Continuum (2012) showcase.ca / “Kiera” and “Kagame”
Protagonist “Kiera Cameron” (Rachel Nichols) is in bed with the enemy. Literally. She and “Matthew Kellog” (Steven Lobo) started out on different sides of the “cops and robbers” game. She chased him with a gun on her dayjob before going home to husband and kid. Now, 10 episodes later, she is hanging out on his luxury yacht, spending the night and starting a morning ritual of denial which turns the shows “vibe” into Sex and the city or Gossip Girl. Make up your mind already, Kiera.
The writers deprived us of a “Carlos & Kiera” coupling. From the onset this seemed like the logical development. Policeman “Carlos Fonnegra” (Victor Webster) becomes Kiera’s crime-busting duo partner. He is a hunk and strong, kind and loyal. It would have been understandable if Kiera was torn between her marriage in a future that she may never be able to return to, and the reality of the point in time and space where she currently happens to co-exist with Carlos and his peers. Someone figured this was too predictable.
So after introducing a number of events which were supposed to showcase Kellog’s redeemable qualities, plus an episode where Carlos “strays” into the bed of “another” woman – Kiera gives in to her needs as a woman.
While everything can happen in “real life”, the world of science fiction is paradoxically much less flexible. In our “real” world, as history has had it, Woody Allen marries his daughter, female (and male) teachers are involved in statutory rape and there are all kinds of combinations. So in the movie-world, Kiera could as easily wind up with her computer wiz kid sidekick “Alec Sadler” (Erik Knudsen), with one of the terrorist chics she is chasing – for example “Lexa Doig” (Sonya Valentine), or why not the anti-hero and “evil”(?) mastermind “Edouard Kagame” (Tony Amendola).
Kiera could. The problem is that it would turn the show into The Bold and The Beautiful. And that is another kind of show, far from where Continuum started off. Oddly enough, reality is chaotic, while intensely riveting storytelling is neat. All this begs the question: “Why make Kellog the romantic interest of Kiera?” Where is Simon Barry heading with this?