This fallacy is obvious. As impressive as Véronique Cloutier, who is enrolled in an art and media technology course at the Cégep de Jonquière.
Posted yesterday at 7:15 am.
Two powerful and opposing currents of television collide inexorably on our screens. There’s a bold, modern TV that shakes, shakes and sways. There is traditional, traditional TV that embodies a kind of stability, an anchor in our ever-changing world.
Before the crash Radio-Canada et pets de Noovo represents the absolute first movement, whereas Flora for you Radio-Canada et Anna and Arnaud de TVA carries the ball for the second group.
I watched the third episode of this this week Flora for you, I had already seen in the spring. My opinion has not changed. I expected much better from this series about Indian residential schools, which would have been exceptional with less telegraphed texts and more felt production.
All plays, big and small, are highlighted in neon marker Flora for you. With such a moving historical plot, there is no point in insisting so much. And the omnipresent, starchy narration by actor Marco Cole, who plays survivor Remy Dumont, makes us want to leave.
From one scene to another, the level of play varies greatly Flora for you, as actors from different eras star in different series. Sophie Desmarais and Theodore Pellerin do the best, I would say. It is a shame that such an important subject has resulted in such a mediocre work that has not gone down in history.
In VAT, Anna and Arnaud Television codes are also not disturbing. The episodes are told to us in a classic way, and a lot of acoustic guitars, a touching story inspired by true events. Obviously, what the two main characters, Anna (Guillaine Tremblay) and her traveler son Arnaud (Nico Racicot), have experienced is terrible. But the clashing series has a “costume” aspect. Funny hats, wigs, urban settings, street language, all lack credibility.
We’ve reached the third episodeAnna and ArnaudAt eight in total, I feel like I already know everything about this weekly recurring series.
By programming both traditional and more conventional series, the channels ensure that they satisfy their most loyal viewer base, the diehards who consume large amounts of television season after season.
With more risky series, it’s a fickle and selective consumer that networks are trying to woo. We’re aiming for, shall we say, couch potatoes who draw from the Crave or Disney+ catalogs and follow their series a little live.
pets One of my favorites of the fall, de Noovo will take its place on a platform like Netflix or Apple TV+. It’s great and confronting. The production of Wednesday’s episode was very clever. In the opening moments, we are shown Chanelle Chouinard (Evelyn Brochu) in prison to remind us of the illicit nature of the student-teacher relationship at the heart of the plots.
We also see Chanel’s daughter (Agathe Ledoux) swear to her that she wasn’t the one who called the police. Moments earlier, this same kid bursts into the bathroom where Chanelle and her 17-year-old boyfriend, Sandric (Levi Dore), were making love.
We must (again) underline the precision of Evelyn Brochu and Levi Doré’s playing. pets. Their roles in gray are not easy to defend. Dear Jesus, why would a teacher risk her career and family for a relationship with a teenager?
As the series progresses, more screenwriter Simon Boulerris offers possible answers with the necessary caveats. The author is walking on ice so thin that it doesn’t crack.
The only thing that is taken for granted petsIt’s the character of the mother in a single-parent family (Sophie Cadieux) who is more folkloric than the others, let’s say.
I want to come back too Before the crash From one of my favorite back-to-school series, Radio-Canada. The realization is magnificent, the lessons, contemporary and sharp. I love the character of Dominique (Marie-France Marcotte), a false ally of women in this carnivorous financial world. It revolves around antihero Marc-Andre (Eric Bruno) and it can only end badly.
Inn Before the crash, Kim Levesque-Lissot and Eric Bruno paint a stark and nuanced portrait of these young professionals juggling millions, responsibilities and families. The episodes feed the ambition and questioning of four investment bankers, to put it mildly.
We feel like Evelyn (Karine Vanasse) is running into a wall. His desire for control and performance, even in the bedroom, surely hides a dark trick. In return, her partner Francois (Emile Proulx-Cloutier) softens.
Of course, nothing is going to get better for this power and influence. The smartest person on the show is Florence (Ireland Cote), a 13-year-old who the adults around her don’t yet understand. Popularity, success, friendships, everything is paid, everything changes, everything is transferred. And everyone loses.
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