Critical realism, constructivist sociology of science, science and technology politics, and new materialism all strive to elucidate the continuity between science and technology and culture. These theoretical perspectives grapple with scientific knowledge itself as well as its existence distinct from anthropocentric knowledge. They argue that contemporary science and technology do not operate outside of capitalism and that their relationship with culture is similarly constructed. With this theoretical background, the article focuses on several events that occurred in late 1930s in the United States, a time when consumer capitalism was taking shape. The New York World’s Fair (1939-40), Westinghouse’s film The Middleton Family (1939), and the robot Elektro (1937) are the subjects of investigation. The New York World’s Fair combined an image of the future of consumption with science and technology. It served as a device to process consumption into a form of cultural capital and to reproduce science and technology as cultural capital. Westinghouse’s film and the robot were part of such devices operating as propaganda. In particular, the robot functioned as a spectacle that reproduced an image of cutting-edge products of the future and encoded the male-centeredness of technology and women as consumers. These can be referred to as the “theater of science and technology” of the 1930s.