This Thursday evening, Véronique Cloutier’s new program, Zénith, was broadcast.
Since there was no way to watch the show again on another platform or in replay, we’re guessing the live ratings were there.
First of all, it has to be said that we always appreciate it when an original concept appears on our screens, especially when it comes to strains. Of course, when we talk about the music competition moderated by Véronique Cloutier, it’s hard not to think of La fureur. But Zénith is closer to a Les dieux de la danse or Le match des étoiles than to the success of Véro in the early 2000s.
The concept of community, of team, of complicity is less present here than in La fureur. That’s perhaps a disappointing aspect: we don’t feel invested in Zenith. We vote for the best performance from week to week, i.e. for different people. Perhaps we will become more involved in the process in the next stages of the competition, but for the moment we are more distant.
Also, the fact that the rules are so complicated (see here) certainly discouraged many. There are many subtleties and it is difficult to grasp everything at first glance. On the other hand, fortunately, it is not necessary to understand everything to appreciate the performances. From the first episode we realize that there is a big problem with the score. Each number must be evaluated by the representatives of the generations from 25 points. The obvious problem is that the public doesn’t dare go below the 20 point mark. So artists almost always get 21 or 22. So not a lot of surprises at the reveal and very similar ratings. Audience opinion evens things out a bit by the end of the course, but not enough to have any significant differences between participants. Ties should be common at Zenith.
On the other hand, the numbers presented by the artists 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 stunning choreography by Jason Roy Léveillée. In that sense, the guests seem to have the means of their ambitions. On the other hand, one wonders how far the originality of the numbers can go? Will we quickly reach the limits of what is feasible and surprising?
The lavish and opulent decor of Zénith deserves appreciation. All in black, it radiates class and noblesse. We also found it was malleable, but we can’t wait to see how it can be transformed to the (hopefully ever increasing) demands of guest artists. Véronique Cloutier is used to life, steering her boat with the unwavering confidence of a captain in the middle of a storm. Even if it was the big premiere on this Thursday evening, the concept seemed to be mastered well by everyone.
There are a few little things wrong with the Zenith liner, but we’re far from sunk. We are confident that the next few weeks will convince us of the effectiveness of this original concept. It’s a soft start, but promising.