Modern or conventional, what current connects you?

It’s obvious this fall. As striking as Véronique Cloutier that she would land in a Media Art and Technology course at the Cégep de Jonquière.

Two television currents, powerful and opposite, collide on our screens without mixing. There’s the bold, modern television, which shakes and jiggles and moves. And there is conventional, conventional television, which embodies a kind of stability, an anchor in our ever-changing world.

before the accident of Radio Canada and Pet de Noovo perfectly represent the first movement, while for you Flora of Radio Canada and Anne and Arnaud from TVA takes the ball to the second group.

I saw this week the third episode of for you Flora, which I had already seen in spring. My opinion has not changed. I was expecting much more from this series on Indian residential schools, which could have been exceptional with fewer telegraphed texts and more heartfelt production.

All the dramas, big and small, are highlighted in neon marker on for you Flora. It is useless to insist so much, with such a moving historical plot. In addition, the omnipresent and starched narration of the actor Marco Collin, who plays the survivor Rémi Dumont, makes us give up.

From scene to scene, the level of play varies greatly in for you Flora, as if actors from different eras were acting in different series. Sophie Desmarais and Théodore Pellerin are doing their best, I’d say. It is a pity that such an important subject has resulted in an average work, which will not go down in history.

in VAT, Anne and Arnaud nor does it upset the television codes. The episodes tell us in a classic way, and with many acoustic guitars, a moving story, inspired by real events. Obviously, what the two protagonists, Anna (Guylaine Tremblay) and her itinerant son Arnaud (Nico Racicot), experience is terrible. But there is a “disguised” side of the series that clashes. The funky hats, the wigs, the urban settings, the street language all lack credibility.

We have reached the third episode ofAnne and Arnaudof a total of eight, and I feel that I already know everything about this series that is repeated a lot week after week.

By programming mainstream and more mainstream series, networks make sure to satisfy their most loyal viewer base, the die-hards who consume large amounts of television, season after season.

With the most risky series, it is a fickle and selective clientele that the networks try to seduce. We are targeting couch potatoes who drink from the Crave or Disney+ catalogs and who follow their series less live, let’s say.

Pet from Noovo, one of my favorites of the fall, would have its place on a platform like Netflix or Apple TV +. He is excellent and confrontational. The construction of Wednesday’s episode was very clever. In the first seconds, Chanelle Chouinard (Evelyne Brochu) was shown to us in prison, to remind us of the illegal character of the student-teacher relationship at the center of the intrigues.

We also saw Chanelle’s daughter (Agathe Ledoux) swear to her that she wasn’t the one who alerted the police. A few seconds earlier, this same boy had barged into the bathroom where Chanelle and her 17-year-old lover, Sandrick (Lévi Doré), were making love.

We must underline (again) the precision of the interpretation of Evelyne Brochu and Lévi Doré, the two headliners of Pet. Her roles, in shades of gray, are not easy to defend. Why, sweet Jesus, would a teacher risk her career and her family for an affair with a teenage girl?

The more the series progresses, the more possible answers screenwriter Simon Boulerice offers, with the necessary precautions. The author walks on very thin ice, which does not break.

The only thing he catches lightly in Petis the character of the mother of a single parent family (Sophie Cadieux) who is more folkloric than the others, let’s say.

I also want to go back to before the accident from Radio-Canada, one of my favorite back-to-school series. The execution is magnificent and the texts, contemporary and sharp. I love the character of partner Dominique (Marie-France Marcotte), a false ally of women in this carnivorous world of finance. She revolves around the antihero Marc-André (Éric Bruneau) and can only end badly.

Within before the accident, Kim Lévesque-Lizotte and Éric Bruneau paint a stark and nuanced portrait of these young professionals juggling millions, responsibilities and families. The episodes feed off the ambition and questioning of four unbalanced investment bankers, to put it mildly.

We feel that Évelyne (Karine Vanasse) is heading towards a wall. Her desire for control and performance, even in the bedroom, certainly hides a dark trap. In return, her husband François (Émile Proulx-Cloutier) relents.

Of course, nothing is going to get better for these addicts of power and influence. The wisest person on the show is Florence (Irelanda Côté) who understood, at age 13, what the adults around her still don’t realize. Popularity, success, friendships, everything is paid for, everything is changed, everything is exchanged. And everyone loses.