Film Review: I, Robot



Asimov fans, beware! I don't know who I'd be saying that to, at this point, over a year after the film's release, when all science fiction readers, let alone Asmiovians, had presumably been following this film project in development, learning early how little it had to do with them, and then protested with their wallets. In fact, I, Robot is not only not any specific adaptation of the book of the same name, nor even a very good abridged body of Asimov writings in general. It was originally a film called Hardwired, in development by Bryan Singer, before it got boosted, rewritten to an action movie budget, then re-written again, or rather ham-fistedly laden with summer event movie cliches, by Akiva Goldsman, who's handiwork is best evidenced by Batman and Robin, the film that very nearly sank the concept of superhero adaptations forever. Despite the dumbing down of a likely passable script, and the forced mutation into a Will Smith vehicle, I think the saving grace was the directing eye of Alex Proyas, who brings the same sense of awe and dystopian familiarity in this film to his other-worlds in Crow and especially Dark City, to which this film owes some spiritual favor. So, if you are a die-hard Asmov junkie, loking for hard-boiled mind-bending logic puzzles, head back to your locally-owned bookstore and have it, because disappointment this way comes. If you are realist enough about big-budget hollywood to accept that the brilliant source material was merely concept design inspiration for this entirely different exercise in stimulation, and are able to judge it on a different set of criteria, largely centered around base sensory entertainment, then read on, because when viewed int he context of it's peers, I, Robot is a far better action movie than many.



Premise:



In 2034 Chicago, US Robotics is preparing to unveil a new generation of perfect, autonomous humaniform robots, intended to replace outdated earlier domestic bots in most households. Paranoid and robot-hating cop Del Spooner suspects murder, when the father of modern robotics is found dead in the atrium of the USR corporate tower, despite the Three Laws of Robotics, which state that a robot may not harm a human, disobey a human, or allow itself to come to harm, in that order. But if a robot did murder Dr. Lanning, how did it violate it's protocol? And why are the production army of new robots looking so fascist?



It should be obvious from the copious previews that I, Robot has very little to do with either the book, or any of Asimov's writings. It's quite a bit like that Siper-Man licensing arrangement earlier this year between Marvel Comics and an Indian graphics house, producing Spidey comics where our hero wears a sarong and fights dishonorable suitors of the king's daughters or whatever: it's loosely based on some recognizable concepts, but the closer you look, the less familiar it appears. In fact, it evolved into a shooting script that is very nearly the opposite of Asimov's material. The famed sci-fi author is often described as having written the Three Laws of Robotics in 1940, in an effort to establish a premise for robot tales that had no room for the cliches of the 30's and early 40;s, of mad, uncontrollable robots staggering amok through downtown, tearing guys right out of their Seersuckers and grabbing housewives by the coiffed hairdos. His books were about a fine set of logic proofs that allowed him to put robots in situations where obeying these rules caused them confusion and peril. They were logic puzzles, mental exercises, and read more like Law and Order than Independence Day. So, despite the fact that Proyas is playing with Asimov's toys, he ignored the instructions.



Cast:



Obviously, this cast begins and ends with Will Smith. This project was rewritten around him, and it's fairly typical of his les splayful, more half-assed macho action films. Missing are the quips, the playfulness, the 4th wall violations of cocked eyebrows and what not that make some Smith films at least amusing in their casual recklessness. That wouldn't have been particularly appropriate here, because Spooner's character flaw is singular: blind, painful prejudice. He's a tw-dimensional tragic figure, wounded from a terrible accident that has left him both guilty and mistrusting of robotkind. He broods, he swaggers, e bucks authority. He's an action film cop and, frankly, filming right after Ali, they've taken full advantage of Will Smith's yoked out physique here, giving us a shower scene, three dressing scenes, and plenty of ripped clothing. I mean, his pecs in particular ARE quite impressive, but in another film, another altenrate universe version of this material, the Spooner character could have been far better served Bladerunner-style, with a flawed, messy Deckard cipher played by a far less physically powerful figure. But that's really neither here nor there, because brooding, macho Smith fits this stylized future well, of sleek, litter-free efficiency and high design at every turn. It is what it is.











The not-really-love-interest Dr. Calvin is played by Bridget Moynahan, and I have to say, they'd have had a hard time finding a worse chemistry match than these two. She's good in her part, I think, and plays the cool, analytical psychiatrist well enough. But when she's emoting, flustered by the breakdown of USR's perfect robotic society, and grips Smith's meaty deltoid, there's just no feasible way to imagine her being moved by Smith's character, either as he's written or acted. She's just not helpless enough. I think she was fine for the role, but she also spotlighted Smith's miscasting, and that was an issue they didn't need any help illuminating.









A few other notable castmembers include the criminally underutlized Shia LeBouf, who, just like in Constantine, was refreshingly human and random and appealing, and given only a few scenes in which to do very little.







Bill Duke, who was twice immortalized in my quoting canon (once, in Predator, mumbling "M'gonna have me some fun..." in a shell-shocked loop, his chain gun rattling emptily to a stop as the creature circled around to finish him off... and then again in The Limey, when, in response to one of Terrence Stamp's beautifully tangled speeches, said, one eye half-cocked and thoroughly monotone: "There's just one thing...I don't understand... and thats every mother-fucking word you just said.") isn't in this movie.



However, Cho McBride is, and plays Spooner's tired police chief here, and has nothing to do really except not believe his friend's insistance thatthe robots will rise, and then later, he almost seems embarrassed to be filming such a hackneyed scene as demanding Smith's badge... though as harsh as that sounds, his role is much improved by his casting, specifically. He's one of those actors who broadcasts weariness in his facial folds and hangdog expression with understated ease.









The best actor in the film is the Audi RSQ concept car, designed for the film. I spent more time studying Audi's website in the months preceding the film's release, than actually investigating the movie itself. Even my wifebot was in awe of it's lines, it's wicked reverse gullwing doors, it's dark, womb-like cockpit, and the way the sound effects offered it impressive impressions of both weight and power. In it's final moments in the film, we see it's creative honeycombed anti-grav generator pods instead of wheels, and it looks, to use the parlace of our times, sick. That's how THIS wrongrobot shall roll in 2034, let me just lay it down right now.



Production:



I was frankly delighted by the film's production. The set design was marvelous, showing us a near-future that definitely swings ont he clean, fascist side of the fence, but offers a surprisingly harmonious example of period buildings interwoven with futureech structures. The USR tower is a brilliant spire, reminiscent actually of some of the supertowers of the last few years that are underway in less code-burdened locales like Singapore. The massive tower lobby atrium is one of the sweetest I can recall in film, other than the Bradbury Building's deco charm in Bladerunner, and clearly it's opposite in scale and effect. Looming skeletal robotic sculptural forms tower over the entry to the building like old-world art deco monuments, and a gigantic one fills the atrium for a score of floors, offering not the most subtle forshadowing on the plot. The city streets offer a fine fusion between familiar and recognizable Chicago imagery (known streets and monuments) with clean futuristic stylings and plenty in-between, such as several Audis with facelifts, and those brilliant robot carrier vehicles with 360 ball/socket wheelsystems and insane center of gravity management challenges.



Other fine details include the ribbed textures int he highway and tunnel road scenes, the cascading parking orbital structures that file vehicles away like an old-school typewriter ball, and the beautifully minimal way they incorporate seemingly modern details into old Chicago brownstones, like security door lock mechanisms and credit-chip scanners at the local dive bar. The film painted a palpable, if not realistic, future setting, and I drank it in.



The editing was fairly solid, with few poor cuts and very good timing in the more elaborately executed action and stylized money shots. Proyas has a singular eye for what is awe-inspiring in the other-world creation of fantasy film, but at the same time focuses on making his characters live and interact within their environments. It goes a long way towards making the stylized , spit-shined chromed world of I, Robot feel lived in by it's characters.



Lots of strange little homages and references littered the production, which I always enjoy, being a detail geek. The cop cars used the Chicago font for their police lettering... appropriately, if clumsily. The script references a 'difference engine' twice, which is very Gibson/Sterling, and there are more than a few film genre references, such as Frnakenstein and such. I would have been very impressed if they squeezed in The Forbin Project somewhere, as Colossus: tFP (1970) pretty much used the same plotline, but with foam rocks and painted-on-film lasers and the like.









To remind us of his macho ways, the production affords Smith many opportunities for bad-assery. One could smell the hip-hop album in preparation for timely release. He flexes, dives, hurtles, grabs his abs, drives an Audi like hs stole something, and even finds an opportunity to unearth an Agusta motoerbike (one of the fastest production motorcycles of the time) and do some hair-raisingly dangerous stunts (or somebody did, I should say) in robot crowds at high speeds on it. Smith said on American Chopper that he layed one down at 60mph during filming. That, if true, would make the insurers flinch for both him AND the bike... but of course I doubt it is. Machismo and all.



Audio Visual FX:



The bells and whistles here were really top-notch. I grant the caveat that I was using this film to really test the new plasma screen I installed here at wrongrobot HQ, and between the visual delights, and the 5.1 audio, I was in AV hog-heaven.







Some of the visual details astounded me up close and personal in my home theater. The texture of the roadways, the gleaming blue arcs of the security system, the beautiful transluscent visages of the robots... I was just basking in the high-contrast glow of the plasma here.







There were a number of scenes where the near seamless integration of CGI and traditional set FX were used harmoniously, from the rioting crowd vs. robot clashes, to the delicate dangling and swarm fighting act of the VIKI sabotage sequence (stolen from Matrix Revolutions stealing from Empire Strikes Back) to the cool themepark ride style destruction of Dr. Lanning's mansion, as Smith dives, spins, and tumbles through an impossible structure being demolished by a huge demolition machine, all the while clutching a cat to remind us he's a swell guy.







One of the best scenes showcasing excellent video and audio effects simultaneously was the one shown in our title imge and again above, where a line of "1001" newly-assembled robots (which looked to be about 10,000 during the scene) hides a single fugitive bot, and Smith is trying to flush his target out though intimidation and hawkeyed acumen. The minor echo of every movement in this chamber, combined with the brilliant clairty of the image on DVD (thoruh plasma at least) showing our favorite bot-on-the-run lean out of form severl hundred robots down the line, for a split second, made this scene shine.



:::







So, was it a good movie? This was probably a review that seemed at least as full of criticisms as praise, but I'm scoring it higher than you'd perhaps expect, because I strongly believe, and I'll say this again and again, and maybe tattoo it someday somewhere interesting: manage your expectations! Taken as Asimov's legacy, from heavy-gazed, scowling devotees who can't appreciate some popcorn CGI action, it ranks quite low. But taken as a dazzling future-world fantasy ride with briliant detail and a compelling audio visual experience to boot, I'd say it was quite enjoyable. It was a great film to break the plasma in with, and I have to say, despite it's faults... I had a good time watching it. Mostly.



7/10 Clicks

Related posts:

1. iRobot Design Theft Gives Bad Robot Karma
2. How To Survive a Robot Uprising

I'm probably officially the last person on the planet to see a Cirque du Soleil, which partially explains why I sat there slack-jawed for 3 hours last night watching their new division, Corteo.



If you want the quick rundown, lemmee put it to you thusly -- limber, muscular Mediterraneans, contorting, flying, bouncing and dancing, in an intimate, theatrical atmosphere, complete with audience interaction. Like c'mon -- how could you NOT like it? Especially the "limber, muscular Mediterraneans" part. W.O.R.D.



Some highlights...

1] Exotic females in mod-burlesque costumery, acrobating in synchronicity, in giant, swinging chandeliers 20 feet over the ground. HOT. Probably the sexiest thing I've seen in 10 years.

2] Exotic females and males in throwback-Euro-children's-pyjamas (think Peter Pan, but sexy), flying about on trampolines disguised as beds. This was EXTREMELY fun, not without sex appeal (fuck it, the whole thing was sexy as hell), and was probably the cause of an influx of children at SF General's Emergency Room with head injuries. Secretly, that made me laugh.

3] Exotic females in mod-burlesque costumery, acrobating in synchronicity, in giant, swinging chandeliers 20 feet over the ground. (Oh, did I mention that already?)

4] The upside-down tightrope walking clown. This was more of a supplemental thing, a clown wired to the ceiling, holding candelabras, "walking" a tightrope, upside-down.

5] A dwarf lady attached to 5 or 6 giant helium balloons, who was acutally sent out into the crowd, such that audience members could raise their hands, which she would light upon briefly, before leaping back into the air. That was fucking awesome.

6] The jugglers! I don't know why this was so rad to me, but I loved it.



Some lowlights...

1] The rightside-up tightrope walker. I just couldn't separate myself from the fact that she was wearing a safety rope, which appeared taut, as if she were being held up and not really performing anything death-defying. I have absolutely NO place to judge this woman, being that I'm a] about as limber and gymnastic as a crowbar, and b] suffer from often-debilitating vertigo. However, I didn't like it.

2] The contortionists. Something about contortionists is disturbing to me. I don't know why, but when someone can twist themselves into a pretzel and walk around upside-down, I do NOT find it sexy.

3] The crowd! They weren't annoying or anything like that, don't get me wrong, but I really received the distinct impression that the performers (and the show at large) were trying to be far more interactive than the audience was willing to be. This of course, did not include me, as I was bouncing and cheering and banging out a beat on my seat. Hmmm. Maybe that's why the audience was so quiet? Hahahaha.

4] The bathrooms. Porta-potties. Which equals compaining wife. Sigh.



Seriously, though, all in all, this was a killer time. And added to all that was the fact that it was, in the end, theatre. And that means set design. And it was amazing. Woven throughout, too, were the harnesses and platforms and other various pieces of equipment that the performers use. These all lowered from the ceiling, or even came up through a hole in the floor. (The floor rotated at different times, as well. Which was hip.)



So yeah, check it out if you can. It's an 8/10 clanker.



IronLung out.

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Threadless.com has a unique product selection QA/QC process. They post proposed designs on the site, members vote and comment on these designs, and if the design wins enough votes, it's put into production and the designer gets schwag, and possibly proceeds (not sure)... anyway, pin-up artist extraordinaire Anthony Carpenter has pitched this shirt... which just so happens to be a monkey robot!!



Go check it out, and vote for it, and buy it! I sure am.

http://www.threadless.com/submission/62 ... nkey_Brain

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3. Best Robot Shirt of the Week

See the pics here:

http://www.we-make-money-not-art.com/ar ... 006800.php



and get your own malfunctioning security robot here:

http://www.tmsuk.co.jp/artemis/ (clear the small children away...)

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From Endgadget:



"Tmsuk, makers of robots that range from the useful (the Roborior sercurity bot, the prime minister-gassing Artemis) to the goofy (the Banrya chatting guard dragon, the servicebot shopping companion, the RIDC-01 projectorbot), are back on the scene with a bot that definitely fits into the latter category, the Kiyomori samuraibot. No plans on mass production of this strange humanoid, which is just as well, as we really prefer not having autonomous sword-wielding robots roam around our pad."



See, that's the best robot yet, as far as I'm concerned. Sure would keep the cats away from my tacos.

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Welcome to Charlie and the Chocolate Factory.







We begin the ride in the poverty stricken home of the Bucket family. The house is old and in disrepair but there is love and caring in this little house. Mutual Respect and Trust abound. Mother, father, both sets of grandparents (bed-fast in the same bed) and young Charlie comprise the Bucket household.







Move on to the notice of the Golden Tickets being issued and the 4 loathsome children who are the recipients of 4 of the 5 tickets. Due to a stroke of great fortune, Charlie finds a bank note in the street, which he promptly uses to buy 2 chocolate bars. The second of which contains the last Ticket. On to the Factory and the introductions of all the children to Willie Wonka. The tour of the factory commences. Through their own various misbehaviors, one by one the children and their parental guest find their way to a premature end of the tour. By the end of the tour, Charlie and his grandfather are the only visitors left. He is returned home with grandfather and offered the ownership of the business with the caveat that he MUST leave his family behind and follow exactly the path taken by Mr. Wonka. Charlie turns him down with no qualms; he will NOT abandon his family, not for anything. All these twists and turns culminate with the end of the ride, of Wonka accepting the deal on Charlie's terms. The parents are allowed to become part of all their lives.



First and foremost, this is NOT a “watch-it once and you get it” kind of movie. The Willie Wonka character and his motivations made a lot more sense on the second run through. Also, forget the first movie with Gene Wilder. Roald Dahl hated it and while I am not as sanguine about it, “Willie Wonka and the Chocolate Factory” is too pretty, too bright and far too happy. This new remake is about Charlie not Willie! This is as it should be.



The movie is all about emotional growth.

I love Johnny in damn near every thing that he has done with one big glaring exception of “What's eating Gilbert Grape?” (I absolutely hated that movie.) His characterizations are always unique so if nothing else it is fun to see how he handles any given character. Burton and Depp's version of Willie Wonka is that of an man who's emotional growth atrophied somewhere between the of 13 and 16. The disdain for parental authority is very apparent. The off-hand and callous comments come with abandon. The "I can't hear you when you mumble" to Mike TV, the "You're weird." to Veruca's father all show the lack of self-control that comes with maturity. Johnny Depp’s Willie Wonka bordered on the psychotic; the flashbacks to his childhood were creepy. The characterization is supposedly based on Michael Jackson; I don’t think anyone would be surprised to hear this.



Freddie Highmore,





who plays Charlie, is the adult, he has become more mature by having to deal with the adversity of his life. Charlie Bucket is a strong little guy. He has scruples and morals; his family loves him and he knows it. He is the kid that every parent wants. He has humility and respect for his elders, even Wonka, but he is not afraid to confront when something is wrong.



Christopher Lee was a surprising cameo in the roll of his overbearing dentist father.



The whole setup is reminiscent of Wizard of Oz with the black and white in beginning to color in middle back to b/w in the end; all of the dream sequence is in the bright shiny colors. But in Charlie, the pendulum continues to swing back and forth between his real life and the factory, between grays and color.



I had 2 problems with the movie though and both concern the Oompa-loompas. The first being: why did they only use one person to portray all the different oompa-loompas. I know that there was a shortage of little people (no pun intended) due to the requirements for multitudes during the filming of “The Lord of the Rings” but still I feel that they could have been done in CG.







The second and most glaring is Danny Elfman’s music. The high point of the oompa-loompa scenes is the songs recapping the indiscretions of the children as they are removed from the tour. The MTV styling is cool but most are unintelligible because the lyrics are buried so deeply behind the musical score you just can’t hear them.



All in all (after the second run through), a keeper.

7 branches out of 10

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1. Charlie Bartlett
2. Gobstoppers: The Willy Wonka Horror Film
3. Surrogates: Speaking of Creepy Factories

X-Men #178

Writer: Peter Milligan

Artist: Salvador Larroca



Whew. We're back in half-ass territory. I'm just continually floored that of all the Marvel books, they allow the lowest quality work and the weakest editing to occur in their signature franchise. Look at what's being done for books like Runaways, Young Avengers, and the Next Wave stuff? Marvel has talent to spare. I honetly get the feeling that editorial is barely glancing at these before they go out.



This issue was about...nothing. More X-Men stanbding around ont he front lawn, emoting their pathos at the Sentinels standing above them, and the human terrorist Sapient League hiding in the bushes which somehow are immune to sensors and no one cares about until grenades start flying. God. Havok's on the ground having spasms of insecurity, Polaris is in the forest... the same forest as the unseen terrorists (and unscanned by Emme, or so we think) WITH Valerie Cooper and the government goons, humans are levitating out of Sentinels and screwing around, and I couldn't muster concern for anything other than the continuing downward spiral of this book's reputation.



Let's count continuity errors. Cyclops reaches up the Sentinels, protecting Havok who's kneeling in comic book energy blast smoke, and suddenly he's wearing a Havok arm gauntlet. Bad, Larroca, bad. The rest of the X-Men are standing around during combat, and when told that the Sentinels are supposed to be some sort of hall monitors or riot police or mutant security or whatever, the X-Men, out of character, emote with despair and outrage, and the worst of it is WOlverine, who drops his head in defeat. What? He was more in character koochee-cooing Jessica's baby on that weird Pulse cover. Half of the panels in this entire book show characters drawn wildly inconsistently, and it burns. Rogue's arm-corss looks like she's making wind-breaking sounds in her armpits with broken limbs. When grenades fly, Beast is suddenly female, slender, and lithe, dancing up a storm in Danskins... and pointing to heaven, not the grenades. Some of the forced perspective shots of characters seen from above make them look like amputees. It's just ridiculous. It's also in the script, too. Bobby Drake has been shown to have decent melee combat skills, but is shown cowering when some sort of sniper rifle is held close to his facem in an unfirable position. Same with his inaction when these Sapien League idiots make an "idiot's firing squad" (to clean that phrase up a bit) by standing in a curcle aiming guns at him. And a little stress is suddenly suppose to trigger the supposedly obliterated mutant gene? What, and Sentinel blasts to the face aren't stressful?



Gah.



But let's end on a positive note. The short exchange on a space station observatory was interesting. The script posits that, for whatever reason, the inhabitants of this station, in reasonably safe orbit around Earth mind you, are succumbing to serious radiation damage, and their mutant powers had, up until recently, protected them. Never mind the inconsistency of this, or the lunacy of searching for life in space, as it appears this guy is doing, in a world, and title, where space tyes are flying around and well-documented. I liked the originality in these two characters' designs and interaction. And frankly, the Phantom Torso is the best new character in this book EVER.



4/10 Clicks

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1. House of M- The Day After
2. X-Men #163
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New Avengers #13

Writer: Brian Michael Bendis

Artist: David Finch



This is the issue where the big reveals happen, not only with Ronin's identity, but the treason within the team. On the one hand, Bendis uses a bit of logic that has been missing from previous issues, specifically with regards to using Iron Man's crowd control capabilities to keep the swarm of ninja types at bay. Things are settled with the Silver Samurai in a more intelligent, realistic manner, and the anti-climactic end to this confrontation is refreshing. However, in the same way i harp about Claremont's willy-nilly revisionist writing to suit his plot needs, Bendis is digging the same hole on this title, by playing fast and loose with powers and personalities of the cast. Here, the otherwise reserved and cool Luke Cage is flying off the handle, no one seems attentive enough to notice Spider-Woman's bad behavior (except for Iron Man, who's supposed to as part of the plot, and Finch makes sure we understand it by giving them a giant glowing button to press in front of their faces that could be read from the ground) the ninja are either impossibly skilled or easily defeated with flash-bang, and Iron Man... in armor... is flying the Quinjet which should be on auto-pilot or whatever anyway. So when a team member is sucked out of the plane and into the sky (but doesn't pass out) there's no one to help except for Spider-Woman who doesn't have the pre-existing power level of flight sufficient to catch and lift a falling supersoldier in chainmail. It's all a pretty plot element, but a little bit jarring to me, especially when you consider that Bendis has the chops to be more consistent, if he bothered to be. I did like the inventive attempt, only partially successful, of Finch's to give us the treasonous interaction on the Quinjet in a single double-page sequential series with no dialog, asking us to follow the eyes of the characters and what they are looking at and motioning to each other non-verbally, to get the point across. It unfortunately showcased how poorly Finch understands sequential theory. Not saying I would do much better, but it's easier to analyize what's already been done, and this could have been accomplished in a third of the amount of panels. My feeling is that he was trying to pace it like Bendis' dialog, which probably wasn't a good idea. But overall, I appreciated the fact that we had an issue full of interesting plot development that didn't center around combat. It introduced the origin of a new hero or villain, it revealed the identity of a mystery character, it set up a political strugge for the Avengers, and most of all, it brought some of the reality of the challenge of being a patriot when your country, or more specifically, your government, is doing deplorable things.



Now, one last word about Ronin's identity. I won't spoil it here, but suffice to say, i hadn't considered this character, and it was fun to see Spidey guessing identities, the way the fans have, in a sort of 4th wall tease that Lost is so good at. I have big problems with characters being musclebound in one panel and suddenly differently figured in another as the plot suits it, but I admit they did SOME things with the costume to make it murky. Lots of artistic license here, though. And frankly, while I quite liked Ronin's design, the character under the mask was pretty keen on their own.



7/10 Clicks

Related posts:

1. New Avengers #12
2. New Avengers #11
3. New Avengers #14

Not that this is a new band or news to anyone, but I felt the need to share.



Being from the cassette tape generation, my HUGE music collection became all but defunct.



I didn't have a computer or the internet until a year ago, and I intentionally avoided music on the web.



Too much bad press combined with my ignorance kept me at bay.



However, I have discovered that you can listen to music for free - just not download it.



Which brings me to Audioslave..............



Aol has a great "sessions" area with Audioslave, and it is WONDERFUL!!



It's been a long time since I have been so into a band. And now that I can listen to good music AND do a little coloring - I am a happy man.



Things are good in E's life.



E



*Edit* Oops, was it cool for me to post in this area? I'm guessing I am not part of the M+R staff............ sorry............

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There wasn't a proper review done of this episode, and I'm not really going to do it now, either, but I did come across this today on Pink Is The New Blog.







The interesting fact I'm talking about has already been highlighted by Trent, the administrator of the blog. [Disclaimer : I would NEVER use pink to highlight something, let's just straighten that shit out right now.] It's Sayid's picture on Kate's "dad"s computer screen.



Trip.



IronLung out.

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2. Lost – Season 2 : Ep. 6
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