Everything about Continuum, eh?

Link: Rachel Nichols talks Continuum future – “Perhaps this isn’t the end”

From Morgan Jeffery of Digital Spy:

Rachel Nichols talks Continuum future: “Perhaps this isn’t the end”
“I’d like to see the fourth season be such an incredible success that maybe we can get a little bit more out of it,” she admitted. “Maybe there are some legs to it somewhere else and I think that the fans would be in support of that. Continue reading.

Comments and queries for the week of Jan. 16

Readers were positively chatty this past week, with comments about Schitt’s Creek (an early ratings winner for CBC), the latest development news out of Canada that includes one TV series based on Pierre Berton’s The Last Spike and another on Nora Roberts’ book trilogy with former Lost Girl showrunner Emily Andras. Veteran TV writer Denis McGrath explained the nuances that go into what is considered a Canadian series when it comes to the Canadian Screen Awards nominations and some Bryan Baeumler fans voiced their opinions his latest show.

I loved that Schitt’s Creek didn’t feature an annoying laugh track. The giggles and belly laughs were coming out of me last night! Hilarious! Excellent! Love it! Hope they show two episodes in a row every week. Can’t get enough.—Karen

I like historical dramas, so The Last Spike sounds good to me. Also, Black Magick sounds good too. Pacific Spirit is something I’m really excited for.—Alicia

The determination was made that the Best Series category should be driven by and open to those shows where the primary creative personnel are Canadians. This would normally be the producer, the writer/showrunner, if there is a directing producer, i.e.: where was the show conceived and primarily developed? These shows would include made in Canada fare like 19-2, Flashpoint, Continuum, Motive, Orphan Black.

Series that have Canadian involvement at the industrial or craft level but whose writers, directors, and key decisionmaking come from elsewhere are eligible for the Best International Series Award, recognizing their unique position as pulling from labour and crews and artists from all over the world. In this way, the division is modeled after a similar split at the BAFTA Awards (the British Film & TV Awards). They basically do the same thing.

It’s easy to get confused because when people come in with money sometimes it’s said that they’re a “co-production.” That can mean maybe a U.S. or American channel gave money to the show, or bought presale or whatever.

But there’s a separate, legal defined term called a “treaty co-production” — which are governed by treaties Canada has with a number of countries. These treaty co-productions under the terms of the treaty count for 100% 10/10 content for the purposes of the Canadian broadcaster … but they might actually also include shows that are actually “Minority co-productions,” i.e.: where Canada as the partner has the lesser of the investment, and in these cases most often most of the primary creative decision making (showrunner, lead writer, directors, stars) is made outside of Canada.

So … sometimes a show like Orphan Black is called a “co-production” because it has a financial partner — but if you look at the production it’s actually legitimately 10/10 Canadian because the writing staff, the producers, etc., are Canadian.

And sometimes a show like The Borgias can be “deemed” under the international co-production treaty as being “10/10 Canadian” for the broadcaster, though when you look at it further, most of the creative decisionmaking isn’t made here. In cases like this, as per the way the BAFTAS do it, it can compete for International Series but not Best Series.

Once you get beyond the series level to the craft categories, none of that matters … and all craft categories are treated similarly. So you can have Costume Design or Sound or Editing on Orphan Black compete against the same artists working on The Borgias, so long as that work was done by a Canadian as the Canadian part of the international treaty co-production.—Denis

Glad someone posted something about Sarah Baeumler. I am finding it difficult to watch her. Perhaps it’s the editing, but she comes across as entitled. A $20,000 custom imported monster of a stove, and now she “will learn how to cook”? All we ever hear is how they need a big kitchen and space for all the family entertaining they do. I am more interested in the nuts and bolts of this construction, and the real obstacles people encounter in a major reno. That is why all his other programs have done so well. He’s funny and educational without being demeaning.—Mary

Sarah may be annoying, but she allows Bryan to shine and use his wit. Let’s worry about worse things.—Bob


Got a question or comment about Canadian TV? greg@tv-eh.com or head to @tv_eh.

Continuum creator Simon Barry answers burning Reddit questions

On Friday night, days after Showcase announced that it had greenlit a six-episode fourth season of Continuum, show creator Simon Barry took to Reddit to answer fans’ burning questions about the series, his feelings about a shortened run of episodes and what fans can look forward to in 2015.

As expected, most wanted to know exactly how Barry and his writing staff will take the numerous stories angles from Season 3 and wrap them all up in just six instalments.

“Six will be sufficient,” he typed. “Don’t be troubled. Take a long walk and enjoy a glass of nice Sonoma Coast Pinot Noir. I recommend RedCarWine.com.” Barry acknowledged to another poster that he had originally had seven seasons in mind when he began putting the adventures of Kiera Cameron (Rachel Nichols) together, but is able to work with what the network has given him. Speaking of Showcase, all Barry would go on the record to say regarding the months of waiting to hear if Continuum would return at all was to state, “I’m sure there are myriad reasons all networks make the decisions they do. I prefer to focus on making the show as good as it can be and let the network figure the rest out.”

As for whether or not Continuum could make the jump to the big screen or appear on Netflix or Hulu, Barry quashed that talk by typing that a pickup isn’t in anyone’s mind at the moment because the plan is to complete storylines with the coming half-dozen instalments.

“But never say never,” he teased. “The ending for Season 4 will be the ending we originally intended regardless of how many seasons we made. I hope to someday play out the missing seasons in an amateur community theatre setting. Human size puppets are not out of the question.”

Link: The magic and economics of Continuum

From Liz Shannon Miller of Indiewire:

How the Magic & Economics of Canadian Sci-Fi TV Helped Create ‘Continuum’
In terms of their decision-making process, we probably received the benefit of the doubt in terms of not being canceled, which a lot of shows are when they’re not performing to expectations. They wisely recognized there was an opportunity to service the fans, and also to make more of an event around this final season. It seemed like a lot of things lined up in our favor in that sense. Obviously, I’m speculating, because you never get to hear the inside information. Continue reading.

Continuum renewed for fourth – and final – season

It’s the end of the road for time travelling cop Kiera Cameron. Showcase announced Monday night that Continuum has been renewed for a final six-episode season.

“All great stories deserve an end,” Nichols said in a press release. “I am excited and grateful to finish Continuum with the riveting conclusion it deserves. This series finale is dedicated to the devoted fans who have loyally supported us since Day 1.”

Production on Season 4 is set to begin in Vancouver in early 2015 with broadcast of the episodes later in the year. The renewal comes amid months of speculation regarding whether the sci-fi series would return or not. Now we have the answer.

Created by Simon Barry, Continuum stars Rachel Nichols as Kiera Cameron, a cop from 2077 Vancouver who is sent back to present-day stop a group the terrorist group Liber8 from affecting the future. Aiding Kiera in her mission is Vancouver cop Carlos Fonnegra (Victor Webster) and computer whiz Alec Sadler (Erik Knudsen). Opposing her were Liber8 members Matthew Kellog (Stephen Lobo), Sonya Valentine (Lexa Doig), Lucas Ingram (Omari Newton), Travis Verta (Roger Cross), Jasmine Garza (Luvia Petersen) and Julien Randol (Richard Harmon).

Season 3 of Continuum ended in a cliffhanger, with an special ops army troupe from 2077 arriving in Vancouver to lay waste after Kiera and Brad activated the beacon and the death of evil Alec at the hands of good Alec. The episode was the No. 1 program of the night in key demos for all of Canadian specialty programming.

Continuum has been lauded with numerous award wins, including a Canadian Screen Award for Best Visual Effects for a Program or Series and Leo Awards for Best Dramatic Series, Best Supporting Performance by a Female in a Dramatic Series, Best Stunt Coordination in a Dramatic Series and Best Screenwriting for a Dramatic Series.

It airs in over 132 countries.