Étoile Recap: This Must Be the Place

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In the realm of the performing arts, one often treads a solitary professional journey. To thrive in a cut-throat environment filled with rivals, artists invest additional hours nurturing their physical skills and artistic talent, and frequently undertake additional jobs to boost their earnings and enhance their professional identity. To flourish in an industry that’s on the edge, administrators of performing arts dedicate extra personal time to fostering connections that could prove advantageous for their organizations. This may involve networking with potential donors to secure funds or actively participating in community events to raise their profile.

In a nutshell, the setting of Étoile is filled with individuals who are deeply engrossed in their performing arts careers, making it challenging for them to build genuine connections with others. For instance, Jack is so consumed by his work that he scarcely has friendships beyond those who require professional assistance from him. Cheyenne holds her art form in such high regard that she dismisses anyone who doesn’t meet her exceptionally high standards. Mishi, on the other hand, has been nurtured to concentrate solely on dance throughout her youth, missing out on crucial social interactions with peers her age. Tobias’s fixation on his choreography pushes people away, and those unable to assist him in realizing his vision as he desires are deemed irrelevant to him. These two episodes delve into the loneliness that characterizes these individuals and how it impacts the few significant relationships they maintain.

The play “The Rat” initiates the Nutcracker season at MBT, a period that becomes particularly chaotic due to Jack’s 45th birthday, an age when men in his family typically pass away (with the exception of Uncle John, who survived a boogie-board accident at 45 but was unconscious for two minutes). The narrative unfolds with Jack and Geneviève presenting a Film Forum double feature of Frederick Wiseman’s “Ballet” and “La Danse”. These documentaries provide an invaluable insight into the American Ballet Theatre and Paris Opera Ballet, offering a behind-the-scenes look at these prestigious ballet companies to showcase the intricate mechanisms that collaborate to create breathtaking performances on stage. This is a must-watch for any ballet enthusiast.

As they watch the movies together, Jack and Geneviève find themselves inspired and reminded of the purpose behind their work. However, they become so engrossed in the storylines that they begin to view the movie theater as an extension of their workplaces, engaging in hushed discussions about Tobias’ unexpected appearance in New York City instead of Paris. This leads to a heated argument, which Jack realizes is more than just a disagreement – it’s a prelude to something else. Geneviève then offers Jack a ride home, which he interprets as an invitation for more intimate moments. This sudden development in their relationship catches them both off guard, but considering their shared experiences with Shamblee, it seems fitting.

In my intimate moments with Geneviève, Jack reveals his vulnerabilities and bares all, while she shares her growing concerns about job security. Luke Kirby and Charlotte Gainsbourg share a comfortable chemistry in their bedroom scene, and the warmth of their long-term relationship is palpable as they apply face cream together, casually watching Below Deck. It’s a soothing start to an otherwise tense episode for Jack, where the constant stress of his work life intersects with the unique anxiety of turning 45.

A profound melancholy pervades Kirby’s portrayal of Jack, as he grapples with the prospect of his own demise while acknowledging the solitude that still lingers in his life. This desolation reaches its peak when Jack’s teenage sons send him a cheerful birthday message lacking empathy. Despite attempting to maintain a cheerful demeanor for the audience, Jack’s spirit seems to dwindle, and his heart appears to shatter. The pain continues to accumulate as his mother offers explanations for her absence during his upbringing. When he endeavors to deepen his relationship with Geneviève, she politely refuses, citing legitimate reasons: They reside too far apart, seldom see each other, and are often involved with others.

Jack’s strongest bonds are the colleagues he works alongside, making it difficult for him to accept the retirement of Nicholas Leutwylek (David Haig), who serves as MBT’s artistic director and has been providing comic relief throughout most of this season. As the story progresses, Nicholas assumes a more substantial role in “The Disaster,” and Haig infuses his character with a sense of melancholy as he grapples with his mortality and yearns for the energy of his youth. The impending conclusion is clear that Nicholas’s tenure at MBT will soon be coming to an end, regardless of Jack’s repeated accolades. The episode concludes with Nicholas collapsing outside Lincoln Center, a possible prelude to his demise just steps away from where he created his legacy.

1) Cheyenne’s passion for ballet will carry on through her dancing, taking the lead role in “The Nutcracker.” Although she may seem apprehensive about it, she actually adores the ballet deeply. When other dancers grumble about the music and choreography, Cheyenne sees them as disloyal to the art’s charm and heritage. She considers this an important cause, vowing to perform Sugar Plum Fairy for all 57 shows if others refuse. Everyone finds her determination somewhat extreme, particularly Gael, who faces the daunting task of performing alongside her for every show. The thought of it is so unappealing to him that he seeks Jack’s help in escaping this commitment, but his request is denied as a form of retaliation for the couch incident.

SuSu observes Cheyenne’s dedication to superior performance, particularly when Cheyenne requests a second chance to perform a piece because it didn’t meet her own standards. Inspired, SuSu also asks for a second audition for the role of Clara in “The Nutcracker,” even if she isn’t satisfied with her initial attempt. She gets her redo but Nicholas warns her about disrupting another dancer’s tryout. Although Cheyenne’s methods might seem unusual, they produce results. In “The Disaster,” Cheyenne ends up teaching SuSu’s entire class, pushing the previous instructor to resign by criticizing her as ineffective.

In these episodes, Lou De Laâge’s portrayal of Cheyenne seems less driven by anger and more playful, which is a nice change. Particularly amusing is her dolphin impression when Jack invites her to his birthday party among the VIPs, mimicking the sound with her tongue clicking while her hands form a fin-like gesture above her head. Cheyenne appears to be enjoying New York City and letting loose, but there’s a risk that enjoying oneself could lead to losing it all.

In these two episodes, Crispin isn’t seen often, but when he does appear, Simon Callow skillfully portrays various aspects of the character. He makes an unexpected entrance at Jack’s birthday party, disheveled and in a state because he had just managed to escape from being “captured.” Kidnappings are frequent occurrences that are usually handled by Crispin’s ransom insurance company, which Callow plays with a casual air, adding humor to the absurd situation. However, the joviality vanishes in “The Disaster,” replaced by embarrassment when Cheyenne expels him from her dance class, and resentment as he seeks revenge for her curtain speech.

In a disturbing turn of events, Crispin resorts to threatening Cheyenne with the exposure of her past sexual encounters as a means to gain her respect. It’s revealed that Jack and Cheyenne had a romantic history five years ago, which seems to be a sensitive topic for her. Crispin subtly implies Gael’s questionable past, causing Cheyenne to grapple with the state of their relationship throughout the episode. The situation escalates when she confides in Jack, who angrily warns Gael, “If you mess this up, I swear I’ll end you.” Crispin’s advice about not causing trouble at one’s workplace seems particularly wise given Cheyenne’s reactions to even the hint of impropriety.

Among the many compelling relationships portrayed in contemporary television, I particularly admire the dynamic between Mishi and Bruna. They are an unlikely pair of flatmates who surprisingly manage to cater to each other’s deep-seated needs. Mishi craves autonomy, while Bruna yearns for something to mend or improve, finding people more rewarding than appliances like a toaster. Living on the floor at Bruna’s place is undeniably an upgrade, and when Mishi can actually get inside the apartment, she enjoys a comfortable life. However, obtaining entry isn’t always straightforward, as Bruna denies Mishi her own key. This key is hidden in a plant, and if it goes missing, that signifies Bruna has a male guest, forcing Mishi to sleep in the hallway. Despite Mishi’s growing annoyances, Bruna remains indifferent due to providing essentials like food and coffee, and not selling her dog. However, when Mishi expresses her desire for a more meaningful connection with her housemate, Bruna swiftly offers an opportunity.

Spending the day following Bruna’s daily routine offers Mishi an enchanting tour of Paris streets she hadn’t seen before. Bruna introduces Mishi to various strangers with “this is the girl,” and they visit places like cafes, gas stations, butcher shops, and end up by the river where Bruna fishes while Mishi finds herself drawn to a young man, whom she describes as “this is the boy.” As Mishi discovers more of her hometown that she hadn’t explored before, it’s no wonder she spent minimal time exploring New York City when she was there. Upon meeting up with the fisherboy and his friends, Mishi comes to understand how dance overshadowed her experience of NYC culture. Living with Bruna serves as an opportunity for Mishi to broaden her perspectives, and though she jokes about being a “boring old woman,” adopting Bruna’s suggestions brings a fresh excitement into Mishi’s life. Ultimately, Mishi receives a key, symbolizing the strengthening of their friendship.

The blossoming relationship between Tobias and Gabin finds itself on an unusual spectrum, a clash of two individuals who can sometimes come across as excessively self-centered. Upon returning from his suspension, Gabin remains a dampener during rehearsals, wallowing in the shadows rather than expressing gratitude for still having a job. On the other hand, Tobias appears disconnected from the world at large, even engaging in a Zoom call with David Byrne without recognizing who he is. Tobias’s affection for Gabin is based on transactions; he appreciates Gabin when he performs choreography effectively or exterminates the rat in his apartment.

In the meantime, Gabin has strong feelings for Tobias. When Tobias’s initial work for LBN receives unfavorable feedback from both audiences and critics, Gabin perceives it as a malicious act that spoils their first significant joint endeavor as non-partners. His impulse to throw a stone at a critic’s window demonstrates his emotional immaturity as an artist and lack of understanding in his role as a partner. Tobias is crushed by the negative reaction, but Gabin’s aggression fails to provide any comfort or support.

Geneviève is the one who comes over to Tobias’s apartment and delivers a motivational speech, emphasizing the necessity of compromise and perseverance. The world of professional dance is a business, where you may be asked to do things that you dislike. It’s an inevitable part of the job, and often, making those compromises helps build trust with the audience and steer them towards your vision. Geneviève believes in Tobias’s work deeply, understanding that the audience needs to appreciate it. However, this can only happen if Tobias grows a thicker skin and doesn’t let criticism hinder his creative process.

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2025-04-26 00:57