Archives de catégorie : Video Marketing

Fraude à Laval: l’ex-maire Vaillancourt condamné à 6 ans de pénitencier

Gilles Vaillancourt «mérite amplement» les six ans de pénitencier qu’il a écopés jeudi. Mais il n’en passera qu’un seul derrière les barreaux.

Le juge James Brunton a déclaré que l’homme de 75 ans méritait cette sentence «juste» après avoir «abusé de sa position privilégiée comme maire de Laval durant 14 ans».

Le juge a entériné la peine suggérée par la Couronne et la défense quand l’ex-maire s’est reconnu coupable de fraude, d’abus de confiance et de complot, le 1er décembre. Ce dernier a déjà purgé 15 jours à la prison de Saint-Jérôme.

Il a admis avoir trempé dans un système de collusion et de corruption dans l’octroi des contrats publics à Laval, de 1996 à 2010, pour une fraude de plusieurs dizaines de millions de dollars.

Sorti dans un an

La Cour a tenu compte de ses excuses et de son remboursement aux contribuables, totalisant 8,6 millions $.

Menottes aux poignets, l’ex-maire est apparu souriant et serein dans le box des accusés. Il n’a pas dit un mot.

Vaillancourt pourra sortir du pénitencier dans un an. Il ira séjourner en maison de transition avant d’espérer rentrer chez lui, au tiers de sa peine.

«Dans son cas, la commission des libérations conditionnelles n’a pas le choix de lui accorder une semi-liberté au sixième de sa peine. C’est sa première condamnation, ce sont des crimes non violents et commis avant mars 2011», selon Renée Millette, avocate en droit carcéral.

En mars 2011, le gouvernement Harper avait modifié la loi après que Vincent Lacroix, condamné à 12 ans dans le scandale Norbourg, fut sorti de prison après deux ans. Le seuil de la peine à purger a été haussé au tiers.

En février 2016, la Cour d’appel a jugé que cette mesure ne peut s’imposer si les délits ont été commis avant que la loi ait été modifiée.

Mauvais temps : pluie verglaçante, pluie et neige ce week-end en Atlantique – ICI.Radio

Au Nouveau-Brunswick, explique Environnement Canada, le mauvais temps commencera dimanche matin. Il tombera d’abord de la neige, puis du grésil et enfin de la pluie. Le tout se déplacera du sud-ouest vers le nord jusqu’à la baie des Chaleurs durant l’après-midi.

Les routes, les trottoirs et les terrains de stationnement, entre autres, peuvent se couvrir de glace. Si c’est le cas, la conduite automobile risque d’être difficile. Il pourrait aussi se produire des pannes de services publics, ajoute Environnement Canada.

Seules les régions de Sussex, de Saint-Jean et du littoral du comté de Charlotte seraient épargnées, selon les prévisions publiées samedi matin.

Jusqu’à 20 mm de pluie en Nouvelle-Écosse

Environnement Canada prévoit de 15 à 20 mm de pluie sur une grande partie de la Nouvelle-Écosse, du comté de Shelburne à celui de Hants. Elle doit commencer à tomber samedi soir et se poursuivre dimanche.

La pluie risque de causer des inondations par endroits, estime Environnement Canada, compte tenu de la neige déjà présente au sol.

Neige et pluie à Terre-Neuve

Des bourrasques de neige réduisent la visibilité samedi par endroits dans le sud-ouest de l’île de Terre-Neuve. Environnement Canada prévient les automobilistes qu’ils peuvent passer d’un ciel dégagé à une telle bourrasque en quelques km seulement.

De la neige va tomber au cours de la nuit sur l’ensemble de l’île. Elle sera suivie de pluie dimanche. Il pourrait tomber de 10 à 20 mm par endroits, estime Environnement Canada.

Vine Is Dead. Which Mobile Media Channels Are Up Next on the Chopping Block?

When Twitter announced earlier this year that it was pulling the plug on video-looping platform Vine, devoted fans of the social network were shattered. Vine had built a small, but reliable base of active users who loved the platform for its ability to be both humorous and entertaining, along with being a niche video solution for posting and sharing highlights from televised sporting events.

Some marketers are also feeling the sting. Where influencer marketing campaigns were concerned, Vine had become a reliable outlet for driving sponsored content from users amassing millions of followers. In fact, those Vine stars drew most of their earnings from the platform by wielding their influence to dispense branded sponsored content. Vine, meanwhile, benefited from the presence of influential users who created content consistently and helped nurture engagement on the social network.

So what happened, exactly? In the end, it was a combination of factors that contributed to Vine’s downfall. To some degree, Vine’s demise was spurred on by parent company Twitter’s decision to trim the fat from its budget. As Mashable pointed out, Vine’s closure was announced shortly after the company laid off nine percent of its workforce, alongside other efforts to lower its operating costs. Twitter and Vine leadership, meanwhile, had reportedly clashed over the best business strategy for the company, and despite acquiring the platform, Twitter hadn’t done much to integrate Vine as a featured component of its larger social platform. Eventually, its content creators also turned against the platform: as Forbes reported, a meeting between Vine executives and 20 of its biggest stars featured a request for millions of dollars in monthly payments to those top influencers, compensation for the content they were currently providing for free. While the company did consider the deal, it ultimately declined the arrangement, and some Vine stars began to turn their interests elsewhere.

As Vine’s ability to mature its platform stalled, it faced another rising challenge: other social networks were refining their own video-based experiences, and even borrowing from the template designed by Vine. These forces didn’t crush Vine on its own, but it convinced Vine’s ownership that the platform’s potential value no longer justified its cost. Vine’s rise and fall should serve as a cautionary tale for other social media and mobile platforms, reminding even well-known brands that the future isn’t guaranteed. In fact, there are some such platforms already working in the shadow of Vine’s demise.

influencer marketing

Instagram

There are a lot of reasons to be bullish on Instagram. For one, it’s backed by Facebook. For another, it does well with younger users and maintains a massive, and growing, active user base. And it’s proven capable of innovating its experience: just two months after launching Instagram Stories, a time-limited image-sharing experience designed to rival Snapchat’s user experience, Instagram has seen incredibly rapid adoption. One hundred million active users engage with Stories every month, in addition to the 500 million total daily Instagram users.

By those measures alone, Instagram is nowhere near the edge of the cliff. But there are variables and influences that, should they turn in the wrong direction, put Instagram on very shaky ground. As a Facebook-owned property, Instagram and Vine have one thing in common: they aren’t completely in charge of their own destinies. That’s not the case for Instagram rival Snapchat, which has turned down numerous offers to sell to larger companies, including Facebook.

Instagram just can’t be successful in its own right. It needs to be able to support the mission of Facebook, which complicates its outlook. The growth of Facebook live video, for example, creates a media-rich experience that inches Instagram closer to obsolescence, since the experience Facebook offers bears similarity to Instagram’s platform. Meanwhile, the power struggle that helped sink Vine—a request from its top content creators to be compensated by the company itself—could ultimately reach Instagram at some point. As soon as a more lucrative platform for creating and distributing content emerges, creators are likely to push back and ask for more financial support.

Instagram may be more profitable than Vine, but having to pay for once-free content could press its ownership to decide whether they’re better off funneling that activity into a different channel—encouraging Instagram stars to migrate to Facebook Live, for example, where the company can still generate strong profits while offering a more lucrative platform for those individual brands.

And if Facebook can’t successfully turn Instagram into Snapchat, the value of that platform immediately goes down. But think of an alternative scenario where Facebook finally succeeds in acquiring Snapchat. Where does Instagram fit in to that future? It’s not hard to envision Instagram losing a game of musical chairs and having its assets absorbed into either Facebook or Snapchat.

Tidal

When Tidal was first released to the public, it made big promises of being an artist-friendly platform that was owned and operated by musicians, most notably Jay-Z. Nearly two years later, there are clear problems, and the brand’s future is unquestionably at risk. First and foremost is a practical consideration: the company isn’t generating revenue. As an artist-friendly platform, it funnels the vast majority of its earnings back to musicians—roughly five times what platforms like Apple Music and Spotify offer.

Tidal

That may be great for musicians, but it isn’t necessarily a winning business strategy. Tidal needs to build a massive subscriber base to stay afloat, and it hasn’t managed to do that. And, as Digital Trends pointed out, the company is woefully lacking with its own in-platform user experiences: Tidal has suffered more tech glitches than its competitors, and the exclusive content releases it promotes have been plagued with miscues and other mistakes that frustrate its consumer base and kill the buzz of these highly anticipated releases.

Meanwhile, the company has gone through a steady rotation of executives that have been hired only to leave the company shortly thereafter. Investors have begun attempting to pull out their funds. On top of it all, the company still doesn’t offer a music library as extensive as its main rivals. There’s little momentum for this company going forward, and its ability to sell consumers on its experience makes it a prime candidate for getting its plug pulled.

Why Mobile Platforms Flourish and Die

A look at Vine and other at-risk mobile platforms reveal some obvious, important trends. First and foremost is the need for continued growth: Vine’s upward momentum stalled, just as parent company Twitter had before it. Instagram’s self-preservation has come through its ability to continue growing, but there are still challenges to overcome. Tidal, meanwhile, made a great first splash that quickly yielded to consumer disappointment and flagging fan interest. The economic landscape of mobile platforms today values growth over revenue: investors don’t need to turn a profit right away, and they’re likely to prefer reinvesting earnings to continue to build growth. Once you stop growing, your earnings potential flatlines.

That’s why platforms are constantly evolving. As Facebook’s active user base growth has slowed down—due to its high penetration among global internet users—the company is building experience-based features that increase engagement and time spent on the platform. Facebook and Snapchat each have the strongest upward momentum of any social media platform right now thanks to their continued innovation, even as Vine is sent to the scrap heap while other social platforms do some soul searching to find the right path forward.

And as big and well-established as these platforms are, they can’t overlook the oncoming threat of the next big thing. Remember that leading creators’ meeting with Vine executives? Their demand for money wasn’t an anomaly. The growth of content platforms gives creators more options to choose from, and they can seek more demands in exchange for publishing their content through any one platform. Influencer marketing isn’t at risk of dying off, but the destinations for this marketing campaign may be determined by the preferences and business decisions of leading influencers. In hindsight, the meeting with content creators asking for compensation became a clear sign that Vine was headed down: its most valued users were preparing to jump ship, creating a content vacuum that damaged the user experience and killed the company’s upward momentum.

Vine relied more heavily than most platforms on influencers to keep its engine running. Other platforms may seem well-positioned to survive such a revolt, but once the upward trajectory of your brand is called into question, nothing can be taken for granted.

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Florida’s tourism chief ousted over Pitbull video controversy

The state has seen its tourism numbers grow from 87.3 million in 2011, when Visit Florida received $35 million from the state, to 106 million last year, when lawmakers allocated $78 million for the agency.

TALLAHASSEE — Gov. Rick Scott on Friday requested the resignation of the state’s tourism-marketing leader amid a controversy over an expired $1 million contract with a Miami hip-hop artist whom the governor praised for his « devotion to our great state. »

Visit Florida President and CEO Will Seccombe agreed to resign from the $120,000-a-year position he’s held since November 2012.

In a letter to Visit Florida Chairman William Talbert, Scott backed the need for the tourism-marketing agency while outlining reforms he’d like to see. Visit Florida has come under intense scrutiny over its contract with hip-hop artist Armando Christian Perez, better known as Pitbull, and ongoing sponsorship deals with the London-based Fulham Football Club and an IMSA racing team.

The letter also included the call for Seccombe’s departure.

« I believe it would be best for the future efforts of Visit Florida for Will to step down and allow new leadership to come in at this critical time, » Scott wrote.

The request came after the positions of two agency officials, Chief Financial and Operating Officer Vangie McCorvey and Chief Marketing Officer Paul Phipps, were eliminated without any public explanation earlier in the day. Phipps was involved in the $1.25 million Fulham contract.

A spokesman for Visit Florida said Seccombe agrees with the leadership changes outlined by Scott.

« In the coming weeks, he will be working with the Visit Florida Board of Directors on (the) next steps, » Visit Florida spokesman Tim DeClaire said of Seccombe.

Before taking the helm of Visit Florida, Seccombe spent nearly five years as the chief marketing officer for the agency.

Scott advised Talbert to consider several changes during a Jan.9 Visit Florida meeting at Disney’s Contemporary Resort, including publishing online details about agency spending, employee salaries and vendor contracts.

However, Scott also maintained in the letter his support for the agency, as Florida continues to set record tourism numbers.

« Visit Florida and its work to advertise our state supports our tourism industry, which is made up of hundreds of thousands of direct and indirect jobs all across our state, » Scott wrote. « Anyone who disputes that fact or argues for no longer using Visit Florida’s advertising to promote tourism here simply does not understand the business world or the nature of our economy. »

Scott’s action came as House leaders have aggressively questioned a proposal to earmark $76 million next fiscal year for the agency’s marketing efforts.

« Our job is to decide if Visit Florida should exist and if so how much should it be funded, » House Speaker Richard Corcoran, R-Land O’ Lakes, tweeted on Friday. « We’re not engaged in their hiring and firing decisions. »

The controversy about the Pitbull contract drew widespread attention Tuesday when Corcoran had House attorneys file a lawsuit in Leon County circuit court seeking a ruling on a claim by PDR Production that the contract from the 2015-2016 fiscal year included trade secrets that kept terms of the deal out of the public. PDR is the artist’s production company.

Perez on Thursday released the contract, which outlined his payment and what the state expected in return.

Part of the deal was a video for his song « Sexy Beaches, » which has drawn questions related to « Florida values » from some state lawmakers.

Seccombe repeated this week that the agency no longer enters agreements that can’t be made fully public. He also contended Visit Florida has received $8.50 in media attention for every $1 invested in the Pitbull program.

Even as he requested changes at Visit Florida on Friday, Scott praised the hip-hop artist.

« Lastly, I appreciate Pitbull and his devotion to our great state, » Scott wrote in the letter to Talbert. « His willingness to help promote tourism in Florida is a great example for other entertainers to follow. »

On Thursday, Senate Appropriations Committee Chairman Jack Latvala, R-Clearwater, called the contract a « mistake » that shouldn’t be held against the accomplishments of the agency. Latvala pointed to the state’s increased tourism numbers as Visit Florida has broadened its marketing reach and the fact that people in the tourism industry praise the agency’s work.

« I have traveled the state, I’ve had tourism forums in Fort Walton Beach, in West Palm Beach, in Key West, and in my community in Clearwater, and one thing rings true from the people who are in the accommodation business …; their very high regard for Visit Florida, » Latvala said.

The state has seen its tourism numbers grow from 87.3 million in 2011, when Visit Florida received $35 million from the state, to 106 million last year, when lawmakers allocated $78 million for the agency.

Digiday Video Awards Europe

The Digiday Video Awards Europe recognize the most outstanding and inspired work in branded digital video, video marketing and video advertising.

Have what it takes this year? Don’t miss the following deadlines to submit your work.

Early deadline: 27 January, 2017 – $295 per entry
Regular deadline: 17 February, 2017 – $395 per entry
Last chance deadline: 24 February, 2017 – $495 per entry

Teads Inks Exclusive Multi-Year Partnership to Provide Outstream Video Advertising to Business Insider

NEW YORK, Dec. 15, 2016 /PRNewswire/ — Teads, the inventor of outstream video advertising and the number one video advertising marketplace in the world, today announced it has signed an exclusive multi-year contract with Business Insider to help the company grow its video advertising revenue. The multi-market partnership will help Business Insider inject outstream video advertising across platforms on desktop, mobile web and in-app.

Through the partnership with Teads, Business Insider will gain access to premium and viewable outstream video that offers a superior user experience to its over 110 million readers. Teads will also support Business Insider’s direct sales efforts and enable programmatic monetization of its outstream video inventory.

« We look forward to working with Teads to grow our digital video revenue while maintaining a non-intrusive advertising experience on our site, » said Julie Hansen, President and COO, Business Insider. « Our clients are eager for highly visible formats that are engaging and user-friendly, and Teads’ outstream formats meets that need. »

Teads guarantees high viewability rates and gives the power of choice to the user with its flagship format, inRead. Teads’ inRead format places video ads within editorial content and plays only when viewable, allowing users to skip the video if they do not want to watch it. Teads empowers it customers to buy outstream video how they want, either through private marketplace deals or the company’s open exchange.

Bertrand Quesada, Teads’ CEO, said, « We look forward to working closely with Business Insider to help them monetize their editorial content across desktops and mobile. As the fastest growing business site for tech, finance and media news, Business Insider is a perfect addition to our ever-growing marketplace of prestigious global media companies. »

In addition to Business Insider, Teads’ global premium marketplace includes publishers such as The Washington Post, Time Inc., The Atlantic, Forbes, Bonnier, Mashable, Slate, Newsweek, The Telegraph, Le Monde, Corriere della Sera, El Pais, El Universal, and Nikkei, amongst many others.

About Teads

Teads, founded in 2011, is the inventor of outstream video advertising and number 1 video advertising marketplace in the world. Publishers work with Teads to create brand new video inventory and manage their existing inventory, monetizing it through programmatic buying, their own sales force, or third parties.

Teads’ native video advertising solutions encompass a series of formats inserted deep into media content, like the inRead playing inside articles. It is changing the game within the video advertising market by creating unprecedented levels of premium inventory, which did not exist before.

Brands and agencies can access this top-tier, premium inventory, available on the web and on mobile, through programmatic or managed services. Through its managed services capabilities, the Teads team execute on their clients behalf using its platform.

Teads has a team of over 500 employees, 100 of which are in the innovation team, across 27 offices in 21 countries.

For More Information and Interviews Contact:
Nicole Matthews
Nicole.matthews@teads.tv
(408) 386-4244

 

To view the original version on PR Newswire, visit:http://www.prnewswire.com/news-releases/teads-inks-exclusive-multi-year-partnership-to-provide-outstream-video-advertising-to-business-insider-300379368.html

Online video – is pay TV at risk? Who is watching the most?

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Are we watching more online? What is it we are watching?

Millennials and males are spending most time watching online video, according to the fourth semi-annual “State of Online Video” research report released by digital content delivery tech supplier Limelight Networks.

Viewers prefer watching TV shows to other types of online content. Respondents ranked television shows as the top type of content they watch online, followed closely by original content/YouTube, and movies. Millennials prefer to watch TV shows and movies online, while people over 60 primarily watch original content/YouTube and news.
limelight-3While just over half of all consumers watched more than two hours of online video per week, 68 percent of Millennials do so. There is also a significant disparity by gender, with more than 58 percent of men watching more than 2 hours per week, compared to less than 45 percent of women.

From  a survey of consumers in the U.S. and U.K. more than three-quarters of us watch online video every week.

High prices continue to be the most important factor influencing whether consumers will cut the cord with cable or pay-TV providers, with 41 percent citing price increases as the primary reason they would abandon their subscription.

 

However, 24 percent of respondents said they would cut the cord when they could directly subscribe to the channels they want online. Access to sports and other live events is a significant concern for Millennial males, with 20 percent saying they would not cut the cord until more live content becomes available online, compared to just eight percent of the population as a whole.

“Consumers – in particular younger generations – are increasingly turning to online streaming to access video content,” said Michael Milligan, senior director at Limelight Networks. “As adoption continues on mobile devices, expectations are for high-quality video anywhere, any time, on any device.”

limelight-networksAdditional key findings from the research include:

  • Americans are far more likely to pay for online streaming than British viewers: More than 68 percent of U.S. respondents subscribe to a video on demand service, with 34 percent subscribing to more than one service. Less than half (48 percent) of U.K. respondents subscribe to an online video service, with only 16 percent subscribing to multiple services. In the U.S. people are far more likely to use a streaming device with 72 percent doing so compared to 65 percent of the respondents in the U.K.
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  • Smartphones Continue to Grow in Popularity for Online Viewing: Although a computer or laptop remains the most common device for online video viewing, their use has been shrinking while smartphone usage continues to grow. For Millennials, smartphones are already the primary device for watching online video.
  • Consumers expect a high-quality online video experience and are frustrated with buffering: More than half of consumers think buffering is the most frustrating aspect of watching online video. Nearly half of respondents (46 percent) will stop watching a video after the second time it buffers, and 78 percent will stop if it buffers three times.

 

The “December 2016 State of Online Video” report is based on a survey of 1,779 consumers ranging in age, gender, and education, located in the United States and the United Kingdom. Click here to view the complete report.

Branded Content & Online Video: Top Takeaways from Three Industry Leaders

Branded content has been a hot topic in 2016 and it’s not slowing down. The space is growing, creating infinite viewing options across all major platforms. Tubular Labs hosted a panel at the Twitch headquarters to learn from the perspectives of three industry leaders who have quickly become thought leaders in the topic of branded content in online video.

Erin Wayne from the popular YouTube gaming channel, Aureylian, Andy Lunique, Influencer Strategist at Microsoft and John Newlin, Solution Director at Twitch, gave their take on what to look out for when integrating branded content into your online video strategy. We’ll explore some of the key takeaways from the panel, who offered a 360º view of online video from the creator, brand and platform perspective.

Watch the highlights from this discussion on opportunities and challenges around online video and how brands can successfully monetize and thrive in this rapidly changing world.

Why is Branded Content the Future of Video?

Technology has allowed for people all over the world to be very selective in which content they choose to spend time enjoying. Viewers can customize and prioritize their viewing experience and John says that “time is now the currency online.” As a brand, if you can create relevant, sincere content, “which by its nature branded content does,” it allows for a genuine connection with the right audience. “From a brand perspective, it’s a huge win!”

Why is Branded Content Effective?

The ability to connect with and serve your audience today is unlike anything we’ve seen before. Erin Wayne compares the difference between being a teenage fan 15 years ago with the fan experience in today’s world. It was once common for fans to join fan clubs and send hand-written letters to traditional celebrities in hopes that they might receive a reply weeks later, most likely auto generated. Today, celebrities are “everyday people” who are directly involved in their channels. Erin adds, “we want that instant connection. We want to feel like we’re connected to the people that we watch.” She explains that viewers are watching creators in a real setting, doing something they truly enjoy, and the viewer can relate to it. When Erin does a branded deal, her audience can trust that she genuinely likes the product because they feel like they know her.

The Importance of Branded Content

Andy Lunique is a huge proponent of branded content and makes a point to use branded content as an opportunity to learn from his audience. It’s important to keep in mind that branded deals are about relationships, which can be nurtured to whatever extent the brand chooses to take it. Brands should do their research before approaching a creator, using analytics like Tubular to get a solid understanding of that influencer’s audience, then approach the creator in a way that’s open-mind and collaborative. Andy says “co-creation is a beautiful thing and allows one to fully “grasp what that influencer [is] capable of doing.” Combine your data and your brand’s goals with the creative style of the influencer and the authenticity of their channel. Stay true to what attracts your audience in the first place. Andy makes an honest point saying “we only get through this with relationships [and it’s] important to keep that state of thinking.”

Emerging Content Creator vs. Established Creator

Who is more likely to have a greater influence on your target audience? According to our panelists, it depends. A known creator will likely have many brands interested in working with them, usually for good reason. On the other hand, when your audience is bombarded with ads, each ad becomes less effective. A mid-tier creator may have fewer brand deals and therefore John Newlin makes the point that they “can drive more purchases to products than the giant broadcasters who just block out the sun.” Erin Wayne adds that “the average YouTube channel, a very successful one, will get about 5% of their subscribers-to-view ratio.” Any higher is incredible and uncommon. It’s a good metric to look for because a seemingly smaller channel could be in the 5% or more category vs. a much larger channel that is actually dormant. Whether you choose to go after the elite influencers or those who are up-and-coming, Andy advises you view them as entrepreneurs and “treat them with [equal] consideration.”

What KPIs Should Brands Focus On?

When it comes to branded online video, you may want to step out of the box in how you think about KPIs. The typical KPIs we hear about are views, subscribers, minutes watched, etc. When compared against other metrics and factors, these can be very telling, but the practice of branded content in online video is still very new and there aren’t any solid benchmarks to go by. The future in analyzing success is to feel out the room. John Newlin says that Twitch is beginning to do “things around just sensing the mood of Twitch [and] taking the pulse” to see whether the audience seems to be enjoying an activation or not. Andy Lunique agrees saying, “we can get reach all day, but if people don’t think we’re relevant or cool, it didn’t matter.” It’s crucial to do your research using analytics tools, but to compare the numbers with audience sentiment.

Branded content in online video is something that’s definitely worth exploring. It provides an incredible opportunity to reach a very engaged audience when done correctly. Whether you are new to the idea or have begun dabbling with it, do extensive research before reaching out to an influencer and when you do approach that creator, invite them to brainstorm ideas that mesh your goals with their passion, for a fantastic collaboration!

Bébé intoxiqué par le lait maternel: les parents envoyés en centre de désintoxication

Les parents accusés de négligence parce que la mère droguée aurait tué son bébé de 52 jours en l’allaitant ont été envoyés en centre de désintoxication dans l’attente de leur procès.

Sandra Laverdure et Mathieu-Charles Mongrain n’ont pas le droit d’entrer en contact d’ici la fin de leurs procédures judiciaires. La femme de 30 ans est accusée d’homicide involontaire et de négligence criminelle causant la mort. Elle est d’ailleurs enceinte, et en serait à son sixième mois, a-t-on appris.

Le 18 mai dernier, le poupon a été retrouvé sans vie dans le lit de ses parents. L’enquête a rapidement été transférée à l’Unité des crimes majeurs de la Sûreté du Québec. Des examens poussés ont récemment permis de déceler dans le sang de la petite la présence de méthamphétamine, une drogue de synthèse puissante que les parents consommeraient régulièrement.

L’enquête démontrerait que la mère n’aurait pas cessé de s’adonner à cette pratique, alors qu’elle allaitait son bébé depuis sa naissance. Elle aurait aussi consommé lors de sa grossesse.

Sandra Laverdure est également accusée d’avoir mis en péril la vie de son bébé et de s’être livrée à des gestes rendant les lieux impropres à la présence de l’enfant. Son conjoint fait face à ces deux dernières accusations.

Plus de détails à venir…