Modern or conventional, which current connects you?

Two currents of television, powerful and opposing, collide on our screens without mixing. There’s a bold, modern TV that buzzes, shakes and shakes. There is regular, regular TV, which embodies a kind of stability, an anchor in our ever-changing world.

Before the accident Radio-Canada and pet de Noovo perfectly represented the first movement, while Flora for you Radio-Canada and Anna and Arnaud T DVA takes the ball to the second team.

I watched the third episode this week Flora for you, I already saw 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 sensitive productions.

All plays, big and small, are highlighted in neon markers Flora for you. With such a moving historical plot, it’s useless to stress too much. Also, the omnipresent and starchy story of actor Marco Gall, who plays survivor Remy Dumont, leaves us wanting.

From one scene to another, the level of play varies greatly Flora for you, like actors from different eras acting in different serials. Sophie Desmarais and Theodore Pellerin are doing great, I would say. It’s a shame that a subject of such importance has resulted in such a mediocre work that it won’t go down in history.

In VAT, Anna and Arnaud Also does not break TV codes. The episodes tell us in a classic way, and with lots of acoustic guitars, a heartwarming story inspired by true events. Obviously, the experience of the two protagonists, Anna (Guillaine Tremblay) and her traveling son Arnaud (Nico Racicot), is terrifying. But the clashing series has a “dressed up” side too. The funky hats, the wigs, the urban settings, the street language, it all lacks authenticity.

We have reached the third chapterAnna and ArnaudOut of eight in total, I feel like I already know everything about this series that repeats itself week after week.

By programming regular and highly regular series, channels ensure to satisfy their most loyal audience, diehards who consume large amounts of television, season after season.

With more risky series, networks are trying to woo a fickle and selective clientele. We’re targeting couch potatoes at people who draw from the Crave or Disney+ catalogs and are less direct followers of their series.

pet Di Nuovo, one of my fall favorites, has its place on platforms like Netflix or Apple TV+. It’s great and confronting. The construction of Wednesday’s episode was very efficient. In the first seconds, an incarcerated Chanelle Chouinard (Evelyne Brochu) is shown to remind us of the illicit nature of the student-teacher relationship at the center of the intrigue.

We also see Chanel’s daughter (Agathe Ledoux) swear she wasn’t the one who alerted the police. Seconds earlier, this same kid burst into the bathroom where Chanelle and her 17-year-old boyfriend, Sandric (Levi Torre), were making out.

We must (again) underline the precision of the play of the two leaders, Evelyn Brochu and Levi Torre. pet. Their roles, gray in color, are not easy to defend. Why, sweet Jesus, would a teacher risk her career and family for a relationship with a teenager?

As the series progresses, screenwriter Simon Bowleris offers possible answers, along with necessary precautions. The author is walking on very thin ice that does not break.

It is one thing to hold lightly petIt’s the role of the mother of a single-parent family (Sophie Cadieux), who is more folkloric than others, so to speak.

I want to come back too Before the accident One of my favorite after-school series, from Radio-Canada. The realization is wonderful and the texts, contemporary and sharp. I love the character of partner Dominique (Marie-France Margot), the women’s wrong partner in this carnivorous world. It revolves around the antihero Marc-Andre (Eric Bruno) who ends badly.

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

We sense that Evelyn (Karine Vanasse) is hitting a wall. His desire for control and efficiency, even in the bedroom, surely hides a dark trick. In return, his wife Françoise (Emile Proulx-Cloutier) softens.

Of course, nothing is going to go well for these power and influence addicts. Florence (Ireland Cote), the smartest person on the show, at age 13, understands what the adults around her still don’t. Fame, success, friendship, everything is paid for, everything changes, everything is exchanged. And everyone loses.