Here are our impressions of Vero’s new show, Zénith

Just this Thursday evening Véronique Cloutier’s new show aired, Zenith.

We imagine there were live ratings as there was no opportunity to watch the show again on another site or in a replay.

First, let’s say that we always appreciate seeing an original concept appear on our screens, especially in the genre. Obviously, when we say music competition animated by Véronique Cloutier, it’s hard not to think of it. anger. But, Zenith comes close to a Dancing Gods Where Star game than the success of Véro in the early 2000s.

The concept of community, team, complicity is less present than it is here anger This is perhaps the most disappointing aspect: we didn’t feel invested Zenith. We vote for the best performer every week, so for different people. Perhaps, in the later stages of the competition, we will be more involved in the process, but for now we are very far away.

Additionally, the terms are more complex (Check them out here) has certainly inspired more than one. There are many nuances and it is difficult to understand everything at first glance. On the other hand, thankfully, you don’t need to understand everything to appreciate the shows. From the very first episode, we sense that there is a major problem with the score. Each number should be evaluated by representatives of generations in 25 points. The obvious problem is that the public does not dare to go below 20 points. So artists always get 21 or 22. So there aren’t many surprises in the revealing and very similar ratings. Public opinion evens things out a bit at the end of the course, but there are no significant differences between competitors. Relationships are likely to be normal Zenith.

The numbers provided by the artists, on the other hand, are interesting. On this opening night, we were treated to a weightless Jean-François Breau, a Lunou in an incredible costume, an exceptional vocal performance by Johanne Blouin and a stunning choreography by Jason Roy Léveillée. In this sense, guests seem to have means to their ambitions. On the other hand, one wonders how far the originality of numbers can go? Will we quickly reach the limit of what we can achieve and wonder?

Zenit’s adornment, opulence, and prosperity are to be respected. In black, it exudes class and aristocracy. We also found it to be flexible, but we can’t wait to see how it can be adapted to the (hopefully, ever-higher) aspirations of guest artists. Véronique Cloutier is used to living, steering her boat with the unwavering confidence of a captain in the midst of a storm. Even if it was the big premiere this Thursday evening, the concept seemed familiar to everyone.

There are many little things wrong with the liner Zenith, but we are far from drowning. We hope the next few weeks will tell us the effectiveness of this original concept. It’s a soft start, but promising.

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