When it comes to standout television series from Amy Sherman-Palladino, many fans may immediately think of The Marvelous Mrs. Maisel and its well-deserved accolades at the Emmys. However, for those who are inclined to take a contrarian stance, my personal favorite remains Bunheads. This show, which only consists of 18 episodes, is a treasure trove of potential. Initially, it began with a few stumbles but quickly found its unique voice before being prematurely canceled by ABC Family. This early cancellation means I can forever imagine the heights it could have reached, untainted by the creator's tendencies towards sentimentality or forcing characters into narrative dead-ends. Bunheads is pure, delightful, and a shining example of Sherman-Palladino's talent.
Bunheads is not merely a series; it encapsulates the essence of potential, particularly through its characters, who are budding ballet dancers. This focus allows the show to bypass the daunting pressures of showcasing excellence, which both Sherman-Palladino and her husband, Daniel Palladino, faced with Midge Maisel in her comedic endeavors. Instead, the emphasis is on youthful enthusiasm and the excitement of growth. With their new Amazon dramedy Étoile, the duo returns to the enchanting world of ballet, initially sparking concerns about a potential shift towards self-seriousness due to its title and the focus on excellence in an international context.
Prepared to pen a review stating “It’s no Bunheads,” I was pleasantly surprised to find that Étoile doesn’t take itself too seriously. For the first six or seven episodes, this hour-long series remains delightfully light and showcases the creators' admiration for the ballet world. With strong performances from Luke Kirby and Charlotte Gainsbourg, as well as a remarkable English-language debut from co-star Lou de Laâge, the show carries an infectious charm. However, as the season progresses, the narrative spirals downwards, a familiar trope for even the most devoted fans of Sherman-Palladino’s work. Characters begin to act unreasonably, seemingly to set up tantalizing cliffhangers for future episodes.
In Étoile, Kirby portrays Jack, the executive director of the Metropolitan Ballet Theater in New York City, while Gainsbourg plays Genevieve, the interim director of Le Ballet National in Paris. Both institutions face dire straits, and if their upcoming seasons don’t succeed, the future of ballet could be at stake. Genevieve proposes a bold solution: a swap of dancers between the two companies to invigorate both with fresh energy. Eccentric billionaire Crispin Shamblee (played by Simon Callow) agrees to fund this ambitious endeavor, albeit with Jack's skepticism.
As Jack and Genevieve navigate their complicated romantic history, they select members from each other’s companies for this year-long experiment. Genevieve recruits brilliant choreographer Tobias (played by Gideon Glick) and French dancer Mishi (played by Taïs Vinolo), while Jack drafts the no-nonsense étoile, Cheyenne (de Laâge), who is initially introduced as an environmental activist. However, by the end of the first season, her character undergoes significant changes, reflecting a common trend in the show where core characteristics often fade away.
The term “Étoile,” meaning “star,” fits the context of the show perfectly. However, viewers shouldn't worry about an overwhelming learning curve regarding ballet terminology. Étoile is imbued with a love for ballet—its movement and music—without delving into the darker aspects of this elite art form. The series does not aim to provide a gritty examination of ballet’s underbelly, as seen in other works like Flesh and Bone. Instead, it offers a lighthearted portrayal filled with whimsy, fast-paced dialogue, and graceful direction, all hallmarks of the Palladino style.
Visually, Étoile is a treat, with handsome cinematography that captures the fluidity of dance. While the series does not bombard viewers with an abundance of dance performances, it manages to showcase enough to highlight the characters' dedication to their craft. The dance sequences are largely shot with simplicity, focusing on full-body framings that give a broader picture rather than uncomfortable close-ups, maintaining a level of distance that suits the show's tone.
Kirby, known for his Emmy-winning role as Lenny Bruce in The Marvelous Mrs. Maisel, fits seamlessly into the role of Jack, channeling his character's irritation and charm. Gainsbourg matches this energy, and their chemistry fuels the romantic tension throughout the series. However, the division between the New York and Paris storylines results in some unevenness, particularly with the Paris chapters lacking the vibrancy seen in New York, primarily due to the more reserved characters.
Despite some missteps, Étoile delivers a comedic and engaging experience, particularly through supporting performances, especially from Callow, who adds a layer of eccentricity to the series. However, as the season progresses, certain characters, like Alvarez’s Gael, seem underutilized, leading to a less impactful climax. While the series has its share of engaging moments and familiar faces from Sherman-Palladino’s previous works, the narrative struggles towards the end, leaving viewers wanting more clarity and resolution.
In conclusion, while Étoile may not fully escape the pitfalls associated with Sherman-Palladino's storytelling, it remains an enjoyable venture into the world of ballet, filled with humor and charm. As with any of her shows, the potential for growth and improvement is palpable, and I look forward to witnessing how the series evolves in future seasons.
