As an artist in the performing arts field, I’ve come to realize that this career path can sometimes feel isolating due to its intense competition. To thrive and stand out from the crowd, I invest considerable personal time into refining my physical skills and artistic craft. In many instances, I also take on additional jobs to bolster my income and expand my professional influence.
In the administrative side of this industry, I find myself dedicating extra hours to foster meaningful connections that could potentially benefit my organization. This may involve networking with potential donors to secure financial support or participating in community events to strengthen our presence within the local arts scene.
In this setting, many individuals at Étoile find themselves isolated due to their deep passion for the performing arts, making it challenging for them to form genuine connections with others. Jack’s dedication to his work has left him with little more than professional acquaintances, as he struggles to foster friendships. Cheyenne holds her art in high regard and tends to dismiss those who don’t meet her lofty standards. Mishi, who has devoted her youth to dance, has missed out on crucial social interactions with peers. Tobias’s fixation on his choreography often pushes people away, leaving him alienated; only those who can help him realize his vision in precisely the way he envisions it hold any significance in his life. These episodes delve into the loneliness that pervades these characters and its impact on their few meaningful relationships.
The play titled “The Rat” initiates the Nutcracker season at MBT, a period marked by Jack’s 45th birthday, an age that has claimed lives in his family except for Uncle John who miraculously survived a boogie-board accident at the same age but was clinically dead for two minutes. The episode maintains the series’ emphasis on promoting a larger ballet. It initiates with Jack and Geneviève presenting a Film Forum double feature of Frederick Wiseman’s Ballet and La Danse, two documentaries that provide a comprehensive look into the inner workings of American Ballet Theatre and Paris Opera Ballet. These documentaries are must-watch for ballet enthusiasts, providing an unprecedented glimpse into these prestigious companies to demonstrate the intricate mechanisms at play behind the beautiful performances on stage.
As they watch the movies together, Jack and Geneviève find themselves motivated and reminded of the purpose behind all their efforts. However, they become so immersed in the on-screen scenarios that they begin to view the movie theater as a sort of extension of their workplaces. This leads them to have hushed disagreements about Tobias’ unexpected appearance in New York City instead of Paris. This argument serves as a prelude to their relationship, with Geneviève offering Jack a ride home, which he perceives as an invitation for intimacy. Although this sudden leap in their relationship seems abrupt, it is understandable given the depth of their shared experiences related to Shamblee.
As a fan, I find it captivating how Jack bares his emotional vulnerability and even exposes his bare bottom when he’s with Geneviève. Meanwhile, Charlotte Gainsbourg’s character opens up about her growing worry over job security. The chemistry between Luke Kirby and Charlotte in their bedroom scene is incredibly intimate, and it’s evident that they share a long-standing bond. A simple act like applying face cream together while watching “Below Deck” feels comfortably familiar. This moment serves as a soothing respite amidst an otherwise tense episode for Jack, where the constant drama of his work life clashes with the unique apprehension that comes with turning 45.
A deep sorrow pervades Kirby’s portrayal of Jack, as he grapples with the possibility of his own demise while acknowledging his lingering solitude in life. The heaviest dose of despair hits when Jack’s teenage sons send him a cheerful birthday greeting lacking empathy. Despite his best efforts to maintain a positive demeanor for the audience, you can sense his essence diminishing and his heart shattering. Each blow adds to his pain as his mother justifies her absence during his upbringing. The final straw comes when Geneviève rejects Jack’s advances towards deeper commitment: They reside too far apart, meet infrequently, and are typically involved with other partners.
Jack’s strongest bonds are formed with the colleagues he works alongside, which is why he’s hesitant to part ways with MBT’s artistic director, Nicholas Leutwylek (David Haig), who wishes to retire. Over the course of this season, Nicholas has mostly provided comic relief, sharing stories about the past workplace antics involving sex and drugs while his health deteriorates. However, in “The Disaster,” Haig infuses the character with a sense of melancholy as he grapples with mortality and yearns for the energy of his youth. It’s becoming increasingly clear that Nicholas’s tenure at MBT is coming to an end, and no matter how much admiration Jack expresses, it won’t change the inevitable. The episode concludes with Nicholas collapsing near Lincoln Center, possibly on the brink of death, just a few steps away from where he constructed his legacy.
Cheyenne’s passion for ballet will continue through her dancing, taking the lead role in “The Nutcracker.” Despite seeming displeased with the performance, she is genuinely captivated by it. When other dancers grumble about the music and choreography, Cheyenne sees them as unappreciative towards the dance’s aesthetic value and legacy. She views this as a cause worth fighting for, and if the other dancers refuse to perform Sugar Plum Fairy, Cheyenne is ready to take on the role for all 57 performances. Everyone finds her determination strange, particularly Gael, who is expected to dance alongside her for all of those shows. The idea is daunting for him that he seeks Jack’s help in finding a way out, but his request is denied as retaliation for their past intimate encounter involving the couch.
SuSu observes Cheyenne and is inspired by her dedication to perfection. When Cheyenne narrates an incident where she requested a second chance to perform a dance piece because it didn’t meet her own standards, SuSu requests a re-audition for the role of Clara in ‘The Nutcracker’. Although she gets the opportunity for a second attempt, Nicholas warns her that this company emphasizes teamwork and it’s not appropriate to intrude upon another dancer’s audition. Cheyenne’s methods might seem unusual, but they prove effective, as seen when she steps in to teach SuSu’s entire class in “The Disaster”, pushing the former teacher to resign by labeling her skills as insufficient.
In these episodes, Lou De Laâge’s portrayal of Cheyenne seems less driven by anger and more playful, which is quite refreshing. For instance, her amusing dolphin impression when Jack asked her to attend his birthday party and mingle with the prominent guests is a standout moment. This shows that she’s adjusting to New York City and enjoying herself, but there’s a risk in experiencing joy – you might lose it.
In these two episodes, Crispin isn’t seen often, but when he does appear, Simon Callow skillfully portrays various aspects of the character. He unexpectedly shows up at Jack’s birthday party in a state of disarray, having just managed to flee from being “captured.” Since kidnappings are a common occurrence for Crispin, handled by his ransom insurance company (often referred to as “the real criminals”), Callow’s lighthearted demeanor effectively brings humor to this absurd situation. However, the joviality fades in “The Disaster,” replaced by embarrassment when Cheyenne expels him from her class and resentment when he seeks revenge for her curtain speech.
In a disturbing turn of events, Crispin resorts to threatening Cheyenne by exposing her past intimate relations if she doesn’t show him due respect. It’s revealed that Jack and Cheyenne were involved five years prior, which makes Cheyenne particularly uneasy. Crispin subtly suggests Gael’s questionable past, causing Cheyenne to grapple with the dynamics of their relationship throughout the episode. When she witnesses Gael flirting with another dancer, her insecurities escalate. Crispin gives her a warning about keeping things professional at work, and it proves to be sound advice given her reaction. However, Cheyenne makes matters worse when she confides in Jack, who angrily confronts Gael, threatening him, “If you mess this up, I swear I’ll kill you.
I really enjoy the dynamic between Mishi and Bruna on TV – it’s one of my favorites lately. They are an unusual pair of flatmates who unexpectedly fulfill each other’s deep-seated needs. Mishi values her independence, while Bruna is seeking something to repair or improve, finding people more rewarding than appliances like toasters. Living with Bruna is definitely more comfortable than on a floor mattress, and Mishi manages to make it work – when she can gain access to the apartment. Bruna keeps Mishi from having her own key because there’s one hidden in the plant, and if that key goes missing, it means Bruna has a date and Mishi must sleep in the hallway. Bruna dismisses Mishi’s annoyances by taking care of her needs like feeding her, making coffee, and not giving away her dog, but when Mishi expresses her desire to connect with the person she lives with, Bruna makes an effort to accommodate her.
On this particular day, they traversed Bruna’s daily routine, a delightful journey through the enchanting streets of Paris. Bruna offered Mishi a fresh perspective of the city, presenting her with a procession of strangers accompanied by the recurring phrase “this is the girl.” Their stops included a café, gas station, and butcher, culminating at the river where Bruna fished while Mishi found a charming young admirer labeled as “this is the boy.” Given that she had grown up in the city, it wasn’t unexpected that Mishi didn’t delve deeply into exploring New York City. Upon meeting the fisherboy and his companions, Mishi recognized how dance dominated her experience of NYC culture. Living with Bruna presents an opportunity for Mishi to broaden her horizons, and while she refers to herself as a “dull old woman” in a negative light, adopting Bruna’s suggestions infuses a novel kind of excitement into Mishi’s life. She eventually receives a key, symbolizing the strengthening of their friendship.
In a surprising turn, the blossoming relationship between Tobias and Gabin veers towards an unpopular segment of affection, as these two individuals, each with a strong self-focus, clash dramatically. Upon resuming work post his suspension, Gabin remains as sullen as ever in practice sessions, failing to express gratitude for still having a job. Meanwhile, Tobias appears disconnected from reality itself, seemingly unaware that he’s engaged in a Zoom call with David Byrne without realizing who the person is. For Tobias, his fondness for Gabin stems purely from practical aspects – he appreciates Gabin when he excels at choreography or effectively deals with the rat in his apartment.
While Gabin harbors feelings for Tobias, the poor reception of Tobias’s initial work at LBN leaves both men in an awkward situation. When Tobias’s piece is met with disapproval by audiences and critics alike, Gabin perceives this as a direct attack on their budding relationship. His reaction – considering throwing a stone through a critic’s window – reveals his immaturity as an artist and lack of understanding in his role as a partner. Tobias is deeply affected by the criticism but finds no solace or support from Gabin’s outburst.
Geneviève is the one who comes over to Tobias’s place, offering him words of encouragement that highlight the significance of flexibility and perseverance. The world of professional dance is a business, and at times you may be asked to do things you dislike. It’s just part of the job, and frequently, making these compromises helps establish trust with your audience and direct them as intended. Geneviève believes Tobias’s work is exceptional, understanding that the audience needs to appreciate it; however, this can only happen if Tobias becomes more resilient and doesn’t let negative feedback hinder his creative process.
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2025-04-25 18:01