Age of Terminators comes a step closer as scientists invent 'e-skin' that could give robots a sense of touch

By Daily Mail Reporter

From: http://www.dailymail.co.uk/

Feel the force:The new e-skin will help robots to measure their own strength - just like Arnold Schwarzenegger as the Terminator

Scientists have developed a pressure-sensitive electronic skin which could one day be used to restore touch to patients who have prosthetic limbs.

The material, dubbed e-skin, is made from semiconductor nanowires made from silicon.

More sinister, however, is the prospect of the invention lending robots the ability to adapt the amount of roce needed to hold and manipulate objects.

The nanowires are incredibly thin structures, more than 10,000 times thinner than a single human hair.

They open up the possibility for a robot to be able to hold an egg by judging how delicate it is.

But in true Terminator style, robots would for once know their own strength - which the hero of those movies, John Connor, would presumably see as bad news.

The researchers' stated long-term goal is to use e-skin to restore the sense of touch to patients with artificial limbs.

At the same time scientists from Stanford University have developed an electronic sensor that it is so sensitive that can it can feel a touch as light as a butterfly.

Manufactured in large sheets, the sensors could be used in artificial electronic skin for prosthetic limbs, robots, touch-screen displays, automobile safety and a range of medical applications.

A section of the completed e-skin with nanowire circuits. Each dark square represents a single pixel

That degree of sensitivity could make the sensors useful in a broad range of medical applications, including robotic surgery, according to the research team.

Bandages equipped with the sensors could aid in healing of wounds and incisions. Doctors could use data from the sensors to be sure the bandages were not too tight.

Car safety could also be improved with sensitive, 'intelligent' material applied to the steering wheel.

'If a driver is tired, or drunk, or falls asleep at the wheel, their hands might loosen or fall off the wheel,' said Benjamin Tee, graduate student in electrical engineering and a coauthor.

'If there are pressure sensors that can sense that no hands are holding the steering wheel, the car could be equipped with some automatic safety device that could sound an alarm or kick in to slow the car down.

An artist's illustration of an artificial e-skin covering a hand. The finished product would give incredible touch and sensitivity

'This could be simpler and cost less than other methods of detecting driver fatigue.'

At the University of California, Berkeley , research scientists printed nanowires onto an 18-by-19 pixel square matrix measuring 7 centimetres on each side. Each pixel contained a transistor made up of hundreds of semiconductor nanowires.

Nanowire transistors were then integrated with a pressure sensitive rubber so that it would be able to detect touch.

The matrix required less than 5 volts of power to operate and maintained its robustness after being bent more than 2,000 times in tests.

In tests, the e-skin was able to detect pressure from 0 to 15 kilopascals, a range comparable to the force used for such daily activities as typing on a keyboard or holding an object.

‘The idea is to have a material that functions like the human skin, which means incorporating the ability to feel and touch objects,’ said Ali Javey, head of the UC Berkeley research team developing the artificial skin.

The artificial skin is described in a September 12th paper in the advanced online publication of the journal Nature Materials. It is the first such material made out of inorganic single crystalline semiconductors.

‘Humans generally know how to hold a fragile egg without breaking it,’ said Javey.

‘If we ever wanted a robot that could unload the dishes, for instance, we'd want to make sure it doesn't break the wine glasses in the process. But we'd also want the robot to be able to grip a stock pot without dropping it.’

The UC Berkeley engineers used an innovative fabrication technique that deposits nanowire ‘hairs’.

The researchers started by growing the germanium/silicon nanowires on a cylindrical drum, which was then rolled onto a sticky substrate.

As the drum rolled, the nanowires were deposited, or ‘printed,’ onto the substrate in an orderly fashion, forming the basis from which thin, flexible sheets of electronic materials could be built.

Previous attempts to develop an artificial skin relied upon organic materials because they are flexible and easier to process.

‘The problem is that organic materials are poor semiconductors, which means electronic devices made out of them would often require high voltages to operate the circuitry,’ said Javey.

‘Inorganic materials, such as crystalline silicon, on the other hand, have excellent electrical properties and can operate on low power. They are also more chemically stable. But historically, they have been inflexible and easy to crack.

‘In this regard, works by various groups, including ours, have recently shown that miniaturised strips or wires of inorganics can be made highly flexible – ideal for high performance, mechanically bendable electronics and sensors.’

‘This is the first truly macroscale integration of ordered nanowire materials for a functional system – in this case, an electronic skin,’ said study lead author Kuniharu Takei.

‘It's a technique that can be potentially scaled up. The limit now to the size of the e-skin we developed is the size of the processing tools we are using.’

Surrogates Borrows Sarah Connor Poster Poses

By Josh Tyler:

I have this theory that Surrogates is actually one big excuse for Bruce Willis to get back his hair. I’m probably wrong. The movie does however, have Willis playing a younger robot version of himself while the current version stays home strapped into a futuristic beanbag chair. Or maybe it’s actually another sequel to Terminator?

IGN has a series of new Surrogates character posters which bear an uncanny resemblance to a teaser poster used to promote the now defunct Fox television show Terminator: The Sarah Connor Chronicles. It’s not just the idea of showing us the metal beneath a robot character’s skin that’s similar, even the colors and fonts are pretty much the same thing. Apparently someone in Disney’s art department was a big Sarah Connor fan. Check out the comparison:



Here's a few more similarly themed banners. Click over to IGN to see more.

Timeline Of Movie Futures That Have Already Passed

By John Pavlus

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Putting an expiration date on the future is risky. Take the Terminator franchise: The all-important "Judgment Day" — originally set in the "near future" of 1997 — has been pushed back twice already. Here's a timeline of future scenarios past their sell-by dates - and a few that will curdle soon.

Better to keep things safely distant, like Starship Troopers did (set in the 23rd century), or ambiguous (Gattaca could be 10 years from now or 100). Still, specificity is hard to resist. Here's our timeline.

EXPIRED FUTURES

1973 - IT! The Terror from Beyond Space (made in 1958)
Astronauts complete not one but TWO missions to Mars. Too bad they're still using bolt-action rifles to fight the rubbery monster that snuck onboard.

1980 - Just Imagine (1930)
Everyone has serial numbers instead of names and pops pills instead of eating. Strangely, no one has heard of Michael Jackson.


1984 - "1984" (1948)
Mind-controlling propaganda infiltrates every aspect of daily life—but why is everyone so glum? MTV isn't that bad.

1993 - Robocop (1987)
Military robots, venal tech moguls and privatized police (not to mention insane TV hosts and ads in urinals)? They're crazy!... not to have set it in 2008 instead.

1995 - Quantum Leap (1989)
Time travel, courtesy of an A.I. named Ziggy and a dude with a hologram-projecting PDA. Sure beats Netscape and the Newton.


1997 - Escape from NY (1981), Predator 2 (1990), Terminator 2 (1991)
Convicts control Manhattan, a fishnet-wearing alien terrorizes LA, and Skynet nukes the whole world on "Judgment Day." We've had better years.

1999 - Strange Days (1995)
Black-market brainwave recordings let you see through someone else's eyes...and then hurl because of the shaky pics. (What, no built-in image stabilizer?)


2000 - Metropolis (1927)
Plutocrats control a shimmering cityscape, supported by a dronelike underclass. We didn't know they spoke German in Dubai!

2001 - 2001: A Space Odyssey (1968)
Supercomputer HAL takes mankind "beyond the infinite." Meanwhile, Kozmo.com takes our deli order.

2005 - Bicentennial Man (1999)
An insipid robo-Mrs. Doubtfire in every home? We'll stick with our Roomba, thanks.

SOON TO EXPIRE

2009 - Freejack (1992)
Transhumanism meets time-travel: Old rich guys will pluck young replacement bodies from the past. Does Ray Kurzweil know about this?

2010 - District B13 (2004)
Sure, Sarkozy's got a temper — but we doubt he'll clean up Paris's slums with a neutron bomb.

2013 - A Scanner Darkly (2006)
A schizo-hallucinogenic drug war? Maybe. Robert Downey Jr. still nuttier than a Payday bar? Definitely.

2015 - Back to the Future II (1989)
Skip the self-lacing Nikes and focus on Mr. Fusion. The clock's ticking, science!


John Pavlus is a science writer and filmmaker based in Brooklyn.

Terminator Concept Art Shows The Wreckage Our Rebellious Robots Leave Behind

By Meredith Woerner

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New Terminator Salvation art shows us the dismal future we all face - including a special look at San Francisco's bleak wreckage. Enjoy the end of the world.

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The work, posted at Sarah Connor Society, showcases the brilliant painting of ILM artist Christian Alzmann and Art Director Warren Fu. Images like this get me very revved up and hopeful for a lot of sweeping views of mass destruction, with familiar landmarks wedged in here and there - like the remnants of the Golden Gate Bridge.

If you're looking for more check out the Harvester from last week. Terminator will be out May 21st.

Now That Arnold's Back For Terminator, Can He Ride Atop The Shoulders Of This Giant?

By Meredith Woerner

Get up close and personal, with a high-res look at Terminator Salvation's meat puppet kidnapping machine, the Harvester. Plus rejoice in the confirmation that the original Terminator will be back for more.

This Harvester Revision from Industrial Light And Magic is quite a sight, with four arms and a Predator-like gun on its shoulder. You gotta love the consistent red-eye look of all the Terminators.

In other deadly robot news, MTV has confirmed with co-star Terry Crews that Arnold Schwarzenegger is indeed making an appearance in the next Terminator movie.

As to what his role is, no one really knows:

"I don't know; I haven't seen it. They only gave out pages of the script," Crews remembered. "It was crazy. It was very, very secretive. Believe me - when you see it, that will be the first time I saw it."

It might just be a glimpse of the California governor's face on the prototype T-800, or a mere voice-over. One way or another, we're happy to have the original back. And I can't wait to see these bots in action - and thanks for the tip DVD Forum.

This Is The Best Year To Be A Terminator Fanatic

By Charlie Jane Anders

To many people, the Terminator franchise consists of two movies, and it ended in 1991. Those people are missing out. The Terminator universe will never be as complex, and crazy-making, as it is now. Spoilers...

On the one hand, television's Terminator: The Sarah Connor Chronicles has finally hit its stride, and it's asking similar questions about artificial intelligence and apocalypses as Battlestar Galactica or Twelve Monkeys. On the other, Terminator Salvation is looking like one of the summer's most interesting movies, with a plot about a man who discovers he's a cyborg.

These two versions of Terminator are utterly different from each other. They don't just contradict each other, they approach the basic premise of "killer cyborgs from the future" in wildly different ways. (Obviously, I haven't seen Terminator Salvation yet, so I'm going by the clips I've seen and my conversation with McG and some of the actors.) I can't remember a situation like this ever happening before: the Star Trek movies were on at the same time as TNG, DS9 and Voyager, but they were part of the same universe. Maybe the closest thing is The Dark Knight being in theaters the same year as Batman: The Brave And The Bold hit our television screens.

The difference is — apologies to Brave and Bold fans here — that both versions of Terminator seem ambitious. They're both trying to make a grander statement and create something better than disposable pop fluff.

If you've been watching Sarah Connor, you won't need to be told how ambitious that show is. It's like a sweeping novel, which delves intensely into the psyches of a half dozen or so characters. Every episode is full of introspection, but also little metaphors and artistic touches that reinforce the show's psychological investigation. Sarah Connor has grown into a fractured, paranoid, asskicking, reflective, complex character. Derek Reese's story arc, with his lost love from the future and all of his regrets, feels operatic. And then there's the great interplay between Ellison and John Henry. If the show has a weakness, it's that it's sometimes too ambitious and falls short of its aims. But even its harshest critics wouldn't accuse it of lacking ambition.

Meanwhile, I have no idea whether Terminator Salvation will be a great movie. But I do know that McG, and everyone else involved in making it, has been saying the right stuff about trying to create something more meaningful than just a summer splodebuster. McG's attempts to bring a new look to the series, with that "distressed" filmstock and a reliance, where possible, on practical effects by Stan Winston and company, seem like brave steps forward. Bringing on Jonathan Nolan to replace the Terminator 3 screenwriters also seems like a blessed relief. At the very least, it'll be miles better than T3 — the other day, someone asked McG about the humor in his film, and he said there isn't any. "There's not a great deal of humor and warmth in this world," he said. So no funny sunglasses, or "Talk to the hand."

But both continuations of James Cameron's vision are also asking very different questions: at its root, Sarah Connor Chronicles is about what it means to be human (in a similar way than BSG was), while Terminator Salvation will reportedly be all about how we view technology.

In T: SCC, our human characters struggle with the issue of fighting machines without losing their own humanity in the process. It's a constant question in the show: how far can you go before you lose what you're fighting to save? And at the same time, all of the show's artificial intelligences are probing the nature of humanity, and trying it on for size. Trying to understand what makes us humans tick (or stop ticking, if you apply enough pressure in the right spot.) You've got Cameron (Summer Glau) who's done ballet for no apparent reason other than enjoyment, who's tried to figure out how to become a better manipulator, and who's seemed to be practicing seduction on some occasions. You've got Catherine Weaver (Shirley Manson) who's struggling to pretend to be a good mother for the cameras. And then there's John Henry, who's literally getting schooled, not just in ethics, but in the nature and value of human life, by former FBI agent Ellison. Every week, the show opens up the question of human frailties, and human greatness, a little more.

Meanwhile, in every interview, McG hits the same notes about Terminator Salvation: it's about our relationship with high tech. We can now give people replacement hearts, replacement joints, replacement limbs, brain pacemakers, and so on. What does all this technology mean for our future, and can we trust it? (It seems like a good theme for a huge-budget movie that can afford to show lots and lots of shiny toys.) In the film, Marcus (Sam Worthington) thinks he's a human, until he realizes his own body is mostly made of metal. And then, in the movie's third act, John Connor has to decide whether to trust this apparently sympathetic cyborg, Marcus, with his life — and everything hinges on that question. Can we trust technology?

So in a sense, you could say Terminator: The Sarah Connor Chronicles and Terminator Salvation are going in opposite directions with the same ideas. The good news is, they're both pretty exciting!

10 Different Timelines From The Terminator Universe

By Charlie Jane Anders

Are you confused by all the alternate timelines in the Terminator franchise? So are we. That's why we created a list of every timeline, and ran it past Sarah Connor Chronicles producer Josh Friedman. Spoilers...

1) The original (?) timeline: Sarah Connor conceives John Connor with some random guy. (All we hear about him is that "He dies, even before the war." Presumably it's not Kyle Reese, since time-travel always seems to create an alternate timeline.) John Connor's resistance is on the verge of defeating Skynet in 2029. (Reese says, "The defensive grid was smashed. We'd taken the mainframes. We'd won. Taking out Connor then would make no difference. Skynet had to wipe out his entire existence." Date of Judgment Day: August 29, 1997.

2) A T-800 and Kyle Reese both travel back in time from 2029. Kyle Reese fathers John Connor. Date of Judgment Day: still August 29, 1997.

3) A "scrubbed" T-800 and an "experimental prototype" T-1000 travel back from 2029 to 1995. Sarah Connor destroys Cyberdyne systems and apparently stops Skynet. (In a deleted scene from Terminator 2, we see that Sarah lived to an old age and John became a Senator.) But we learn in Terminator 3 that Judgment Day was only delayed, until July 24, 2004. According to T3, Sarah Connor dies of cancer in 1997. John Connor dies in 2032, at the hands of another T-800.

4) The T-800 which killed John Connor is "scrubbed" and sent back in time to protect him, and a T-X is sent back to kill him and his future lieutenants. What changes as a result of this time travel is unclear: the T-800 ensures John Connor and Kate Brewster survive Judgment Day, but they were presumably going to survive it anyway. John Connor now knows that this T-800 will kill him in 2032, meaning it probably won't. And the younger John Connor has now encountered a T-X. This timeline leads into Terminator Salvation.

5) Sarah Connor doesn't die of cancer in 1997. Instead, she's still alive in 1999, when a T-888 (Cromartie) comes back to kill John, and another one (Cameron) comes back to protect him. The Terminator known as Cameron jumps the Connors forward in time to 2007, and Cameron informs Sarah she would have died of cancer in 2005. Judgment Day: unknown, but later than 2010, because the Terminator known as Myron Stark is sent to kill the governor of California in 2010.

6) Derek Reese, brother of Kyle, travels back in time with a whole squad of resistance fighters. They seem to make a number of changes in the timeline, but most notably Derek kills Andy Goode, creator of an A.I. that might become Skynet. From the glimpses of Derek's version of 2029, Skynet may no longer be on the "verge of defeat" as it was in the original timeline. Judgment Day is now April 21, 2011.

7) Various other Terminators travel back in time, including Carter, who guards a warehouse full of coltan, Vick, who marries an L.A. city planner, and Myron Stark, who travels back to the 1920s by mistake. There's no telling what changes to the timeline these Terminators, in particular, make.

8) A T-1001 travels back in time to around 2005, and kills Catherine Weaver, the CEO of Zeira Corp, and her husband. It then impersonates Catherine Weaver. What changes does she make to the timeline? It's not entirely clear yet. She buys Andy Goode's A.I., "The Turk," preventing it from falling into the hands of the Connors. She saves a nuclear power plant that's crucial to Skynet's future operations, and later she destroys an entire factory that's creating prototype Hunter-Killers. She seems to be nurturing the "Turk" into becoming a more compassionate version of Skynet, but her real agenda remains unclear. Judgment Day: unknown.

9) Jesse Flores and Riley Dawson travel back from the future (possibly later than 2029.) The future Jesse comes from is much darker than the one Derek comes from, perhaps as a result of either Derek's actions, or Cameron's. We know that Jesse's future is - at least partly - one Derek helped to create, because Jesse doesn't know "Billy Wisher," aka Andy Goode, the guy whom Derek killed in 2007. In Jesse's timeline, John Connor's resistance is heavily dependent on scrubbed Terminators, to the point where there's "metal everywhere these days. Connor's got one in every major base." Sometimes the scrubbed Terminators go wrong and kill people. And the Terminators seem to be running Connor's war effort to a large extent, keeping secrets from Connor's human lieutenants. Skynet's human agents (like Charles Fisher) commonly torture humans, like Derek Reese. And there seems to be another "faction" of Terminators, which aren't on Skynet's side but also aren't on the humans'. Jesse won't say when her Judgment Day happens, but it's implied to be sooner than April 2011, because Jesse is certain it can't be prevented.

10) In Terminator Salvation, it's 2018, and somehow Skynet is already developing the T-800, which isn't supposed to exist until 2029. And in the trailer, John Connor says "This is not the future my mother warned me about. Something has changed") According to John Connor, Skynet's defeat is even less certain than ever in this new altered timeline: "I don't know if we can win this war." It's not clear what's changed the timeline from the T2 version, but hopefully the film will explain a bit. We meet Marcus Wright, an advanced model of Terminator who has a great degree of self-awareness and believes he's human until he sees his own metal body. Marcus has the memories (and appearance, presumably) of a man who was executed in 2003, and that's his last memory before he turns up in 2018. (Rumor has it Marcus' body is donated, after his death, to something called "Project Angel," which turns him into a quasi-Terminator.) It's implied that Marcus' arrival has something to do with changing the timeline. Judgment Day: still July 24, 2004, since this movie follows on from Terminator 3.

So we showed this list to Josh Friedman, producer and creator of Terminator: The Sarah Connor Chronicles, and here's what he had to say:

Jesus Christ. I want to drink whatever you're drinking. Obviously (or maybe not obviously but it should be said) TSCC never attempted to mesh with the movies, maybe in the spirit of T/1/2 but certainly not T/3/4. We've gone off the temporal reservation lately but to some degree that IS canon: almost all expressions of the franchise have massaged dates/ages to their convenience, some more than others. The most controversial idea you have in here is the first one: the "pre-Kyle" Johnfather. I believe the Terminator mythology supports that concept but many die hards just embrace the loop-ness of John sending back his dad to impregnate his mom. Of course, a pre-Kyle Johnfather calls into question genetic differences in the two Johns and whether or not Sarah's influence is the key to John v.2. If you go with the pre-Kyle Johnfather theory, the first John managed to become John Connor without her help.

Or did he?

I've mulled it over some more, and I still believe there has to be a timeline where someone other than Kyle Reese is John Connor's father. When The Terminator was a standalone movie, you could read it either way. Either there's a circular causality, where Kyle is "always" John Connor's father, or Kyle's time travel creates a new branch. But Terminator 2 pretty much establishes that time travel always creates new branches, because there's no fate but what we make. And the Connors, with their friendly T-800, are able to stop or at least delay Skynet. But of course, your mileage, even backwards and forwards through time, may vary.

Will Lost's Time Travel Ever Make Sense?

By Charlie Jane Anders

By my count, we've seen three types of time travel recently on ABC's Lost. Desmond's mind-trips, the island itself vanishing, and people jumping around the island's past. Will one theory ever explain all three?

Personally, I love time travel stories, even when they don't quite make sense - as is frequently the case.

At least Lost is scoring points for me in one area: it has already stated definitively that a time-traveler can't change his/her own past, which is an important question to resolve. (And I think it invalidates this site's theory.) In other words, when you travel through time, you don't create a new timeline, you just visit other points on the same, immutable timeline. (Of course, we've already got an escape clause, because the rules don't apply to Desmond. We'll have to see whom else they don't apply to...)

What do other TV shows do?

Most TV shows involving time travel try to have it both ways at various times - I'm looking at you, Doctor Who and Star Trek! They'll show how you can go back in time and alter your own timeline, but then try to play the "predestination paradox" game. (Data traveled back in time because he saw his head in the ground, and his head was in the ground because he traveled back in time. But if traveling back in time creates a new timeline, as Trek has shown on numerous other occasions, Data's head shouldn't have been in the ground until he'd already traveled backwards in time.) So far, Lost hasn't tried anything so silly.

Besides Doctor Who, a few other current shows seem to be toying with time travel on a regular basis. Lost's companion show Life On Mars has a cop whose mind has been thrown back in time to 1973, but that show seems months (or years) away from explaining what's actually happening. On Heroes, I honestly can't tell what the rules are supposed to be - like, I thought the goodies erased the future timeline where Ando killed Hiro, but last night they were talking about it as if it was a fixed point in the future. So far, Terminator: The Sarah Connor Chronicles has kept a pretty consistent view of time travel: every time you travel back, you create a new timeline. So the future that Kyle Reese came back from in the original movie is long gone, and even the future that his brother Derek Reese came from is kaput.

Lost's 3 Forms Of Time Travel

The episode "The Constant" basically made sense to me - Desmond was unstuck in his own timeline, skipping between his past and his present. His body wasn't going anywhere, and the time travel was strictly neurological. It seemed just about plausible that that could happen. (And even though Desmond is "special," we've seen that happen to other people, including the radio operator and that lady in Oxford.)

But now we've seen two other things: the island vanishing, and the castaways coming physically unstuck. They're treated as if they're sort of the same thing, but they're obviously not. (If the island itself was skipping through time, shouldn't its inhabitants be staying put, as the waters around the island change?)

"Think of the island as a record, spinning on a turntable," says Daniel Faraday. "Only now, that record is skipping."

It's interesting that - as far as I can remember - we've never seen what happens when Locke, Sawyer and friends "time travel" from the point of view of someone else. What does Ethan or Richard Alpert see, when Locke vanishes? Does Locke actually physically disappear, or does something else happen? I have a feeling there may be a surprise waiting for us there.

Commenter Putch points out that temporal wrangling comes into play a couple of other ways: Daniel proved that time is moving at a different speed on the island than off. And when Ben left the island, he apparently traveled forward in time to 2005.

What's the actual science here?

In the season premiere "Because You Left," Dr. Marvin Candle says the Orchid Station is on top of a store of "exotic matter." Physicist Michio Kaku told Popular Mechanics that nobody really knows much about exotic matter:

Such matter would have "formed when the Earth was young, and then floated into outer space," Kaku says, "and therefore there's none left on Earth." However, it may have been possible for a pocket of the matter to become accidentally trapped underground. Physicists theorize that exotic matter could have antigravitational properties (so it would fall up) or it would have negative energy (absorbing energy around it, possibly making it implosive). And if it were to have antigravitational properties, it wouldn't want to stay on Earth either; instead, it would rocket into space-violently. "It would be quite dangerous to people who encounter it," says Kaku.

Kaku also has suggested, on other occasions, that a black hole or wormhole could be involved in the island's time travel, but it would require fantastic amounts of energy. That would explain Mrs. Hawking's equations: they're probability equations, because she's calculating a radiation effect. (Radiation has to do with the stability of the wormhole.)

Note that in one episode, we see one of the Others reading Stephen Hawking's A Brief History Of Time, and it's open to a page on black holes.

Does Alpert have two compasses?

BuddyTV brings up an interesting point: Lost seems to be trying to avoid time paradoxes with its rule against changing the timeline. So when Locke meets Alpert in 1954, from Alpert's point of view this meeting "always happened." But what about Alpert's compass?

FutureAlpert gives Locke his compass, so Locke can give it back to him in 1954. Does this mean that the compass is stuck in a time loop? Is there only one compass, which Alpert gives to Locke in the future, and then Locke gives back to him in the past? Or does the 1954 version of Alpert have two compasses now? Also, does Alpert only know to give his compass to Locke because he remembers Locke giving it to him in 1954?

Also, TVoholic points out, Daniel sends the brain of his rat, Eloise, back in time, and now she already knows how to run his maze - because FutureDaniel taught her. But why will Daniel teach Eloise to run the maze, when she now already knows how?

Where/when did the island itself go?

As I mentioned, I don't think we've ever seen Locke or Sawyer "disappear" when a flash happens and they travel through time. We don't know what happens to them from the standpoint of an outside observer. But we have seen the island itself vanish. So where/when is it?

The fact that the people who were on the island at the time are "skipping through time" wouldn't explain the disappearance of the island itself. The island can't be visiting its own past, because then you'd have two near-identical islands occupying the same space. (Which I'm guessing would be bad.)

We probably won't learn more about the island's actual, physical disappearance until we see the Oceanic Six try to return. At least, I'm hoping that returning to the island will clarify where/when it's got to.

So will Lost's time travel ever entirely make sense? Well, it'll probably make more sense than time travel on Heroes or Star Trek, but I'm guessing there will be some hand-waving involved. At the same time, we're probably 27 Earth-shattering revelations and twists between now and the final, absolute explanation of Lost's clock-buggery.

Summer Glau Explains The Nature Of Robot Love

By Charlie Jane Anders

Does Summer Glau's Terminator feel love? Will Terminator season two end with a cliffhanger? Is Glau sick of playing strong women? Glau and producer Josh Friedman answered these burning questions on a conference call. Spoilers...

Does Cameron really love John?

One of the most jarring moments in the show was during the season premiere, where Glau's Terminator, Cameron, said she loves John Connor. Was she just trying to avoid being killed? Or did she mean it, sort of?

Glau surprised me, by saying that "Cameron's deep love for John is because he is her whole reason for existing... I think that is love, and I think she would do anything for him, and in her reality, I think that's what love is for her." She added that she's not sure where Friedman is going with the character, but she always plays it as if she does feel something for John.

The move to Friday nights, and the show's future:

"We were getting our asses kicked on Monday nights," Friedman says. Friday nights have different expectations, ratings-wise, plus it gives Fox an opportunity to promote Terminator and Dollhouse together, creating a science-fiction block that might appeal to the same audience.

Friedman remains optimistic about the show getting a third season, but also addressed the possibility that it might not happen. He says he wrote the season finale "the way I was planning on writing the finale for a long time... You owe the audience a logical conclusion to the things we have been building towards." It's true that fans get upset when a show has an open-ended conclusion and doesn't come back, but "fans also get upset if we write a crappy finale. If I tried to sum up every single thing in 43 minutes, it would be a disaster. It would end up like a clip show."

He also reiterated that the rest of the season is more serialized, with fewer standalone episodes, than the first half was.

Shocking things in the season finale:

Glau says she just read the script for the season finale and she was "shocked." Not to mention excited and "a little sad." It sounds as though something tragic and/or sad happens to Cameron this season. "I think everybody's going to be shocked at what happens at the end of this season." And Cameron has some great scenes in that episode.

Also, she has lots and lots of gun battles and smackdowns in the last nine episodes, way more than in the first half of the season. "People are going to be on a roller-coaster" in the final episodes.

The awesomeness of Summer Glau:

Friedman says he saw Summer audition several years ago, and really wanted to cast her in something. But instead, she went off to do the Serenity movie and The 4400. Friedman carried her audition tape around with him for a few weeks afterwards. And when the time came to do the Terminator show, he wrote the part of Cameron for her. "She's one of those few people who can be completely still, and still hard to take your eyes off."

Glau says that playing a robot is more challenging in some ways than playing a regular human, because she has to plan out everything in advance. She can't just react naturally or convey normal emotions.

In the pilot episode, Friedman says, he and producer James Middleton saw Glau do something incredibly clever during one take. They weren't sure if she was doing it on purpose, but then during the next take, she did it again. That was when Friedman realized how awesome Glau was going to be at playing this character, and how little hand-holding she was going to need.

Also, that scene in a recent episode where Cameron says she feels, because she wouldn't be much good if she didn't? That's part of Cameron's scheme. "I think she has a plan for drawing John closer to her, and so I've been trying to incorporate that all season," says Glau.

Also, someone asked Glau, "Do you ever get tired of playing deceptively strong asskickers?" And this was her whole answer: "No." Then she was pressed to elaborate, and she said something about how she enjoys playing complicated characters. But also, Cameron has gotten to be the damsel in distress on some occasions, and she's gotten to be sort of a princess and do ballet.

Other stuff:

Friedman says he'd like to be able to revisit the "Alison from Palmdale" character at some point — the future human whose appearance, and apparently memories, Cameron borrowed from.

Another character who might be revisited at some point: the engineer who built the time machine in the bank vault in 1963, which we saw in the show's pilot episode. The writers regularly debate whether to bring that engineer character back. Some writers pitch Friedman stories about that characters, but others never want to see him on the show. Friedman is obsessed with "the engineer" and definitely would like to bring him onto the show sometime — but not in the second season.

Cameron has "very few advantages" in a straight-up brawl with Shirley Manson's Catherine Weaver. It would be like a replay of the fight in Terminator 2.