiece 2001: A Space Odyssey (1968) provided this music with a degree of pop-culture notoriety rarely attained by "serious" works. Afforded the mass exposure of a Hollywood blockbuster, the tone poem’s visceral power manifested itself in settings the composer never could have imagined: athletic stadiums, discotheques, Elvis Presley concerts, and cell phones, saturating the popular consciousness to an extent perhaps unparalleled. Beneath this spectacular feat of publicity, however, the film offers a rich and sophisticated reading of Strauss’s music, by duplicating visually the music’s dazzling aural effects, by engaging with the same Nietzschean dilemmas that occupied Strauss (particularly humanity’s evolving struggle to conceptualize the fate of the individual), and by seeking to integrate the worlds of self-consciously significant artistic expression and commercial entertainment.