{"id":23,"date":"2008-02-26T15:01:24","date_gmt":"2008-02-26T23:01:24","guid":{"rendered":"http:\/\/www.oeconomist.com\/blogs\/daniel\/?p=23"},"modified":"2009-09-22T21:05:10","modified_gmt":"2009-09-23T05:05:10","slug":"mr-watson-come-here-i-want-you","status":"publish","type":"post","link":"https:\/\/www.oeconomist.com\/blogs\/daniel\/?p=23","title":{"rendered":"Mr. Watson! Come here! I want you!<\/q>"},"content":{"rendered":"

Some years<\/em> ago, my friend Felix loaned to me his copies of two films, The Matrix<\/cite> (1999)<\/a> and Equilibrium<\/cite> (2002)<\/a>. I'd not requested either, but he insisted that I take them and that he was in no rush to have them returned. Last April, I finally got around to watching the former<\/a>; yester-day morning I watched the latter<\/a>. I'd say that it was a very good film, though I wouldn't say that it was a great<\/em> film in spite of my strong sympathy for its messages.<\/p>

I will try not to belabor the extent to which the style<\/em> of Equilibrium<\/cite><\/a> was strongly influenced by that of The Matrix<\/cite><\/a>, but I was amused to note that, where\u00e4s The Matrix<\/cite><\/a> had a beautiful AE<\/abbr>40<\/a> incorporated into the mechanism whereby Neo was extracted from the Matrix, Equilibrium<\/cite><\/a> included an AT&T<\/abbr> WECo<\/abbr> Model 302<\/a> (only part of which is shown in-frame) amongst the criminalized art.<\/p>

I should re\u00b7watch Dark City<\/cite> (1998)<\/a>. I think that surely I must have missed a SC<\/abbr> 1243<\/a> in there somewhere.<\/p>

Addendum: The telephone that Murdoch answers about at about 4:40 into Dark City<\/cite><\/a> is an AT&T<\/abbr> WECo<\/abbr> Model 302<\/a>.<\/p>","protected":false},"excerpt":{"rendered":"Some years ago, my friend Felix loaned to me his copies of two films, The Matrix (1999) and Equilibrium (2002). I'd not requested either, but he insisted that I take them and that he was in no rush to have them returned. Last April, I finally got around to watching the former; yester-day morning I […]","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"footnotes":""},"categories":[164,4],"tags":[170,59,53,54,55,56,58],"class_list":["post-23","post","type-post","status-publish","format-standard","hentry","category-art","category-public","tag-cinema","tag-dark-city","tag-equilibrium","tag-film","tag-matrix","tag-movies","tag-telephony"],"_links":{"self":[{"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=\/wp\/v2\/posts\/23","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=23"}],"version-history":[{"count":0,"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=\/wp\/v2\/posts\/23\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=23"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=23"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=23"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}