Time travel is a tricky thing. It can be wondrous and heart-breaking at the same time. In the new Syfy series CONTINUUM such a conundrum is exemplified perfectly. For Kiera Cameron, a CPS Protector from the year 2077, it is disconcerting to find herself suddenly transported back in time to 2012, tasked with tracking down a rebel group of terrorists seeking to destroy the future. Fortunately, Kiera soon aligns with a local police detective Carlos Fonnegra (Victor Webster) and a brilliant computer hacker, Alec Sadler (Erik Knudsen) who make her acclimation to the fifty year time-jump much easier. In a recent press conference call, stars Rachel Nichols and Victor Webster, along with creator and executive producer Simon Barry shared what is was like bringing this sci-fi series to life with all its technological complexities and warring ideologies.
How did you come up with the idea for this series and how did everyone become involved?
SIMON: The idea for me came out of a really pragmatic approach to trying to get my love of sci-fi really into a pipeline of television production that was feasible. So time travel is a really great vehicle for that because you can have a very large mythology in a big universe, but still be set in the present day world, which obviously is more production-friendly. So it was a pragmatic decision at the beginning, but then once the mythology and the characters starting coming together, of course it grew beyond that into a much more passionate process for me in terms of the many characters that the show presents, and also just some of the bigger themes that we are trying to explore in the show. And then the first step was to find a Kiera, and we worked very diligently to find the right person for this part. When Rachel presented herself as an option, we were thrilled and jumped on the chance to work with her right away. And once we had cast Rachel, we basically built the cast around her, and Victor was a great fit, it was a very quick.
RACHEL: My story is very long, but yet very interesting. One of my best friends in the entire world got the script to me. She was the first person that reached out with a script. She said, “I have a friend and she’s got this script that she’s casting and I hope I’m not stepping on anyone’s toes, but I think you’d be great for it,” and she sent it to me and I loved it, which is very unorthodox. Usually you don’t get a script from your best friend that’s amazing that you immediately want to do. And then my team was absolutely completely on board and they loved the script, and they loved the fact that a friend of mine had found it. We just went sort of full steam ahead, and it happened very, very quickly just prior to the holidays last year when we were closing the deal. Suddenly, I was moving to Vancouver for five months last year. So it was a very interesting process for me. Unorthodox for me, but thrilling at the same time. And very fast, so that was fun as well.
VICTOR: I got a call on a Wednesday asking me if I’d like to come to Vancouver to do a chemistry test with Rachel, and I hadn’t read the script yet. And I was a little hesitant at first, and then I read the script and I was like, “Absolutely.” Got on a plane for a chemistry test with Rachel on Friday and then got a call I think that weekend that I would be moving to Vancouver. And then, I think Monday I was on a plane to Vancouver for six months. So, it all happened really, really fast.
Simon said that the cast was really built around you, Rachel. What was that sort of like for you as an actress? And what can you say about this cast?
RACHEL: It was really exciting. I’ve never been the first person hired on any job ever, I don’t think. I loved the script and I loved all of the characters from the very beginning, and they immediately started casting people. I mean my deal was done just prior to the Christmas holiday, so I was home in Maine and they were just going full steam ahead in Vancouver casting Liber8 and the rest of the police force, Inspector Dillon, and Erik, and Carlos. I think you heard I met Victor for a chemistry read on a Friday and I think Victor was completely moved into Vancouver by Sunday so that he could work on Monday. It was the first time I’d ever had the opportunity to do a chemistry read with someone who would be playing my sort of best friend, confidant, my leading man, and all the guys that came in and read were great. Very, very different but great, and Victor was my first choice, which he knows that now so I’m not talking out of turn at all. We sort of sat down after I tested with everybody and he was a clear runaway choice. And so then that piece was in place. Then I knew who some of the Liber8 characters were, but I didn’t certainly do any chemistry reads with them, so I just sort of showed up on set first day and met everybody and thought, “Wow. They’ve assembled such an impressive cast of characters that there’s no way the show isn’t going to work. It’s going to have to because everybody is great.” It’s one of the more interesting sort of groups of people I’ve ever seen cast all at once, so the fact that it was a part of a show that I’m on was great.
Is there something about law enforcement roles that’s particularly appealing to you as an actress?
RACHEL: You know what? I like to carry guns and kick butt, and I get to do a lot of that when I’m a law enforcement officer, whether from the present or the future. I think there’s something really strong and sexy about those female roles and there aren’t necessarily a lot of those around. Also, I consider myself very lucky to have been able to take on so many of those roles and to now have a fan base that finds me completely believable and interesting in those powerful action-oriented roles because they’re so much fun to play. And I would like to keep doing them for a long time to come.
Rachel, in all of your scenes with Victor you guys are always in the same room, but all of your scenes, at least that we’ve seen so far with Erik are all separate from each other. Can you talk about the differences in working with your co-stars?
RACHEL: Oh, absolutely. Yes. Victor and I are always together, and sometimes Alec being in my head is also in those scenes with Victor. I’m sure it won’t come as a shock to you that working with an actor actually in the room with you in a scene is easier than working with someone whose voice is just in your head. But as far as Erik Knudsen is concerned, I’ve never met an actor who was more of a giver because I work every day, and Erik Knudsen on the days when he was not working would come to set and read all of his lines off camera. What was really important for both of us because then we can hear how the other person is talking in those scenes, even if we can’t see them and it’s not just you know a script supervisor just reading the lines. Because Erik’s character and my character are very, very connected on an emotional level. He’s the only person really that’s a true ally that knows my story and can understand it, and he is my best friend. Carlos is another version of a best friend for me, but he is someone that I’m technically lying to every day, and that’s very, very difficult for me. That storyline progresses throughout the season. By the end of Season 1, there are a lot of questions about how I’m going to be able to navigate that very tenuous situation in the next season.
Was there any kind of chemistry test as well with Erik? Because as Rachel touched on, that’s a really key relationship because he is the only one that’s pretty much keeping Kiera from going completely out of her mind when she lands in the present.
SIMON: That’s a good question. We never really felt that we needed to do a chemistry read with Erik and with Rachel because when we cast Erik, we immediately recognized how good he was. And he’s an amazing find and an amazing actor and just a great individual. He has a great soul and a great demeanor. Because there was a disconnect, I think we felt a little bit more confident about them not reading together in that sense because there is that disconnect and this unfamiliarity that we really embraced in the first few episodes because they hadn’t met. So from that standpoint, the chemistry read we didn’t feel was really important. For Rachel and Victor though, I think it was important on many levels, not the least of which was just Rachel’s comfort of knowing that this is going to be someone she was going to be working with hopefully for many years. And also for our partners at the broadcaster and the studio level who really wanted to sense that there was something going on between the two of them that felt like a good mix. And that’s something that you can really tell right away in those kinds of chemistry reads. It just made decision-making a lot more efficient.
Because of the time travel aspect, what Carlos knows about technology is different from what Kiera knows, and is different from what Alec knows. Is it hard to keep track of what you’re supposed to know and what you do know?
RACHEL: For me, I get lucky because I am from the year 2077, so as far as all the future stuff is concerned, I, (a) know what it does; (b) know when to use it; and (c) know that I have to hide it from everybody. I do love the scenes where it get the opportunity to be a huge dork, like the Bluetooth scene where I think I’m wearing the coolest thing ever and Carlos basically tells me that I’m a nerd. I love the opportunities for that. There’s an episode where it becomes obvious that I’ve never seen a horse in real life before. I think that’s Episode 6. And for those things, I need Simon to tell me, “Remember. You’ve never seen this before,” or, “Remember, this is new, or this is your only concept of this thing in the future. And remember, there’s no real clean running water.” And, I definitely rely on Simon for everyday stuff, for everything that’s in 2012 that I have never experienced before in 2077. But as far as the futuristic tools, that’s sort of the nice, close-knit relationship I have with Alec, because he’s the creator of awesome. So it is fun, though, the moments where I have to play absolute fish out of water learning to drive a car, having never done that before. And provided that I have Simon to be my guide, I’m fine.
SIMON: I can just say that it is tricky to track a lot of this stuff. But the great thing is that Victor and Rachel, and Erik to that effect, will always sort of check in and say, “You know, is this…” – sometimes, they’re ahead of me. They’ll go, “Wait a minute. I shouldn’t know about this because of where I’m coming from or what my perspective is.” And I love that they are so invested in sort of their character’s understanding of where they are and what they’re doing. But sometimes, they’re really as on top of it as the writers are.
VICTOR: And that’s one thing that is great about the show. It’s such an open line of communication and it like a family where we can come and bring anything up at any time, whether it sounds ridiculous or whatever the discussion is. It’s just bring everything to the table and Simon’s always got a very intellectual answer for us, gives us something to think about, and it’s really good for us to be able to process all that information and have that sounding board.
For action roles has become well established now to have a stunt double that follows you to various projects. Rachel, can you share a little bit about your working relationship with Monique Ganderton, who doubled you on CONAN and CONTINUUM? Did you bring her on to the show?
RACHEL: I’ve been very fortunate. Ever since I was ALIAS I’ve worked with some incredible and very impressive stuntwomen. Shauna Duggins doubled me in G.I JOE. I’ve worked with Zoe Bell in RAZE, but then also when I was on ALIAS. And I first met Monique, and this speaks to her character, I first met Monique when I was already in Bulgaria shooting CONAN, and her boyfriend was one of the head stunt guys shooting the movie. He played the double for Stephen Lang. And production did not really want to pay for Monique. They wanted to hire someone very inexpensively in Bulgaria. And I hadn’t met her, but she thought, “I would be a good double for Rachel,” and she flew herself to Bulgaria to stay with Sam in hopes that once she was there they would hire her, which I was just blown away by. It was so impressive. And the fact that she’s such a great double for me. She got there and worked her butt off, and I’m sure was paid way less than she was used to. But that kind of show of desire to do a job and to do it and to do whatever it takes to make me look good and make the movie look good. I just thought, “I’ve got to take this girl with me everywhere I go.” Then I went to Vancouver and I was speaking with our head stunt coordinator, Kimani, and he said, “You know what? I’m thinking of this girl Mo Ganderton. I think she’s going to be great.” And I just sent, “You got to be kidding me? She’s the best. Please bring her. Please? Please? Please?” She came and she was up in Van with us and she’s such a great double for me. Because usually, doubles don’t necessarily always match my exact body type, but Monique is taller than I am and slenderer than I am so I’m thrilled to have her double me. So she’s great. And I’m hoping she’s coming back for Season 2. It worked out by coincidence. And then even when we were doing RAZE, and that was my friend Josh Waller directing it, and Zoe Bell brought Monique on. It’s nice to know that whenever I need a double, even if I’m not putting the name in myself if I don’t have the opportunity to, there’s inevitably someone that says, “Can we get Monique?” So that’s great for me.
Victor, in light of your martial arts background, and staying on the subject of stunts, I’m wondering about your working relationship with Kimani Ray Smith, who I understand is your stunt coordinator on the show. Does he let you do as much as you like? Choreograph to your strengths and so on?
VICTOR: One thing about Kimani is that I know he has in-depth conversations with everybody and Simon, and really wants to figure out what is right for this particular scene. I mean if you let Kimani go, he will give you four, five, and six in one scene. He’s incredible. His choreography is so interesting and he uses the surroundings around him. But he’s also the type that choreographs to your strengths and he finds the things that you can do and he really choreographs around that and makes you look really good. I prefer to do everything I can. Rachel and I, we pretty much do all of the stuff ourselves, and then sometimes the doubles will come in a do a few things. The majority of the fights that I’ve had with Rachel, it’s been her and I. So when you see the actors on camera doing the action, I think it adds a lot of depth to the characters and really draws you in more, rather than just seeing the back of somebody’s head. Kimani is amazing and such a talented guy, and we’re really lucky to have him.
SIMON: Yes. We stopped writing action. We just basically say, “Kimani, do your stuff here.” And then he always shows up with an amazing, brilliant, inventive fight that we could never have come up with technically. So it’s wonderful having him as such a key part of the team.
Simon, did you have any favorite scenes that you felt just came together most perfectly from those first two episodes that John Cassar directed?
SIMON: That’s a really hard question to answer because I have a lot of favorites. But, I do think that in those first two episodes, one of my favorite scenes, and I think a lot of people would agree with me, is the emotional scene at the end of Episode 2, which is where Kiera is sort of contemplating being stuck in the present and facing the truth of her situation. I think not only did John do a great job, but Rachel did a great job playing that kind of awful situation of realization. So for me, I know that that was something that came together really but it’s really hard to pick one favorite because there’s so many different dimensions to the show to pick one scene that really captures what the show is really tricky. But I know that when we watched Episodes 1 and 2, everybody felt like we’d really found something special in not only the story that we sort of cobbled together, but also in Rachel’s performance of that beat in particular.
Could you talk about if there was anything you brought to the characters that wasn’t originally scripted?
RACHEL: Initially, Kiera was Kyle, so you know I brought some anatomy with me. That’s a really interesting question because I started thinking, “Wow? Did I?” And then I starting thinking, “ I must have.” And then I thought, “Well, everything is so collaborative that I am not sure which sort of characteristics belong to which creator.” There is a large element, and Simon and Victor can both attest to this. There’s a large part of me that’s very goofy and kind of clumsy, and I don’t necessarily think Kiera was supposed to be that way. But I think that part of my personality lends itself very well to the fish out of water situation, given the fact that I’m from the future so there’s a lot of stuff that I obviously don’t know about 2012. So I’d like to think that my own awkwardness is a good add-on. But, that’s sort of the first thing for me that comes to mind anyways, is kind of the goofy aspect of my personality.
VICTOR: No, but I agree with Rachel. I think that one thing that we had was the relationships were there. The drama was there. Everything was there, and there were definitely some funny moments written in. And I think the only thing really on my end was just bringing up a little bit of that self-depreciating side, like the scene in the elevator when he’s locked in there, they’re so great about letting you really jump into your character and seeing what comes out. And I think that that’s something that we all worked on as a family, as a team, is bringing up a little more of the comedy. Other than that, I think that was it. Everything was on the page for my character anyway.
SIMON: I think Victor’s underselling it. I think Rachel and he both put their finger on it. I think these characters really did come out of a great collaboration. I love that Victor’s giving me credit, but the truth is that we kind of found these characters I think in a way together, and it was really fortuitous because as much as the writers and I would love to think that we laid it all out. Rachel and Victor absolutely and Erik to that effect as well — actually all the actors — they really did bring a very special quality to everyone. I think that because the process moved very quickly and because we all wanted to aim high and succeed, that that creativity really pushed everyone into bringing whatever they could. And we as filmmakers were very open to it. We wanted it to happen that way. It was very organic and it was fun. And the truth is Rachel’s right. She does bring her personality in ways to the character that we never wrote on the page, but that really brings it to life. And Victor does have a genuine sense of self-depreciation and humor, and also a kindness and a straightforwardness that we really appreciated him bringing because I don’t think it was as clear on the page. And they really have defined the characters now in a way that in writing the show we think more about what they bring to the table necessarily than what we as writers have brought to the table. And, we’re embracing those things that I think we love and I think hopefully the audience loves as well or we’ll love.
Could you talk about what do you think it is about the show that will really capture viewers?
SIMON: I think there’s a lot of ideas in the show that are relevant to today, but that we’ve kind of repurposed through the prism of someone from the future. We do see our world Rachel’s character’s eyes, through Kiera’s eyes, and I think there’s something interesting about someone who has a perspective that’s different who knows what’s going to happen. And seeing our world through those eyes can sometimes be a fascinating way to relook at our world. So that’s one element that I think is definitely intriguing. I think audiences will also like just the straight up thriller aspect of the show and the character dynamics of the show. There’s a real intimacy between the good guys and the bad guys on this show that’s very special. And because the time travel component links everyone, there is this awareness that all of the characters share regardless of which side they’re on that really helps keep the show kind of connected within the varying factions. Also, I think Rachel and Victor have a point of view about this too.
VICTOR: One of the reasons that I would tune is I like a show that makes you think. I like to make a show that after the show ends, you could sit there with your friends and you can discuss the possibilities and where a show could go, “What did they mean by that? And you know what if this happened?” I think we explore a lot of those in this. We answer a lot of questions as much as we leave a lot of questions for the audience to ponder. And of course, me coming from an action background and growing up doing martial arts, I love the fact that this is a fast-paced, action-driven show that’s relatable. It’s not too far out there, even though it is a sci-fi show. All of this is within the realm of possibility. And it’s incredible characters. So it’s got aspects from so many different genres compiled together and mixed up that there’s a little bit of something for everybody.
RACHEL: Yes. I completely agree with Victor and with Simon. You get everything you want. There’s that procedural element. There’s the sci-fi element. Then it’s a heavily character-driven show, and that sort of trifecta is very hard to come by. Plus the sci-fi genre is fascinating and wonderful because it allows us to do so many different things, whether it’s something like a social commentary like whether we’re talking about corporations and governments and things like that. Sci-fi really kind of lets us as storytellers get away with a lot. And the built in sci-fi audience that always enjoys that will love CONTINUUM. But the audiences from other types of shows I think will also find something that they’re looking for as and that’s hard to do. I think CONTINUUM does it very well.
Could you talk about the family part of the dynamic of Kiera and Carlos’s lives and how you will use that going forward in the series?
RACHEL: Well, for me, the complicated thing with the fact that Kiera has a family and that she can’t really talk about her family. If I’m in a scene with Carlos and he’s talking about his family, Kiera can’t exactly say, “I know, my husband and son in 2077, I really want to get back to them.” I mean, that’s not something that I can ever say. So there’s definitely an element of scenes when for Kiera when she hears Carlos, or anybody for that matter, talking about family, especially Alec with everything that he dealt with his family. Obviously, Alec knows that I have a husband and son in the future, but Carlos or anyone from the year 2012, who’s not Alec, hearing them talk about their family, it’s very hard for Kiera. I think it’s also very important that family is a big element to the show because I don’t want Kiera to be wallowed in sadness of missing her family every episode, but she’s got to think about them at least once in every episode because that is the driving force. She may have realized it and started to understand that she is probably in 2012 for a purpose, but that never for one second means that her number one goal isn’t getting home. That’s where she wants to go. So I think the family aspect is very important because it allows us to get to know the other characters and it also allows Kiera to reflect on what her goal is at the same time.
VICTOR: We haven’t touched a lot about my family, but there’s definitely hints and there’s things that I’ve had to deal with myself as Carlos from where I’ve been from, where I came, and my family situation that obviously plays a big role in the reason that I became a police officer and the driving force behind a lot of decisions that I make in my profession on the show. But I think we deal with family a lot on the show. Liber8 is kind of a dysfunctional family in itself. We have our own little family at the precinct with Inspector Dillon and Rachel, and with Betty. In a way, it’s almost like a few different aspects of the way that we all deal with each other, the way we would deal with families, and it reflects you know our relationships. But definitely, I think one of the biggest things is Rachel’s quest to get back to her family. And it’s such a driving force.
Could you say how far ahead you’ve thought about the mythology and the timeline for the series? Are you really keeping track of everything so everything fits in line?
SIMON: Yes. It’s certainly a full-time job managing just all of the many threads of the show’s mythology introduces. And that’s half the fun too, I got to say. When we started the process on the first day of the writing room, we as a group all made the decision that we needed to know two things off the top. We needed to know the rules of at least our version of time travel, which was important. And also, we needed to know where the show was going to end. Because of the nature of television, you can’t really pinpoint that to an X number of hours or years, but you can certainly aim high. And I’m an optimistic person by nature, so I certainly built in the possibility that there would be many years worth of mythology elements set up at the beginning that could play out. But you don’t want to get ahead of yourself too far. So it’s this fine balance of knowing that the universe and the mythology and the stories that you have, have many, many stories within them. And at the same time, you want to keep it contained so that the focus is on one major component that is manageable. So certainly into Season 2’s announcement, we started opening that up in a way, which I think makes the show better. But we’re always trying to stay focused on our central character’s goals and obstacles. And, that’s sort of where we can I think feel like the show is in a very safe place, but also gives us permission to expand beyond that.
This vision of the future in 2077 is pretty dystopian and a little bleak, kind of Orwellian almost. Do you think that that’s kind of where we’re headed?
RACHEL: I think that’s one of the really interesting things about the show, and the fact that the sci-fi genre allows you to go to these places and have this idea of the future and people accept it, and then they do ask that question, “Is this where we are headed?” I hope not because I happen to really enjoy food, and running water, and live animals. The future looks pretty bleak as far as I’m concerned. But there’s a lot to be said for some of the different events and issues that we take on in the first ten episodes of the show, and I’m sure in Season 2 we’ll dive into even more. But yes. There definitely is that recurring question of: Is this really where we are headed? And what could we possibly do to prevent that from happening?
Can you describe the dystopic world that you’ve created politically, atmospherically, for the year 2077?
SIMON: I’ll start by saying that I think that dystopia is often a relative term, and so in trying to create 2077, I didn’t want to create something that was kind of oppressive in an obvious way. I think that if you were to ask Rachel’s character if she lived in an oppressive society, she would say, “No.” And I think that’s kind of the point. Our Liber8 freedom fighters/terrorists, if you will, have a different opinion. And I think one of the great things that we’re trying to infuse the show with is that you can have a gray area in almost anything in the world as far as opinions go, and that perspective has a lot to do with how we make judgments. So as much as it’s easy to paint the future with one brush of dystopia, I think that there’s also a point of view that there’s a process of evolution with society that tends to develop on its own way that we as a society either allow to happen or don’t allow to happen. And when you’re living in it, you don’t necessarily see it for what it is. I imagine if someone from 1930 were to come to 2013, they might find our world quite dystopic in its own way as well. Because in a weird way, we’ve kind of gone backwards from the freedoms of the days of the ‘30s and the flappers in Paris. And there’s a funny thing about perspective that is always fascinating to me. So we’ve kind of tried to create at least a future that has one foot in storytelling and one foot in a potential reality, and I think that’s what Syfy tries to do always is to make people consider their world and look at their world through hopefully a different prism. But I think we just try to look at the world that we live in, on every level. I think that society, breaking it down into things like politics on a macro level, on a larger level when you talk about social rules, behavior of expectation, even love, even relationships. Technology is influenced on all of those things. Politics in general are all covered in ways, but always through a character perspective. It’s never about one point of view. It’s always trying to look at both sides of the argument and it’s a debate.
RACHEL: It’s interesting because there are many different themes. I’ve said it before; it’s why I love the sci-fi genre is because we’re allowed to get away with a lot more than you are on a mainstream political show or an action show. It’s the built-in audience has this skill set for belief of things that we say might happen. Like we say might happen in the future. And they don’t judge us or say that we’re being completely political about it. We’re allowed to get away with just making guesstimates about what the future is to become and who the people are in 2012 versus who the people are in 2077. And you know like Simon said, people that would be back 65 years prior to 2012, if they ended up in 2012, what would they think of our world? And I think the theme is obviously things are always changing, and sometimes for better and sometimes for worse, and sometimes for much worse. But there’s this theme of family, and that also is important for me because it’s a big part of my character as well. And that’s something that doesn’t change. My whole goal is to get home — to get back where I’m from.
VICTOR: One key thing that Simon mentioned is that we may bring something up that’s thought-provoking and we give the audience an opportunity to have their own opinion because we give both sides of the coin. That’s one of the things that I like most about the show. And like I said earlier, that I can sit back afterwards and discuss with my friends is there’s a pro and there’s a con to everything that we kind of bring up, and that’s what I really appreciate.
This organization Liber8, which are the terrorists in 2077, why do they go back in time to 2012? What is Liber8’s perspective? What are they trying to do?
SIMON: What we learn in the pilot is that Liber8 in the future are a terrorist organization from the perspective of the future, and they’ve been condemned to death. It’s an execution actually that sort of opens the show. And what Liber8 manages to do through a conspiracy is put together a prison break, if you will, but it’s not the kind of prison break that goes through a wall or a tunnel. They are given the kind of technology — experimental technology — that allows them to basically set off a bomb that creates a wormhole — a time travel portal if you will. And so their escape is on the one hand a planned event, but they aren’t supposed to end up in 2012. They were only supposed to end up kind of at the tipping point of their future revolution. So it’s a bit of a mistake, but they realize very quickly that they can still change history from the perspective of 2012. And Kiera, Rachel’s character, is accidently thrown back with them. So she realizes that their goals — as much as she wants to get back — her ability to get home is inextricably tied to stopping this group of people from executing their mission, which is to change history.
With all the cool technology toys showcased on the show, if you could like one for your life, what would it be and why?
RACHEL: That’s the best question for me because I would take my Multi-tool. It’s small. It travels well. It does legitimately anything I could possibly need it to do in any situation. And I’ve started reading scripts for Season 2, and the Multi-tool does just a whole bunch of new and different things pretty much every time we see it. So I would definitely take my Multi-tool.
VICTOR: I think I would have to take her super suit. I don’t want it tailored. I don’t want anything. I just want to hang it up on a wall and look at it.
SIMON: I would definitely take the CMR chip because I have a terrible memory and I need as much help as I can get.
Since the first season has already aired in Canada, what’s it like for you guys now going into this brand new audience that hasn’t seen the show yet?
RACHEL: I think that it’s one of the most exciting things because it came out in Canada. It started airing in May and obviously did very, very well and then went to the UK for Syfy and did very well. And then the mechanism of Twitter is fascinating because you have access to all of these people who want to know what you’re doing and what’s going on. And I’ve had such a response from people all over the world from the show coming out, and especially people in the States saying for so long, “When is it going to be in the States? When is it going to be in the States? We don’t want to steal it or burn it or take it off the Internet. We really want to see it.” And now everybody’s getting their wish, including my parents who didn’t have cable until a couple days ago when they realized they were going to have to buy it in order to see me. But it’s something that’s been well received and I obviously think that’s going to happen here in the US. And so it’s something very exciting to think about. And finally, the fans that have wanted it for so long are getting exactly what they want.
To see more of the fate of Kiera and whether she is successful in stopping Libre8 from destroying the future and her family, be sure to tune in on Monday nights at 8:00 p.m. for all new episodes of CONTINUUM on Syfy.
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