The series “Children are kings” plunges into the hell of young influencers – rts.ch

Every day, subscribers to the Happy Récré web channel enjoy the videos published by Kimmy, 6 years old, who responds to the stupid challenges launched by Mélanie, her mother. Her capsules are watched by millions of addicted children who adore Kimmy. But contrary to what the name of the channel suggests, behind the scenes everything is not so happy than it seems.

What started as a harmless game between mother and daughter has become a thriving business with huge profits. Brands are scrambling to sponsor Kimmy and shower the parents, a couple who have thought of everything, including monetizing a plethora of derivative products bearing the image of their brand and their child. Hungry for notoriety, the mother is in heaven, no matter that she has thrown her offspring out to pasture on the internet, that she neglects her son, barely older than Kimmy, as well as her husband, director of the videos.

The excesses of digital notoriety

In this environment where competition is raging, Mélanie intends to maintain her leadership in this market and not cede anything to followers in ambush. To do this, she must publish tirelessly. Too bad if Kimmy reluctantly complies.

Suddenly, the business plan collapses as the little girl is kidnapped. A complex investigation begins for the policewoman Sara, an abandoned young woman who understands nothing about the networks, to find the missing woman as quickly as possible. Who kidnapped her without asking for ransom? A pedophile? A jealous competitor? His own mother to boost the audience? No avenue can be ruled out.

In “Children are kings”, the investigation becomes a pretext to better understand the flaws and excesses of digital notoriety at all costs. Happy Récré does not only have fans. Some pollute the mother with filthy libidinous comments or death threats. Despite herself, Kimmy has become a worker with little protection from the law and exploited by a toxic mother, blinded by her desire for fame and who deprives her daughter of her childhood. What should we also think of National Education, which turns a blind eye to the harassment suffered by the girl, a sunny and radiant being who is now withdrawn and silent?

A particularly addictive series

By moving away somewhat from the novel by Delphine de Vigan from which the series is based, the writers offer an appreciable complement to the original story. While relying on the codes of the thriller with its share of twists and turns, false leads and these floundering police officers, the series focuses mainly on the confrontation between Mélanie and Sara to unravel the psychology of this neurotic mother. The dynamic editing and the diversity of image formats which reinforce the realism depending on whether the action takes place in private, on the internet or on TV on real news channels, make the series particularly addictive.

The choice of Dora Tillier to play this mother with many secrets proves to be a masterstroke, as the actress used against the job is masterful. Géraldine Nakache, the policewoman battered by life, also excels in this dramatic register.

The rest of the cast is completed wonderfully by Oussama Kehddam, Chantal Lauby, Jacques Weber, India Hair, Panayotis Pascot and even Fribourgeois Cyril Metzger, fabulous in the dark role of a detestable guy a hundred leagues from the one he plays. in the series “Winter Palace” which will arrive in December.

Philippe Congiusti/ld

“Children are kings” with Géraldine Nakache and Doria Tillier. To be seen on Disney+ since October 23, 2024.