In TRON (1982), yes—Yori (Cindy Morgan) kisses both Kevin Flynn and Tron, and it’s not some random continuity accident. It’s a mechanism—a little emotional “data packet” that gets copied across the Grid.
First: the film treats the kiss like an imported human ritual. In the screenplay, Yori kisses Tron and immediately explains it as a User behavior: Tron laughs, says “Nice…,” and Yori clarifies, “It’s something Users do.” That line is the whole thesis. Kissing isn’t framed as “program romance” first—it’s framed as human culture leaking into code.
Now look at the order of operations: Flynn kisses Yori right before he does the most god-tier thing a human can do in that world—he basically embraces digital martyrdom to help Tron beat the MCP. The script stages the kiss as a transformation beat: Yori begins to “glow” and “metamorphosize” during the kiss, like the act itself triggers an upgrade—emotion rendered as literal light. In other words, the kiss isn’t just romance; it’s permission + courage + human warmth uploaded into a place that’s been running on fear.
So why does Yori kiss both men? Because the movie is doing a sneaky symmetry trick: Flynn is the User inside the system, Tron is the program designed to restore justice inside the system, and Yori is the bridge—the social/emotional interface that can speak both languages. The double kiss is like a cinematic handshake between worlds: “Users do this,” and then—boom—programs start doing it too.
And there’s a spicy psychological echo: in the real world, Flynn has unresolved romantic history with Lora (also played by Cindy Morgan), and TRON loves doubles, mirrors, and echoes. That’s why the Flynn–Yori kiss reads less like “he’s stealing Tron’s girl” and more like the Grid remixing Flynn’s real-world feelings into a new form—same face, different entity, different stakes. Some commentators point out this “Yori reminds him of Lora” undertone directly.
Also: TRON was famously tug-of-war’d between cold tech myth and warm human sentiment. The franchise even has a deleted Tron/Yori love scene that was cut for being “too sentimental/steamy,” which tells you the filmmakers were actively managing how much “heart” they’d allow into the circuitry. That context makes the two on-screen kisses feel like the compromise: just enough intimacy to humanize the Grid, not enough to turn it into a soap opera.
So, the double kiss isn’t “lol 80s movie logic.” It’s the Grid’s central theme in miniature: identity isn’t fixed; it’s transmitted. A User gesture becomes a program gesture. A human emotion becomes a systems-level mutation. And in a world where the MCP tries to standardize everything into obedient function, a kiss is basically a tiny act of rebellion—an irrational, inefficient, gloriously human spark—copied twice, for maximum spread.