Occasionally, a foreign TV series can transcend its niche and captivate a broader international audience. Here are some examples: The political and personal struggles of Denmark’s first female prime minister in the show Borgen; the historical decline of Germany’s Weimar Republic depicted in Babylon Berlin; the epic family saga spanning 20th-century Korean and Japanese history in Pachinko. The next series with such potential is Carême, which delves into a highly fictionalized account of Marie-Antoine Carême, a chef from the Napoleonic era who, in reality, established many principles and dishes synonymous with fine dining. Concepts like kitchen brigades, precise knife skills, mise en place, the four mother sauces, even the phrase “Yes, chef!” can all be traced back to Carême’s writings.
Characterized by Benjamin Voisin, portraying the fictional Carême with his meticulously styled hair, finds himself constantly entangled in various foreign and domestic conspiracies and espionage missions. Despite being born to revolutionize cooking and enjoy a romantic relationship with his stunning girlfriend, he is unwillingly thrust into international affairs! It’s crucial that you understand the main character, Antonin, is not a spy who cooks but rather a chef who manages to excel in a world full of political upheavals. Carême also wants to clarify that its protagonist may engage in numerous personal and global shenanigans, yet he remains one of France’s most ordinary food enthusiasts. The true oddballs are the idle aristocrats he encounters upon arriving at Talleyrand’s (Jérémie Renier) lavish residence. The series offers an opulent visual feast that is often extravagant, sometimes ridiculous, and consistently delightful.
To honor the delightful blend of flavors in each episode of the series Carême, we’ll be highlighting the most tantalizing moments from its first season, categorized as follows:
* “OUI, CHEF!” showcases aspects that flow seamlessly, like what one would expect in a high-end drama about culinary arts and espionage.
* “FLAMBÉ-HEY-HEYYYY!” indicates something unexpected yet entertaining, adding depth and richness to the series’ overall narrative.
* “SACRE BLEU!” is reserved for scenes that are bizarre enough to make you rewind and ask yourself, “Now, what on earth was that?!”
So grab your seat, set your table manners straight, and enjoy!
Spoilers follow for the entire first season of the Apple TV+ series Carême.
Hey there! I’m absolutely smitten with “Carême” – it confidently embraces its identity and never falters from its commitment. It’s bold, unapologetic, and all about the culinary arts. Right from the start, Antonin (the character played by Dev Patel) makes his intentions clear to Henriette (Lyna Khoudri), expressing his ambition to “create dishes that would captivate.” And the opening credits beautifully illustrate this, showcasing unseen hands skillfully juicing blood oranges and pomegranates. The sequence reaches its peak with a slow-motion burst of an exquisitely decorated multi-tiered cake, complete with the delicate placement of a baby’s breath sprig on the top layer. Trust me, you’re not imagining things; the credit sequence certainly suggests that food experiences a sense of pleasure and satisfaction when handled by Antonin Carême!
Indeed, Food plays a significant role in shaping historical narratives, as demonstrated in this series. The dual forces driving the storyline are Antonin’s culinary aspirations and his unwavering devotion to his adoptive father, a chef named Bailly. In the opening episode, Bailly is unexpectedly arrested without any explicit charges. As the law enforcement officers take him away, he urges Antonin to seek help from Charles Talleyrand, an aristocrat, former bishop, and diplomat. Talleyrand swiftly establishes a multifaceted relationship with Antonin, leveraging the young man’s desperation to save his father for Talleyrand’s political gain. In this intricate dance, Talleyrand serves as Antonin’s benefactor, surrogate father, manipulator, and adversary all at once.
Initially, Antonin is tasked with persuading him to attend a crucial diplomatic lunch arranged by Napoleon Bonaparte (Franck Molinaro). When Napoleon demands that Antonin presents a pyramid-shaped dessert as a subtle jab at the ongoing conflict between France and England, intending to irritate the English ambassador who is expected as the guest of honor, Antonin complies. As the ambassador becomes visibly upset and Napoleon maintains his silence, Antonin sets the pyramid on fire. Once the flame consumes the nougat-hazelnut wrapping, a delightful assortment of petit-fours emerges, effectively diffusing the tension and earning the young chef’s accolades!
In the 19th-century setting, Talleyrand devises a cunning plan to persuade Josephine Bonaparte (Maud Wyler) to support civil divorce by arranging for Antonin to seduce her in what would be equivalent to a walk-in cooler. Unbeknownst to them, Louis, Napoleon’s younger brother and Joséphine’s daughter’s husband, is led into the same area, almost catching them in an intimate moment. Josephine agrees to this blackmail and threatens Antonin with the phrase “I’ll make you eat your own words!” This clandestine encounter occurs during Talleyrand’s engagement party, which soon transforms into a grand, pansexual orgy – a common occurrence at such events!
Is Police Minister Fouché portrayed as over-the-top villainous in episode two, “Blackmail”? Absolutely! His brutal methods, such as crushing suspects’ hands with a rifle butt or using cannon fire to eliminate criminals, certainly give him a sinister edge reminiscent of both a ferocious animal and the titular character from “Fantastic Mr. Fox”. And yes, Mischa Lescot’s performance underscores Fouché’s impressive investigative abilities. For instance, he demonstrates an uncanny ability to recognize details, like matching the handwriting on a gossipy letter with that found on evidence related to a failed assassination attempt on Bonaparte. He also harbors intense hatred towards the nobility and maintains a bitter rivalry with Talleyrand for political influence. The chance to control access to Bailly while simultaneously seeking revenge on Talleyrand offers an enticing blend of business and pleasure, making some of “Carême”‘s most compelling scenes.
Good heavens! A remark about Fouché’s hairstyle: Despite the awe-inspiring nature of this remarkable individual, there’s one small detail about his hairdo that has me utterly puzzled – the broad lock of hair that dangles from the left side of his face, resting on it like a constant companion. Every time Fouché appears on screen, I find myself thinking, “My friend, haven’t you considered tucking that behind your ear? You do it on the right side of your head, why not the left as well?” A certain disheveled charm might be fitting for someone who seems to work around the clock, but this detail is rather distracting!
As a movie enthusiast, I find myself quite intrigued by this unusual scene. It’s like a scene straight out of a period drama, and it becomes a truly memorable moment. Catherine (played by Sigrid Bouaziz), the mistress turned wife of Talleyrand, indulges in her extravagant bathing rituals in a grand, circular black-marble tub that seems more like a greenhouse designed specifically for such opulence. The water is steaming and adorned with rose petals, and Catherine wears a delicate gown for the occasion. (Why not?) She engages in lighthearted conversation with Henriette, her lady’s maid who also shares a romantic bond with Antonin. They sip Champagne and chat until Talleyrand arrives to discuss their latest political predicament: In order to maintain civil divorce, one of the revolutionary advancements they must adapt to, they need to end their scandalous relationship and get married promptly. These characters go to great lengths for the sake of France! To celebrate their engagement, Talleyrand and Catherine share a romantic kiss in the tub, while their maids exit with practiced discretion.
Hey-Hey! Overwhelming Amount of Multitasking: The opening scene of Carêm introduces us to Antonin, who uses two distinct kinds of whipped cream in his intimate moments with Henriette, but this seems almost trivial later. In episode three, titled “A Recipe for Disaster,” we witness him creating vol-au-vents at a party he’s catering, all while he sneaks around Madame Germaine de Staël’s (Juliette Almanet) apartment in search of a controversial political pamphlet and secretly discards seditious materials from her hidden printing press, concealed behind empty wine barrels. Truly, this is the definition of managing multiple tasks efficiently.
Absolutely, Chief! Here’s an intriguing twist: The female characters in this series, set in olden times, are far from one-dimensional. Antonin is surrounded by women who adore, collaborate with, tease mercilessly, and/or share intimate moments with him. Henriette manages to keep their relationship hidden from Fouché for several episodes by being cunning. Chef Agathe (Alice Da Luz) is skillful, ambitious, and meticulous, often outperforming Antonin in culinary competitions, even as a romantic connection between them develops slowly. Liliane, a kitchen veteran, often provides the tart yet caring perspective when Antonin oversteps his culinary boundaries. Catherine, Talleyrand’s wife, is trusted so much for her understanding of international politics that she is given the task of negotiating with Louis XVIII in exile. Both good and bad, Joséphine exercises significant power over her husband. Despite being subject to the power of men, these women are also asserting control over their own destinies.
In the heart of Madame de Staël’s kitchen, my world comes to a halt as Alexandre Grimod de la Reyniére, the esteemed founder of Almanach des Gourmands, unexpectedly drops in. He, with his air of authority and an accompanying monkey, who seemed quite at home hopping from one work station to another, snatching bits of food meant for human consumption! It took all my willpower not to cringe. Yet, Grimod de la Reyniére was a man I couldn’t refuse, and I wouldn’t if I could – it was an honor to be graced by the presence of this eccentric, influential figure known for his biting culinary critiques. His metal hand, a constant part of his attire, hinted at the prosthetics he wore throughout his life due to a genetic condition that fused his finger bones together. Yet, the reason behind it remained unexplained, leaving us to speculate that perhaps he found joy in plucking morsels from simmering pans, incorporating a dash of Knightly elegance into his daily life along with his New Romantic hairstyle and makeup. Farewell, Grimod de la Reyniére, I believe you would have enjoyed the “Single Ladies” video.
Indeed, those kitchen scenes are simply marvelous! Whether it’s Antonin working tirelessly at his father’s restaurant or overseeing his team in Talleyrand’s kitchens, both chefs and their dishes appear outstanding. The warm glow from candles, fires, and reflecting off copper pots creates a comforting ambiance and adds a captivating blush to every performer’s cheeks. What makes it even better is that these cooking scenes are extensively detailed, offering insights into techniques, processes, and the final plated dishes. The only contrast comes in the gloomy, dismal kitchens at the Polish palace visited in episode four, “Buy the Crown!”, during Antonin’s mission to persuade Louis XVIII (Sharif Andoura), in exile since the Revolution, to relinquish his claim to the French throne. The implication is unmistakable: Only French kitchens possess the ability to make everyone look exceptionally dashing.
Goodness gracious! These costumes are quite intriguing, aren’t they? I don’t mind a bit of creative liberty when it comes to historical accuracy, but these choices seem to be pushing the boundaries. The clever blend of styles, such as Antonin’s hoop earring, the extravagant gowns reminiscent of Bridgerton, and Henriette’s leather trench coat with oversized lapels that resemble Jackie Brown’s attire, leave me curious. The frequent popped collars and visible stitching on the outerwear also catch my eye. It makes me wonder if this show is set in the past or the present. Is there a time-travel element I haven’t noticed yet?
Absolutely! In episode six, titled “Trompe l’oeil,” I found myself hot on the trail of Talleyrand and Antonin following the apprehension of Cadoudale, a royalist linked to the initial attempt on Napoleon’s life. Although I pride myself on my keen eyes and mind, the cryptic messages hidden within their meal left me baffled. The braised lamb and galette des rois seemed to hold secrets, yet I couldn’t decipher them. I failed to notice the third piece of the puzzle – a clue about a different conspirator’s name concealed in a sugar cube dropped into Cadoudale’s coffee while my attention was elsewhere, focused on the coin hidden within the galette. The excitement of their secret espionage culinary artistry, mixed with relief and a touch of romance, had Antonin and Agathe giggling all the way home.
Recall the time when Antonin Carême, a meringue mastermind, was compelled to display a pyramid filled with petit fours at a state banquet in the first episode? He yearned to exhibit an intricately designed meringue ship instead, but circumstances led him to Egypt after Napoleon’s aide destroyed his creation with a sword. People often say the French are subtle, but I beg to differ! This theme resurfaces in episode seven when Pope Pius VII visits Hotel Galiffet. Antonin, along with Agathe and their team, have prepared a meatless Friday lunch, culminating in a delicate replica of Michelangelo’s Pieta made from alabaster meringue as the grand finale. The pope rudely declined the meal to spend his afternoon in prayer, so let’s hope the kitchen staff found enjoyment in the remaining dishes.
Indeed, Chief! In these trying times, sisters are managing to persevere [survive in challenging, grim conditions] for themselves. When Josephine’s daughter, Hortense, experiences premature labor with her baby in a breech position, mother and child face an excruciating dilemma: choosing between saving Hortense or the infant. With all hope seemingly extinguished, Catherine’s reliable midwife persuades Agathe to use her nimble hands to save the day by rotating the baby, enabling Hortense to give birth without sacrificing herself and the Bonaparte heir. These scenes centered on six women of diverse ages, ethnicities, and social standings supporting one another in such a primal manner offer valuable depth and intricacy to their personalities, as well as the bond between Catherine and Josephine. Might we kindly suggest a shift towards season-two titled Appellez la Sage-Femme: 19th-Century Paris?
YES, CHEF!: “Yes, Chef!” In the final episode of the season, Napoleon’s coronation feast unexpectedly swells from a private event for 500 guests to a near chaos with 5,000 attendees. This prompts Antonin to summon every capable cook in Paris. After delivering a strategy speech to his team, including his demand that everyone don chef’s whites and hats, he elicits their agreement with the response, “Yes, Chef!” While not as heartwarming as Bob Odenkirk’s Mr. March reuniting with his family in Concord, Massachusetts, and saying “My little women”, it serves its purpose.
In ‘The Coronation’, there’s more unexpected turns than a twisted pretzel! The finale is brimming with plot twists that set the stage for a possible second season. By the end, Antonin shatters Henriette’s heart by choosing to stay with Agathe, who is expecting a child. Returning from exile after Courtiade’s death, Henriette storms back to work for Fouché. Several months later, on the day that Antonin and Agathe open Patisserie Carême, they both learn they are being deployed to war together, where they will cater to high-ranking military officials and likely undertake espionage. As we reach the end, Antonin subtly winks at us through the screen, a knowing smile playing on his lips, hinting at how eagerly he’s left us yearning for season two.
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2025-06-12 00:55