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Official CONTINUUM Season 1 Thread

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  • Guest2014
    Nov 15th, 2011

    Now open for business, since the smash hit series via north of the 49th parallel has its US debut set in stone.  From the Hollywood Reporter:

    Syfy has set a launch date for sci-fi time-travel drama Continuum.  

    Centered on Kiera Cameron (Rachel Nichols), a cop from the future who finds herself trapped in present-day Vancouver, Continuum will launch stateside Monday, Jan. 14 at 8 p.m.  The series debut will serve as a lead-in to Syfy’s Being Human at 9 and Lost Girl at 10.

    Continuum is executive produced by Simon Barry, Jeff King, Tom Rowe, Pat Williams and Reunion Pictures. Barry serves as a writer, with Jon Cassar as director (Me: of the pilot). Erik Knudsen and Victor Webster co-star.

    Syfy has also acquired the U.S. home entertainment rights, with Universal Studios Home Entertainment handling DVD distribution. A DVD release is being eyed after Syfy airs the season finale.

    Here’s the press release from SyFy:

    NEW YORK – November 12, 2012 – Joining recent original series acquisitions such as the hit Lost Girl and the upcoming Primeval: New World and Sinbad, Syfy today announced it will premiere the time traveling police drama Continuum – Canada’s highest-rated scripted basic cable series – beginning Monday, January 14 at 8PM (ET/PT).

    Continuum stars Rachel Nichols (Criminal Minds, Alias) as Kiera Cameron, a cop from the future who finds herself trapped in the present day. When a group of fanatical terrorists escapes their planned execution in 2077 by vaulting back in time to 2012, they inadvertently sweep along Kiera, a dedicated City Protective Services officer.

    With unexpected assistance from teen tech genius Alec Sadler, played by Erik Knudsen, Kiera infiltrates the local police department and forms an uneasy alliance with her new partner, detective Carlos Fonnegra, portrayed by Victor Webster.  Though desperate to get back to her husband and son, Kiera concentrates on bringing down the terrorists before they change the course of history.

    The January 14 premiere of Continuum will lead into the third season premieres of Syfy’s hit series Being Human at 9PM and Lost Girl at 10PM.

    Executive producers of Continuum are Simon Barry (The Art of War), Jeff King (Stargate SG-1, White Collar), Tom Rowe (Tin Man), Pat Williams (Smallville), and Reunion Pictures. Writer: Simon Barry. Director: Jon Cassar (24, Terra Nova).

    In addition to the first two seasons for on-air, Syfy has also acquired the U.S. home entertainment rights to Continuum. Universal Studios Home Entertainment will handle the DVD distribution and are targeting a DVD release shortly after the season finale on Syfy. 


    Nov 15th, 2011

    Tonight, SyFy had its 20th anniversary special, where they unveiled the first official teaser ad for Continuum. Great interview w/Rachel Nichols included. See what you let go, Criminal Minds????:


    ReplyCopy URL
    Nov 15th, 2011

    First U.S. based review of Continuum, from TheTrades.com:  http://www.the-trades.com/article.php?id=13356

    In the year 2077, the government has been bailed out by the corporations. The only cost was a couple of human rights. But, as the majority seems fairly happy with the situation, they apparently were a couple of rights nobody was using anyway. But a certain terrorist group, LIBER8, feels differently, and they’ve been perpetrating various acts – you know, demolishing skyscrapers full of people, that kind of thing – and ending up in prison.

    Enter Protector Kiera Cameron (Rachel Nichols, Criminal Minds), a cop who loves her husband, her family, and her career. She’s been outfitted, like most CPS (me: CPS=Central Protective Service) officers, with the latest nanotechnology and uniform, all of which runs off her thoughts. On the day of the sentencing, she’s been selected to be present as a witness. But what she witnesses is all the members secretly maneuvering until they assemble a tiny device of unknown purpose. She rushes in just as it’s activated….and comes to consciousness in a pile of rubble in 2012, with the other terrorists coming to before her and well on their way to wherever.

    Not realizing her dilemma, Kiera tries to call in to CPS headquarters – which, of course, doesn’t exist yet. However, the communication network itself does exist – barely. It’s the beta test brainchild of a teenaged genius, Alec Sadler (Erik Knudsen, Jericho), and it’s an encrypted package that nobody should be using yet. Erik can see through Kiera’s eyes, hear through her ears. And he’s pretty much using the next generation of the Internet for obtaining – and altering – information.

    With Erik’s help, Kiera sets up an identity as a police officer, allowing her access to current day resources for tracking and chasing down the terrorists. She convinces the local police, including potential partner Carlos Fonnegra (Victor Webster), that they are a bloodthirsty gang she’s been investigating under deep cover for months, a cover story that falls into place as LIBER8 begins a serious of brazen robberies and attacks on police officers. The plan is to alter the present to change the future, something Kiera is determined to prevent. But the ethics are just murky enough that you are left wondering: who is right?

    Continuum is a little bit “Timecop” with a lot of nice plot twists, an engaging story, and a sexy but very relatable heroine. X Files fans will delight at the cameo appearances by William B. Davis – but the real jaw dropper comes at the end of the pilot episode, when we learn the inexact nature, but exact identity, of the character Davis is playing! This is going to be Syfy’s 2013 television crack: one hit, and you’ll be hooked for the series! 

    ReplyCopy URL
    Nov 15th, 2011

    was Canada’s highest-rated basic cable scripted series last summer.
    It raised such a ruckus below the 49th parallel that American TV viewers…shall we say, itched to get a peek at what all the fuss was
    about. It will likely be a prime contender for that country’s Leo
    Awards (best of film and TV-making in British Columbia) as well as their Emmys, the Gemini Awards. It’s a hit in the UK and
    Germany as well. Finally, it makes its domestic debut with hopes of
    being the next great science fiction TV series – the last one being

    1, Episode 1: A Stitch in Time
    by Simon Barry; directed by Jon Cassar

    a group of fanatical terrorists called Liber8, led by Edouard Kagame (Tony Amendola),
    escape execution in 2077 by traveling back in time to present-day
    Vancouver, they inadvertently take Central Protective Service officer
    Kiera Cameron (Rachel Nichols) with them. Trapped in a more “primitive” past,
    Kiera infiltrates the Vancouver Police Department to stop the coming
    carnage. Along the way, she befriends Alec Sadler (Erik Knudsen), a teenager who
    will one day grow up to create the technology her world is built

    ReplyCopy URL
    Nov 15th, 2011

    TV review: ‘Continuum’ – NY Daily News:

    The last time-traveler cop show on U.S.
    television, “Life On Mars,” wasn’t as smart as this new one.

    “Continuum,” a Canadian import,
    stars Rachel Nichols as Keira Cameron, a law enforcement officer in
    the year 2077. At least that’s where she starts.

    When a gang of terrorists escapes
    execution by transporting itself back to 2012, it inadvertently
    brings Keira along. This leaves her to cope with being stranded 65
    years in the past and now having to stop these very bad guys from
    doing something that would change history, and not for the better.
    Happily for Keira, she finds a partner in Alec Sadler (Erik Knudsen),
    a brilliant computer geek who just happens to be fascinated by time
    travel and its related complications. They form the core of the team
    that must first alert 2012 to the presence of these dangerous fellows
    and then stop them.

    At the heart of “Continuum” lies a
    well-executed long-arc police thriller with worthy villains and an
    underdog heroine we like. But equally important are the two main
    reasons it’s got a better shot than “Life On Mars,” which was a
    pretty good show.

    First, because the bad guys travel back
    to 2012, not to 1973, it doesn’t play as a period drama. That makes
    some things less fun, but it also eliminates distractions and
    gimmicks. Second, because it’s on a niche cable channel, it
    doesn’t need to reach the broader audience “Life on Mars” never
    quite found.

    “Continuum” can survive by just
    tapping into the same loyal core of sci-fi fans who tried to keep
    “Life On Mars” alive. If “Continuum” doesn’t aim to soar,
    it executes the basics well. Like its sister show, “Warehouse 13,”
    or all those USA and TNT dramas, it’s a little stripped down and
    better off because of it.

    ReplyCopy URL
    Nov 15th, 2011

    Major thumbs up from EW.com:

    Continuum is a crisp, crackerjack
    series that premiered on Monday night on the SyFy channel. It’s a
    hit in Canada, where the Vancouver-filmed-and-set series has already
    aired its first season, and it deserves a substantial audience in

    The show stars Rachel Nichols as
    Kiera Cameron, a cop in 2077 who finds herself transported back to
    2012. She’s tracking down a group of 2077 terrorists who call
    themselves Liber8. In 2077, the terrorist cell was due to be executed
    for blowing up buildings and murdering innocents; in what would have
    been their final minutes, they found an escape hatch via a wormhole
    that took them – and, involuntarily but out of a brave sense of duty,
    Kiera – into our present.

    This sort of show can founder if its
    time travel parameters aren’t set up clearly, and if the series
    doesn’t have a firm grasp on its genre mix – i.e., how much it
    wants to be sci-fi, a police procedural, or a philosophical drama.
    Based on the first two hours, Continuum, created by Simon Barry,
    seems to have a confident sense of what it is, and the writing,
    combined with Nichols’ soulful performance, makes it compelling.

    Separated from her husband and young
    son, Nichols’ Kiera is initially viewed in 2012 as a hot chick cop
    in a curve-hugging body suit. But that suit, and Kiera’s brain, are
    laden with future cybernetic equipment that give her all sorts of
    advantages in identifying and locating enemies, and subduing them
    with a combination of futuristic weaponry and now-TV-standard
    fighting skills incorporating sharp elbow and knee strikes, Muay Thai
    and Krav Maga taken the next level.

    The first two episodes of Continuum
    were directed by 24 vet Jon Cassar, and they hurtle right along.
    That’s impressive, given the amount of information that needs to be
    imparted to viewers. Kiera’s primary 2012 ally is a young
    techno-geek, Alec Sadler (Erik Knudsen), who lives on what looks like
    a remote farm but who can communicate with Kiera via his own tech,
    explaining 2012 situations (such as how to drive a car – evidently
    gas-powered transportation doesn’t exist 65 years from now – and
    how to pass herself off as local law enforcement). We knew by the end
    of the first episode that youthful Alec will grow up to be a sinister
    Alec Sadler who controls at least one of the corporations that now
    overrun the demolished governments of the future – and we think we
    know he’s a bad guy because Old Alec is played by William B. Davis,
    The X-Files‘ Cigarette Smoking Man.

    I’m very intrigued by the Liber8
    terrorist group, its politics, and how Kiera squares her own beliefs
    against theirs. After all, if the future is one in which business
    interests have overtaken government, how free is that society, and to
    what extent are citizens’ rights being curtailed? Kiera and her
    husband seem to lead a happy, comfortable 2077 life from what we see
    in flashbacks, but it’s not clear yet how most people live. Are the
    revolutionaries’ aims actually good ones, freedom-seeking ones,
    even if they’ve chosen violent methods to achieve them? Is Kiera
    ultimately as law enforcement helping to maintain a repressive

    These are good questions for a
    science-fiction series. Right now, Continuum exhibits two potential
    flaws. First, it might be a mistake if the show kept making Kiera
    pause to weep over her separation from her husband and child, as she
    does a number of times over the first two hours – it’s one thing to
    make your protagonist sympathetic; it’s another to make her look
    too sappy. Second, pairing Kiera up with a beefy-handsome 2012 cop
    played by Victor Webster already feels like a soft, Castle-like
    will-they/won’t they relationship, which I hope will be avoided.

    If Continuum can maintain its focus on
    its action and the principles that motivate them, it’ll be worth
    continuing to watch.

    ReplyCopy URL
    Nov 15th, 2011

    And TV.com follows suit:  http://www.tv.com/news/continuums-u-s-series-premiere-the-occupy-2012-movement-30403/

    It’s the year 2077, and cops are hot.
    The world, however, is a bit of a mess, at least from our 2012/2013
    point of view. Globo-corps have rescued incompetent governments from
    financial ruin and now have their hands up the collective handholes
    of society through political means, creating a future that’s nice and
    shiny on the outside but freedom-less and oppressive on the inside.
    The well-to-do live the good life while the poor split a slice of
    bread for dinner and corporations rule everything. Meanwhile, a group
    of idealists protests the corporate regime. Hmmm… sounds like

    That’s the set up for Continuum, a
    surprisingly smart and savvy science-fiction drama that draws on 9/11
    and out-of-control corporations and that made its American debut
    tonight on Syfy. (The series has already aired on Canada’s Showcase
    network and is renewed for a second sesason). But 2077 becomes but a
    flicker of the past when one of the aforementioned hot cops, Kiera
    Cameron (an equally hot Rachel Nichols), accidentally time-travels to
    2012 on the coattails of a group of terrorists who are working under
    the name Liber8 and escaping execution through temporal displacement.
    In layman’s terms, they planned on bouncing by time-travelling outta
    Dodge. The terrorists’ plan was to fidget with the past in order to
    change the future by ousting the corporate giants before they could
    take our future freedoms away.

    And that’s where Continuum leaves its
    mark. Our hero Kiera is essentially a lackey for the future evil
    overlords of 2077, and the so-called freedom fighters she’s hunting
    down are rallying for changes that we can all get behind. There’s
    even talk in the present about the lame government bailouts for
    financial institutions that are the essence of Liber8’s philosophy.
    What changed between 2012 and 2077 that kept the voice of the people
    down? Is extreme violence justified if the cause is right?
    Ostensibly, Kiera is our “good guy,” but as a cop employed
    by Corporate Congress, isn’t she also working for the bad guy? The
    situation is vice versa for the Liber8 terrorists, who don’t mind
    blowing up a building full of innocents provided it’s also one small
    step against the persecution from the Corporate Congress. It’s a
    terrorists vs. freedom fighters argument with a time-travel wrinkle
    thrown in for good measure. Except Liber8 only intended to travel six
    years in the past, putting the terrorists and Kiera on a pretty even
    playing field when it comes to outdated tech like iPhones and
    cool-guy Bluetooth headsets when they’re used to palm holo-phones and
    skull implants.

    But Continuum does find a clever way to
    include limited future technology through Alec Sadler, a geeky
    shut-in in the present day (2012) who in the future is the boss of a
    tech giant that’s responsible for a lot of the police’s hardware.
    It’s a stretch to say that young Alec’s infant network could
    integrate with Kiera’s 2077 gizmos, but the leap of faith is worth
    taking because it results in their partnership, which is integral to
    the show. With Alec the only one who knows the truth about Kiera and
    the only one who can help her out, there’s a sweet Person of
    Interest-style relationship where Alec can sit in his Computer
    Clubhouse and help Kiera out in the field.

    Continuum is also very aware that it’s
    a time-travel show and that sci-fi fans know there are rules to such
    things. But the premiere didn’t shy away from tht at all and almost
    immediately addressed the issue with two possible theories, courtesy
    of Alec. Kiera’s actions in the present could greatly affect the
    future and mess a whole lot of stuff up, or her journey back to 2012
    could all be part of the plan and she’s just “going through the
    motions” of something that already happened in another time
    loop. This adds another layer to the already rich concept of
    Continuum that the show can play with (however, Alec’s reaction to
    meeting Kiera for the “first” time in a
    flashback/flashforward seemed to indicate that he was already
    familiar with Kiera, as did his nonchalant reaction to her
    teleporting back with the terrorists).

    BUT MORE LAYERS! In addition to the
    philosophical questions of corporate invasiveness in society, the
    puzzling wonder of time travel, and the sweet-ass future technology
    (skin-tight nanotech suits are fashionable and functional!),
    Continuum features an emotional core that really completes the show.
    Kiera isn’t Robocop or Jean Claude van Damme in Timecop, she’s an
    innocent hot lady from the future who accidentally ended up with a
    one-way ticket to present-day Vancouver. She’s been ripped away from
    her husband and son, and like any other rational person, just wants
    to return to them. This is essential to Kiera’s character, because
    without her longing for her family she’d be boring. When she’s
    beating up thugs on a monorail she’s fairly stock and reminiscent of
    TV’s other tough female cops, but when she reflects on seeing her son
    again she becomes a human being, and that’s all we can ask for out of
    television. Give us someone who is badass and who we can also
    sympathize with.

    “A Stitch in Time” laid the
    groundwork for a potentially excellent series in solid fashion, and
    if you aren’t excited for Episode 2, then you must have something
    against pretty-good ambitious television. There’s a lot going on here
    that many other shows would fumble, but so far, Continuum is doing
    all of it right.

    ReplyCopy URL
    Nov 15th, 2011

    This morning, Continuum was nominated for 5 Canadian Screen Awards (which were formerly the Gemini Awards, now combined with the Genie Awards which were the longtime great white north answer to the Oscars). Nominations came in Best Dramatic Series, Writing, Directing, Music and Visual Effects.   

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    Nov 15th, 2011

    No matter what you may think of me, this show is worth at least one look-see.  If you could…

    1.2: Fast Times
    by Jeff King; directed by Jon Cassar

    attempts to end the Liber8 threat to Vancouver backfire when her
    cover is blown and is arrested. But when she discovers their plan to
    return to 2077, she ponders the unthinkable – to hitch a ride with
    her sworn enemies to get back home.



    ReplyCopy URL
    Nov 15th, 2011

    Here’s a preview of tonight’s episode (as it was presented by Showcase Cable).  


    ReplyCopy URL
    Nov 15th, 2011

    Review from The A.V. Club on last night’s episode:  

    For Continuum to work as a show, it needs to lay down a solid narrative foundation that can support the intriguing, outlandish time travel premise. That means the sci-fi elements are overlaid atop a police procedural format, in which stranded 2070s cop Kiera Cameron spends each episode tracking down the Liber8 terrorists or getting involved in some other temporally intriguing case. This is a well-worn approach, but there’s no reason it can’t work so long as the basic storytelling structure is sound. At the end of last week’s premiere, there were two major unanswered questions that threatened to break Continuum’s already considerable suspension of disbelief.

    To the show’s credit, tonight’s “Fast Times” doesn’t elide over either issue, instead devoting considerable chunks of the episode to dealing first with just how the hell Kiera can pass herself off as a contemporary Portland cop when she clearly isn’t one, and secondly why she would ever commit herself to living and fighting crime in 2012 when there’s even the slightest chance she could return to 2077. The answers are wonderfully straightforward: Her deception immediately falls apart, and she jumps at the first possible chance to return home. The way in which Continuum resolves and pivots around both these issues is a big reason why I remain optimistic about the show’s potential, even as it apparently moves toward a more conventional formula. There’s a fine line between compelling sources of narrative tension and elements that simply aren’t sustainable. On a lesser show, Kiera’s flimsy Linda Williams charade could easily have been misidentified as the former, relying on increasingly improbable workarounds to preserve her lie.

    Instead, tonight’s episode exposes her lie in the first five minutes, as a Portland police officer shows up with the straightforward news that he’s met Linda Williams, and she most definitely is not Kiera. Her Vancouver Police Department ally Carlos is left in a distinctly awkward position—Kiera saved his life last episode, so he feels that he can’t entirely dismiss her when she asks him to trust her, but his continued faith in her is quickly making him the department laughingstock. Of course, Kiera is only trapped inasmuch as she allows herself to be, as she quickly enlists he computer genius ally Alec to create a more believable false identity for her, and she uses her 2070s tech to escape custody as soon as it becomes too inconvenient to remain locked up. She’s forced to go on the run when Liber8 launches their latest plan, as it turns out Lucas Ingram wasn’t exactly telling the truth last time when he told Kiera there was no way back to their time. Ingram’s plan is risky and liable to knock out most of the Vancouver power grid, but it still represents a way home, one that Kiera and the Liber8 members—except for Martin Kellog, who is allowed to go his own way and remain in 2012—are desperate to take.

    Again, if Continuum is going to work as a show, then Kiera really has to remain in 2012. But for Kiera to work as a character, it has to be just as clear that she doesn’t accept being stranded, that she is desperate to get back to the world she knows and the people she loves. Taking those two facts together, there’s of course zero doubt that the time machine will fail to send her and the Liber8 team back to 2077. As such, the episode focuses more on what Kiera’s actions reveal about her character. Kiera wants Alec and Carlos to believe that she is going after Liber8 in order to bring them to justice, and the episode is intent on extending that deception to the audience. There’s no doubt that Kiera holds her Liber8 foes in contempt—indeed, she actually says that she would like to shoot a couple of them even as she proposes a ceasefire—but she’s willing to put aside her disgust and her commitment to justice for the sake of a temporary alliance of convenience. In the aftermath of this episode, Kiera can shift her focus to building a life of sorts in 2012, but “Fast Times” firmly establishes that her overriding motivation is returning to 2077. This weaves much-needed unpredictability into the show’s procedural format, as no matter how invested Kiera might become in a future case of the week, there’s always the chance she could abandon all her apparent commitments in an instant if she thinks there’s a way of going home.

    As for the world of 2077, we’re treated to a pair of flashbacks—and yes, I’m calling them flashbacks, if only because they are in the past from Kiera’s perspective—that detail with a bedtime promise Kiera made to her son and her first day on the job as a Protector. Her CPS orientation hints at the antiseptic, impersonal nature of 2077, as her superior tells her to ignore her instincts and instead place her trust solely in the technology. When Kiera is chipped, giving her mind access to a constant stream of information and allowing her to act as a passive recorder of everything she sees, hears, and smells. The word “passive” is crucial here, as the orientation suggests her job is to act not as a thinking, conscientious public servant but as a largely unthinking tool of the state. In 2077, people aren’t individuals so much as they are data points in a massive network of information. It’s an intriguing extrapolation of how current technological trends could build a dystopia, although the episode only gives us a glimpse of what’s really going on.

    The other flashback, in which Kiera promises her son that she will always be there to tuck him in at night, serves as the emotional crux of the episode. It’s necessary insofar as it establishes Kiera really is a warm, loving person, and it sets up one hell of a counterpoint when, once the time travel experiment fails, she immediately declares the ceasefire over and opens fire on the Liber8 terrorists, reestablishing that, yeah, she’s still kind of a fascist. Even so, the exchange with her son is a little treacly, and it’s not helped by the limitations of the young actor playing Kiera’s son. The most interesting moment here comes at the end, when her husband takes her to task for lying to their son when they both know there will be nights she doesn’t make it home. It’s an unexpectedly harsh rebuke, and it suggests deeper significance as to why Kiera talks way more about missing her son than she does her husband, or indeed why she confirmed to Carlos that she had left him. Something isn’t quite right in the Cameron household, and on some level, that might actually be part of her motivation for remaining in 2012. After all, her goal to find a way to make things better for her family in 2077 seems awfully specific.

    “Fast Times” concludes the table-setting that last week’s “A Stitch In Time” began, as Kiera is now firmly stuck in 2012, but now with convincing law enforcement credentials and Carlos as her somewhat reluctant partner. Liber8 has also lost a vital piece of tech that means it too can’t attempt any more time traveling, and former member Martin Kellog is still out there on the periphery, setting up sure to be successful investment accounts and creeping around his future childhood home.Continuum has done a very solid job building its world and giving its narrative formula room to breathe without constantly running into logical or character problems. Now, it’s just a question of what the show and Kiera do next. 

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    Nov 15th, 2011

    Great news on week 2 ratings for Continuum; after a 900,000 viewer look-in to the pilot, the second episode jumped 31% to a total of 1.279 million viewers and was SyFy’s top-rated Monday night show. 


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    Nov 15th, 2011

    Can they keep up the ratings momentum from last week?  Cassar didn’t direct any of the show’s remaining 8 episodes, as he moved to Homeland afterward.  

    1.3: Wasting Time
    by Simon Barry; directed by Barry Frazee

    is now back on good terms with VPD after Alec’s feat of legerdemain
    in giving her a plausible detective identity. Along with new partner Carlos
    Fonnegra, they tackle their first case; a series of mysterious
    murders whose victims were drained of endocrine fluid. Also, Liber8
    is in turmoil as Kagame is still missing.



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    Nov 15th, 2011

    Preliminary overnight numbers: 1.16m viewers, and stayed the same in the demo.  Outdrew the return of Dallas on TNT.

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    Nov 15th, 2011

    1.4: Matter of Time
    by Sam Egan; directed by Michael Rohl

    scientist working on developing a source of clean energy, which would
    be invaluable for all humanity is found murdered. The list of
    suspects leads Kiera to a precarious place where she alone must
    decide either that justice be done in the present – or look the
    other way and preserve the future. 


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