I Can’t Believe Étoile Got Away With This

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A viewer raised on “Gilmore Girls” and advocating for “Bunheads” is deeply acquainted with the characteristics of Amy Sherman-Palladino’s creative world: rapid dialogue, abundant pop culture allusions, and parental relationships that are as tight as a harpsichord string. There’s likely a good amount of coffee consumed, along with an affectionate appreciation for stage performances, particularly classic musicals and dance. “The Marvelous Mrs. Maisel,” which explores the journey of a comedian reminiscent of Joan Rivers in the 1960s, took this style to unprecedented heights – elaborate vintage sets, artfully crafted camera movements, even securing Barbra Streisand’s permission to use one of her songs. Now, Sherman-Palladino has persuaded Amazon to finance a project that is remarkably more in line with her style. It’s incredibly vibrant, so captivated by its specific interests that it’s hard not to be drawn in. If a check doesn’t get cashed on a transatlantic TV show about ballet, then what’s the point of checks?

Set partly in Paris and partly in New York, the premise of “Étoile’” explores the idea: “What if dancers from the New York City Ballet and the Paris Opera Ballet switched places?” This sets the stage for a broader question: “What if Amy Sherman-Palladino and her colleagues were able to spend time with a group of dancers in France?” While it’s important to acknowledge the effort put into the series, the show carries an exciting, almost disbelieving atmosphere as though the creators are savoring their unique opportunity.

The series presents its two main characters: Jack (Luke Kirby), a troubled head of New York ballet who’s also a blue blood, and Geneviève (Charlotte Gainsbourg, portraying a stylish yet chaotic Parisian woman). They cross paths in a nightclub while engaged in an argument about which composer – Aaron Copeland or Tchaikovsky – would prevail in a hypothetical fight. The following day, Geneviève discloses her true motive for traveling to America: With her company still recovering from COVID and attendance dwindling, she suggests a publicity stunt where she and Jack exchange their star performers. He responds by sending Tobias Bell (Gideon Glick, mirroring Justin Peck in character) while he returns his own French ingenue Mishi (Taïs Vinolo); Geneviève counters with her top dancer, Cheyenne Toussant (Lou de Laâge). Cheyenne is a perfect blend of the quintessential Amy Sherman-Palladino female character and a French lifestyle guide. She’s fiery, emotionally scarred, and domineering, yet tender-hearted towards children and deeply passionate about her art. Her introduction follows an imaginative dance sequence at sea, where she attempts to collide an eco-warrior boat with a fishing vessel.

Your level of acceptance might differ when it comes to that sort of endearing touch, and Étoile is filled with details that can seem overly cute to some. Cheyenne’s mother is an unusual inventor who seems to have a DIY streak. Gael (David Alvarez, whose charm was evident in West Side Story but not as pronounced here) comes out of retirement from a job at an upstate farm stand. Despite being set within the strict and precise world of dance, the show features numerous jokes about food and weight. However, what keeps the series engaging is how its unique traits remind you of the creator’s influence. Sherman-Palladino’s interests are recurrent in it, much like fractals, revisiting themes and character types from previous shows. Yanic Truesdale, once the sarcastic French concierge in Gilmore Girls, now plays a sarcastic French ballet administrator. Gainsbourg, known for extreme emotionality outside the U.S., portrays a character more like Lorelai Gilmore, driven yet scattered, often blurting out at inopportune moments to her superiors. There’s a contrast, as Gainsbourg has never been anything other than stylishly chic, but this tension is intriguing. You gradually grow fond of Geneviève, particularly as the show delves into her connection with Kirby, who conveys smoldering angst that will likely inspire fan fiction writers. The same applies to Glick’s Bell, a character who receives numerous quirks reminiscent of Gilmore Girls’ town oddball Kirk in a way that can appear excessively contrived. (He waits in line at a bakery in Paris, for example, because he enjoys standing in lines as a New Yorker.) Eventually, he develops a slow-burn relationship with a French dancer (Ivan du Pontavice) that is both sweet and charged, and I realized halfway through that it represents a rare instance of Sherman-Palladino, whose work has significantly shaped the personalities of many gay men, depicting them as main characters.

The show Étoile might not appeal to everyone because of its overly cute details. Cheyenne’s mom is a DIY inventor and Gael (from West Side Story) comes out of retirement from a farm stand job. The show is about dance but has lots of food and weight jokes. What makes the series interesting is that it reminds you of the creator’s style. Sherman-Palladino’s interests are repeated in it, like patterns in nature. Yanic Truesdale, who was sarcastic in Gilmore Girls, plays a similar role here. Gainsbourg, known for being emotional, plays someone more like Lorelai Gilmore. There’s a difference because Gainsbourg is always stylish but this contrast is interesting. You start to like Geneviève more as the show shows her relationship with Kirby, who expresses intense feelings that will likely inspire fan fiction. The same goes for Bell, who gets many quirks like Kirk from Gilmore Girls. Eventually, he finds a romantic interest in a French dancer. This is one of the few times Sherman-Palladino has shown gay characters as main characters.

In the heart of the series “Étoile“, my admiration lies in the central love story that unfolds between the characters and their passion for dance. It might sound a bit sappy, but the writer’s affection for this art form shines so brightly that it anchors the show’s emotional depth. The creator, herself a trained dancer who once auditioned for “Cats“, has a profound connection to this world, as her mother was also a dancer. If “Maisel” delved into my father’s realm, then this series, along with the dearly missed “Bunheads“, seems to be a tribute to my mother’s. The writing here carries an adorable appreciation for those who dedicate their lives to a demanding and often underappreciated profession.

Just like I adore “Slings and Arrows,” the hilarious Canadian TV series that pokes fun at theater, “Étoile” takes aim at the absurdities of modern ballet financing and the eccentricities of those in power, particularly the character Crispin Shamblee, played brilliantly by Simon Callow, who seems to embody a certain David H. Koch type. I can’t help but think that Amy Sherman-Palladino, the creator of this Amazon series, might have Jeff Bezos in mind too.

While “Étoile” satirizes and critiques, it also takes time to showcase the grace and artistry of ballet dancers. The principal cast members dance beautifully in character, but the series is also filled with renowned ballet stars such as Robbie Fairchild and Tiler Peck during the New York-set scenes. Each episode opens with credits rolling over footage of dancers practicing at the barre, stretching, and rehearsing.

But “Étoile” doesn’t stop there – it also pays homage to the ballet world within each episode. Characters watch performances from the classical repertoire, as well as new pieces created for the show. Before these sequences begin, the series displays credits with the name of the work, its dancers, and its choreographer. It’s almost like Amy Sherman-Palladino is urging us to lean in and appreciate the incredible talents on display – “Look, look at what these amazing people can do.

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2025-04-23 21:54