Prime-Video - Étoile Season 1: A Spirited Ballet of Humor, Humanity, and High Drama

By Mulder, 24 april 2025

From the inventive minds of Amy Sherman-Palladino and Daniel Palladino, known for creating beloved television classics such as Gilmore Girls and The Marvelous Mrs. Maisel, comes Étoile, a vibrant exploration into the dazzling yet precarious world of professional ballet. Season one offers a layered look behind the velvet curtains of two renowned ballet companies—New York's Metropolitan Ballet Theater and Paris's Le Ballet National—as they navigate the turbulent waters of modern-day survival. With an ingenious transatlantic talent swap at its core, this series cleverly mirrors real-life anxieties faced by classical arts institutions worldwide, albeit with Sherman-Palladino’s characteristic blend of witty dialogue and eccentric characters, bringing warmth and levity to potentially bleak material.

At its center, Étoile is more than a mere love letter to ballet; it’s an intricate character-driven narrative underscored by biting satire and philosophical meditations on art versus commerce. From the opening scenes, where executive director Jack McMillan (Luke Kirby) and interim director Geneviève Lavigne (Charlotte Gainsbourg) casually debate the health history of Tchaikovsky—a Sherman-Palladino classic of pop culture-infused chatter—the stage is set for a sophisticated yet playful examination of an industry at the crossroads. Kirby effortlessly transitions from his charmingly tragic portrayal of Lenny Bruce in The Marvelous Mrs. Maisel into the sharp-tongued yet deeply empathetic Jack, whose moral turmoil around accepting funds from morally dubious benefactors resonates well beyond the ballet industry itself. Charlotte Gainsbourg’s Geneviève, perfectly embodying Parisian chic coupled with steely resolve, presents an equally compelling protagonist, caught between artistic ideals and institutional necessity. Together, their on-screen chemistry sparkles, layered with unresolved romantic tension and professional rivalry that provides a captivating emotional throughline.

Yet, beyond the sparkling leads, the standout revelation is French actress Lou de Laâge, who portrays prima ballerina Cheyenne Toussaint. Her fiery, rebellious presence electrifies every scene, adding not only dramatic intensity but comic brilliance to the ensemble. Initially introduced as an activist passionately battling illegal fishing boats—an unusual and delightful character entry—the depth of her complexity gradually unfolds throughout the season. Anecdotally, a particularly charming moment occurs when Cheyenne begrudgingly mentors young Susu Li (LaMay Zhang), whose nightly secret practices at the ballet company’s studio provide a subtle yet poignant commentary on class and opportunity. It’s scenes like these—brimming with heart, understated humor, and nuanced humanity—that define the Palladinos’ unique storytelling style, adeptly blending comedic irreverence with profound emotional resonance.

The Amy Sherman-Palladino and Daniel Palladino’ trademark dialogue, fast-paced and peppered with witty repartee, enriches the narrative, highlighting the series' keen ability to critique its characters’ artistic pretensions while simultaneously empathizing deeply with their struggles. This is particularly evident in the brilliant performance of Simon Callow as Crispin Shamblee, the flamboyant billionaire benefactor whose charm and villainy intertwine seamlessly. Simon Callow, a seasoned British actor known for his Shakespearean gravitas, delights in subverting expectations. His character, gleefully described as a soil-raper due to his questionable industrial activities, is simultaneously endearing and horrifyingly unethical. Watching him cheerfully disrupt a ballet class wearing comically ill-fitting spandex or nonchalantly discussing a recent kidnapping he humorously dubs “a taking” epitomizes how skillfully Étoile balances its comedic instincts with biting satire about the ethics of arts funding.

But what sets Étoile apart from earlier ballet-focused works—Sherman-Palladino’s beloved yet short-lived Bunheads notably among them—is its maturity in exploring the complexities of adult ambition and moral compromise. Each character wrestles with the art they cherish and the problematic realities behind their profession. The show's thoughtful inclusion of choreographer Tobias Bell (a masterfully awkward Gideon Glick), whose eccentricities and social struggles vividly illustrate the fine line between genius and isolation, further expands the series’ exploration of sacrifice and identity in pursuit of excellence. Glick’s performance, enhanced by a beautifully paced romantic subplot with dancer Gabin (Ivan du Pontavice), adds a welcome emotional authenticity, balancing the broader comedic beats.

Still, Étoile isn’t without missteps. The pacing occasionally stumbles in early episodes, burdened by exposition-heavy sequences and perhaps too eager to flaunt its transatlantic scope. At times, it struggles under the weight of too many story threads competing for attention, particularly evident in episodes that prioritize lengthy dance numbers or scenic shots over character depth. However, even these flaws have their charm, as the Palladinos clearly relish the sumptuous, beautifully choreographed performances—rendered authentically through real-life ballet stars such as Tiler Peck and Constance Duvernay. One anecdotal delight is the unexpected yet delightful cameo from legendary choreographer Christopher Wheeldon, whose real-life credentials inject a layer of authenticity into the show's dance sequences.

Moreover, Étoile wisely resists the temptation to romanticize its art form too much, offering critiques of the elitism and insularity often associated with ballet. The series cleverly juxtaposes grandeur and pretension, as illustrated in an amusing subplot involving Mishi Duplessis (Taïs Vinolo), whose return to Paris reignites old resentments and vividly highlights the industry's troubling attitudes toward nepotism and class privilege. Vinolo’s own experiences as a professional dancer enrich her portrayal with an effortless grace that contrasts beautifully with her character’s internal conflict, serving as a subtle yet potent critique of artistic institutions' failure to foster true equity.

Ultimately, what makes Étoile truly compelling is not just its exploration of ballet or the perils of arts funding, but how it interrogates the very nature of artistic integrity and compromise. Season one concludes without easy answers, preferring instead to let its characters—and viewers—sit uncomfortably in their moral ambiguities. This choice feels refreshingly bold, especially when framed by the ongoing struggle of classical arts to find relevance in a digital age dominated by fleeting online entertainment. As a viewer, one is left simultaneously entertained and challenged, reflecting on how we, too, reconcile our appreciation of art with the uncomfortable realities that often underpin it.

Despite some narrative unevenness, Étoile emerges as a compelling, thoughtful, and undeniably entertaining examination of contemporary ballet. Its stellar performances, particularly from Kirby, Gainsbourg, and the brilliant de Laâge, coupled with incisive writing and keen social commentary, make it a standout in contemporary television. It’s a rich tapestry of wit, warmth, and wisdom, encapsulating the Palladinos' signature style: equal parts hilarious and heartfelt, deeply human, and ultimately unforgettable.

synopsis :
Two world-renowned ballet companies, one based in New York and the other in Paris, are attempting a daring gamble: to save their historic institutions, they decide to swap their most talented recruits.

Étoile
Created by Amy Sherman-Palladino, Daniel Palladino
Directed by Amy Sherman-Palladino, Daniel Palladino
Starring Luke Kirby, Charlotte Gainsbourg, Lou de Laâge, Gideon Glick, David Alvarez, Ivan du Pontavice, Taïs Vinolo, David Haig, LaMay Zhang, Simon Callow
Opening theme "Nights Are for Love" by Sons of Raphael
Executive producers : Dhana Rivera Gilbert, Daniel Palladino, Amy Sherman-Palladino, Scott Ellis
Producers : Nick Thomason, Sal Carino, Marguerite Derricks, Cindy Tolan, Raphäel Benoliel, Jen Kirkman, Isaac Oliver, Liviya Kraemer
Cinematography : M. David Mullen, Alex Nepomniaschy
Editors : Tim Streeto, Zana Bochar
Production companies, Dorothy Parker Drank Here Productions, Big Indie Pictures, Amazon MGM Studios
Network : Amazon Prime Video
Release April 24, 2025 – present
 Running time : 52–75 minutes

Score : 4.5/5