Stepping far beyond the quirky charm of Stars Hollow and the vibrant comedy scenes of 1950s New York City, Amy Sherman-Palladino and Daniel Palladino’s newest dramedy, “Étoile,” takes a deep dive into the world of professional ballet. The series focuses on the Metropolitan Ballet Theatre, helmed by its executive director Jack McMillan (Luke Kirby), and Le Ballet National, temporarily led by Geneviève Lavigne (Charlotte Gainsbourg) in Paris. Struggling with slow ticket sales, a dancer exodus following COVID-19, and a shrinking audience, Jack and Geneviève concoct an ambitious scheme to exchange their top dancers for a year, aiming to boost the profiles of both companies. The dancing is breathtaking, but the characters, while having some amusing quirks, make “Étoile” a draining show that revolves around an overwhelming cast of self-absorbed individuals who can’t seem to get enough of their own voices.
As a ballet enthusiast, I find myself immersed in the world of “Étoile,” where the main character, SuSu Li (LaMay Zhang), gracefully dances alone in the dimly lit rehearsal room at the Metropolitan Ballet. Meanwhile, in a bustling Manhattan nightclub, Jack and Geneviève are letting loose, trying to unwind before their impending meeting. The next morning, after an eventful night, Jack remains hesitant when Geneviève proposes swapping their top talents, a venture backed by the eccentric millionaire Crispin Shamblee (Simon Callow), whom Jack loathes. However, the MBT director’s stance shifts upon persuasion to borrow Cheyenne Toussant (Lou De Laâge), the ballet company’s most revered and challenging étoile from his Parisian counterpart. From that point forward, the duo races against time to prepare for the upcoming dance season as the freshly traded dancers navigate their way through unfamiliar territories in search of comfort zones.
In “Gilmore Girls” and the award-winning “The Marvelous Mrs. Maisel“, the Palladinos are recognized for their densely written scripts and quick-paced dialogue, showcased in both English and French. However, characters like Jack, Geneviève, and Cheyenne are so abrasive that watching the series feels more like being held captive rather than invited into their world. The structure of the eight episodes is also peculiar; it seems less like a cohesive season and more like two separate acts. The conclusion of Episode 4 could have served as a natural ending, but the following episodes seem even more chaotic. They introduce unexpected characters, questionable love stories (both past and present), and storylines that seemingly materialize out of thin air. These additional episodes feel disjointed from the main narrative, almost like an add-on or another series altogether.
In the show “Étoile”, some delightful characters linger on the outskirts. Among them, Mishi Duplessis (played by Taïs Vinolo), a ballet dancer who was initially dismissed from Le Ballet National and later reinstated in a swap, has the most relatable character development. In her portrayal of Mishi, we encounter a young woman whose life is wholly centered around dance, yearning to discover her identity beyond dancing and free from her mother’s overpowering influence. Similarly captivating is Tobias Bell (played by Gideon Glick). This quirky, music-loving choreographer, forced to France without his preferred Crest toothpaste, follows his own rhythm and adds a genuine charm to the series.
Despite its beauty and elegance, “Étoile” falls short. The production struggles to maintain grace as it awkwardly transitions between New York and France, featuring boisterous characters who delight in arguing. Although the creators attempt to make the main characters more relatable by revealing personal details, there aren’t enough genuine interactions to foster a strong bond. Shows like “Gilmore Girls” and “Mrs. Maisel” captivate viewers, but “Étoile” never manages to reach such levels of appeal.
The eight episodes of “Étoile” premiere April 24 on Prime Video.
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2025-04-23 20:16