All along, Kellog has been the most slippery character on Continuum. He started out as a member of Liber8, but quickly became a free agent. And now, we're starting to see hints that he could wind up being this show's Peter "Littlefinger" Baelish. Spoilers ahead...
So this season, Kellog met up with the Alec Sadler who had traveled back in time from the alternate future. And he immediately convinced Emily to kill Alec's dad, Escher. This led to the other Alec becoming the head of Piron, and Kellog started worming his way into a position by Alec's side as he builds the Halo technology that wrecks the world.
Fast-forward to the post-apocalyptic future of 2037, and we finally see the wrecked world that Alec's time-travel created, with Kellog's help. Now Kellog has become a warlord, and he personally sends Brad Tonkin back in time with a mission brief to sterilize the world of 2014 with fire, kill all time-travelers, neutralize the "zealot cell," stabilize the "incursion site" and "salt the God-saved Earth."
Does Alternate Future Kellog have some plan that he's spent decades hatching? And if so, does he somehow let his past self know about it? In any case, the present-day Kellog is ready when the boom drops. When Hoodie Alec replaces Suit Alec as head of Piron, Kellog pulls the rug out from under him: He got Suit Alec to sign control of Piron over to Kellog a while ago. Because Suit Alec wasn't just a megalomaniac, he was also not really on top of the details.
Remember, also, that Kellog gave glasses to Jason which have cameras implanted in them, and Jason has been watching every move everyone makes — including all the stuff where they're plotting to replace Suit Alec with Hoodie Alec.
And basically, that's the main plot of this episode: Kiera teams up with Brad, Carlos, Emily and the remaining members of Liber8 to swap the Alecs. The plan almost goes south, because Suit Alec was smart enough to get an RFID chip implanted in his arm so Hoodie Alec could never impersonate him again. But then Hoodie Alec kills Suit Alec, and Kiera transplants the RFID. (And then, of course, Kellog pulls his stunt.) Also, Hoodie Alec manages to destroy the antimatter lab and steal the other time machine.
As we see at the start of the episode, Brad's orders were to kill all of the time travelers along with the Freelancers, to make sure nobody else would screw things up. But he fell in love with Kiera, I guess, and was willing to abandon his mission. Kiera, meanwhile, is willing to give up on her dream of ever returning to her son Sam, because she's finally twigged that her timeline is gone forever. And because she seems to love Brad back. And Alec, of course, started this whole mess by going back to save Emily, the woman he loves. So basically, love makes all the timelines go blooey.
Kiera's change of heart goes beyond being willing to give up hope of going home, though — she's decided that Liber8 was right all along, and she was wrong. The corporate-totalitarian world she comes from wasn't all that great, and even if she still hates Liber8's methods, she agrees with their goals. I guess this was because she realized Betty had a point, saw the Vancouver Police Department get compromised and learned that Sonmanto created the chemical weapon they also supplied the antidote for.
So in the end, everybody thinks they've won — Liber8 is going to take over the Freelancer HQ and become an underground radio station or something. Carlos is the new Dillon, even though it's hard to see what he did to earn that quick a promotion.
And Brad and Kiera debate whether to use the device which Brad brought back from the future — which turns out to be a time beacon of some sort. He sets it off after completing his mission, and it sends a signal that people in the future can pick up and identify the vector where things changed. If the timeline is all good, then nobody will do anything. But if there's a problem, then more people will come back. (But they didn't need a beacon to send Brad back, so it's not clear why they need one to send more people back.)
Kiera, as usual, argues a completely nonsensical position: it's better not to know if Brad's mission succeeded. Because, hey, maybe we're not supposed to know the future. Also, butterflies are nice.
Brad is like "if we failed, we ought to know that." So he sets off the beacon, and nothing happens for a moment — so he and Kiera start to relax. And then all the lights go out in Vancouver, and a bunch of guys in Spartan warrior suits appear and aim their weapons. Brad tells Kiera to run for it. Meanwhile, the Traveler, the dreadlocked founder/prisoner of the Freelancer cult, looks up and says it's beginning.
So maybe Kellog taking over Piron from Alec has created another dark future, that felt the need to send armored badasses back in time? Or a version of the same dark future? Hard to say at this point.
So this has been a really fun season of Continuum — but I'm a little sad that the political debates have been settled so quickly and easily. Kiera (the main character) now agrees with Liber8, except for a few lingering disputes over tactics. The one surviving Alec is also firmly anti-corporate, because he was willing to tear down Piron from within. The corporate Alec, Suit Alec, turned into a snarling monster who needed to be put down. And Kellog is, well, Kellog.
One of the great things about Continuum, in its first few seasons, was the notion that this was a show that resisted giving you an easy answer: maybe the corporations are evil and oppressive, but maybe they're also doing some good as well. Maybe Kiera's future world of 2077 is a transitional state to something else. But now we've seen a nightmare future where corporations got too powerful too quickly and went to war with governments, and meanwhile none of the sympathetic characters are remotely pro-corporate any more. Corporations are basically evil, end of story. And I think that's a less interesting show.
Back at the end of season one, this show started introducing lots of new elements in a hurry: Escher, Piron, the Freelancers, Jason. And I remember being a mite uneasy, because it felt like the show was rapidly adding new layers of mythos instead of expanding out organically. And a lot of that mythos had to do with adding more time travel stuff.
The original set-up was so rich: you have two brothers, one of whom is destined to grow up to become a corporate overlord, and the other of whom is destined to grow up to become an anti-corporate zealot. There were a few really terrific scenes where Alec and Julian actually talked to each other and felt like they were really brothers — but they only had two or three scenes together this season, and they were about moving the plot forward more than anything else.
I can't help comparing this show to Fringe: both shows deal in crazy plot devices and wild twists. And Fringe was often happy to roll out a weird status quo (They swapped the Olivias! Peter's a ghost! It's an alternate universe where Peter drowned!). But Fringe was always very tightly focused on the family relationship between the two Bishop men, and their relationship to Olivia, and each fresh reveal or twist came back to that triad somehow. I wish Continuum had as tight a focus on character, and particularly on Alec, Julian, Kiera and Carlos.
But all in all, this was a fun season, and it's great to see a show that's willing to go completely nuts with its time-travel shenanigans. By all appearances, if this show gets another season, we're in for a year of completely off-the-wall craziness with Spartans chasing people around Vancouver, Kellog as corporate overlord, and characters from four or five different timelines all bouncing around together. Plus whatever the heck the Traveler is up to. And there's nothing wrong with any of that.