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Buzz Feed
02-07-2025
- Entertainment
- Buzz Feed
Hidden-Gem TV Shows On Hulu
How To Die Alone (2024) How strange it must have felt to deliver an acceptance speech on behalf of a series that had just been canceled a few weeks prior. This was the case for Natasha Rothwell who, accepting the award for Best Ensemble Cast in a New Scripted Series at the Indie Spirits, spoke of her time at the helm of the short-lived How To Die Alone with positivity and grace. (And a call to action for beta blockers to have "more beta blocking.") Best known for her supporting roles on Insecure and The White Lotus, Rothwell took a much more active creative role in this 30-minute Hulu comedy series, serving as both its creator and lead, Melissa, a JFK Airport employee whose brush with death causes her to finally prioritize love and happiness. Despite failing to reach wider audiences during its single-season run, it was an undeniable critical success. Watch it on Hulu. Reservation Dogs (2021–23) I recently mentioned Reservation Dogs in the context of shows that failed to get Emmy recognition until their very last season. And, while we'll never know what it was that finally tipped the scales during S3 (and secured not only an Outstanding Comedy Series nod, but a Lead Comedy Actor nod, too), what is clear is that this FX show has had an extremely passionate fanbase pushing for its success from the very beginning. Count the BuzzFeed Streaming Team among this fanbase. The series which follows four Indigenous teens from rural Oklahoma, who do odd jobs and commit petty crimes in hopes of one day being able to leave the reservation, was shouted out by Danica Creahan in 2021 as a show not enough people are watching and, again, as one of the best shows of 2021. Watch on Hulu. Casual (2015–18) You might know her best as the pesky HR rep following Deborah and Ava around on Hacks (or from her many perfectly calibrated supporting roles, which are too many to name) — but from 2015 to 2018, Michaela Watkins had center stage in the family comedy Casual. In it, she played Valerie, a recently divorced therapist and single mother who moves in with her younger (and crucially, single) brother (Tommy Dewey), the creator of a successful dating app. Her daughter (Tara Lynne Barr — who I will forever mix up with Emilia Jones) is wise beyond her years and has a dynamic with her mother that asks: What if Lorelai and Rory Gilmore but messier? Sneakily wise and acutely observed in its depiction of listlessness in your 30s, this is a show that you might want commit to. Watch it on Hulu. Bunheads (2012) Speaking of Rory and Lorelai, Amy Sherman-Pallidino (creator of Gilmore Girls) is unfortunately no stranger to a one-season cancellation. Long before Étoile on Amazon Prime Video, there was ABC Family's Bunheads — the network's answer to Glee, which proved to be a critical darling but a big swing and a miss where ratings were concerned. The series concluded after just 18, shaggy episodes — more than enough airtime to elicit some strong feelings about Sherman-Palidino's trademark fast-talking women at the show's center. Namely, Broadway legend Sutton Foster's Michelle Simms (my thoughts are largely positive, for the record), the series' lead, who is plucked from her life as an unhappy Las Vegas showgirl to work alongside her new mother-in-law at a ballet studio. No matter how you feel, this ranks among the ASP oeuvre; you'll agree with me when I say that, when it comes to comfort viewing, you can't do much better than it on Hulu. Devs (2020) Calling all Alex Garland heads. Maybe you're hot off a 28 Years Later watch, or saw Civil War and wondered what else Garland and Nick Offerman might be able to cook up together. Look no further than this eight-part limited series which stars Offerman as a tech-mogul CEO involved in a massive cover-up involving an engineer's missing boyfriend, and, of course, much bigger existential issues facing humanity. Allison Pill, playing the tech company's deputy, goes toe to toe with Offerman's Forest for the Creepiest Acting Award while Cailee Spaeny (also featured in Garland's Civil War) transforms into the young, male coding prodigy, Lyndon. A choice! This series is packed with big ideas and a Garland-y atmosphere that will suck you in — but I must confess that one of the main reasons to watch this is so you can fight about it with your friends. You're going to have strong feelings about it one way or another. Watch it on Hulu. Difficult People (2015–17) A whole decade before they took home the Best Leading Actor in a Musical Tony for Oh, Mary!, Cole Escola had a supporting but memorable role in Julie Klausner's comedy series, Difficult People. Some will remember it as that show about two deeply misanthropic, Jewish best friends (Klausner and Billy Eichner) living in New York. Others will remember it as the only show in history to feature Seth Meyers jerking off Eichner, and a cameo by Kathie Lee Gifford, in a single episode. Both are correct. Depending on your tolerance for unlikable protagonists, you might find this particular humor and worldview grating. But, regardless, I think you have to respect a show that delivers on its title — and for those raised on Seinfeld and Curb reruns, this should go down it on Hulu. Everything's Gonna Be Okay (2020–21) Featured in our roundup of shows that actually reflect what it's like to be queer today, this one-season, follow-up series from Josh Thomas (Please Like Me) is a breath of fresh air. Thomas is Nicholas, a neurotic, gay twentysomething who has just learned that his terminally ill father would like him to be the guardian to his two teenage half-sisters, one of which is on the autism spectrum. The rest of the series follows Nicholas as he builds the plane while flying it, so to speak. As Matthew Huff notes in our original guide, it's unusual to see a queer character — particularly of this age — represented as a "leader" or "provider." But that is exactly what we see here, with Nicholas doing his very best to keep some order in the family. Like Please Like Me, Thomas pulls off the impressive alchemy of mining life's darkest moments for "comfort watch" fodder. Watch it on Hulu. High Fidelity (2020) We almost had a Da'Vine Joy Randolph-centered Season 2 of High Fidelity and Holdovers fans know better than anyone that that's a big "L" for the culture. One of the most contested TV cancellations in recent memory was this gender-flipped TV adaptation of the classic film and book, which found its audience just a little too late. Zoë Kravitz reminded us all how underutilized she was in Big Little Lies while playing the dynamic, Brooklyn record store owner, "Rob" (Robyn), at its center. Here's to hoping we right these wrongs by nominating Kravitz for Guest Actress in a Comedy Series for her role in The it on Hulu. Top of the Lake (2013–17) So, you're having a hard time letting go of Handmaid's Tale? Tap into this eery cinematic universe from the mind of Jane Campion, also starring Elisabeth Moss. It's hard to believe that Top of the Lake, a two-season limited series starring Nicole Kidman and conceived of by one of our greatest filmmakers, needs any signal boosting at all — but here were are in the age of Peak TV. Your mileage may vary on China Girl, the follow-up season that critics largely regarded as disappointing and hollowed out, but its first season is a stone-cold masterpiece. In this atmospheric, New Zealand-set story, Moss plays Robin Griffin, a detective whose own story begins to come into focus as she investigates the pregnancy of a 12 year-old girl. Watch it on Hulu. Say Nothing (2024) "Urgent" is a word that can get overused in reviews of political thrillers of this nature — but with so many eery parallels to what we're seeing play out in Gaza today, it feels apt to describe Say Nothing this way. The FX limited series adapted from the Patrick Radden Keefe book of the same name is actually about The Troubles, specifically the abduction of a mother of 10 from her Belfast apartment in the '70s. But its examination of violence and radicalism ring true today. It will be interesting to see how Say Nothing fares on Emmy nomination morning. Despite receiving rave reviews, and what seemed to be promising interest and viewership at the time of its release, chatter around has seemingly died down in the months since. Could this be the result of its binge-drop rollout? Or the result of so many shows being dumped in the last month of Emmys eligibility? Who knows! But whatever happens, this is a series absolutely worth your it on Hulu. Vida (2018–20) If you've made it this far, you've probably recognized a pattern. A lot of the shows that have flown under the radar have centered characters that typically exist on the margins of society. That is certainly true for Vida, the GLAAD-winning Starz comedy that was canceled after three seasons. In it, two estranged Mexican-American sisters Emma (Mishel Prada) and Lyn (Melissa Barrera) return to their old East LA neighborhood to bury their mother and in the process uncover a handful of paradigm-shifting secrets. Including, of course, the revelation that their mother quietly married a woman. Interesting, especially considering she rejected Emma's own queer identity. The authentic storytelling and lived-in characters, which critics rallied behind during its run, can be largely attributed to its all-Latinx writer's room and almost entirely female crew. Watch it on Hulu. Stream all of these movies on Hulu.
Yahoo
21-06-2025
- Entertainment
- Yahoo
'Étoile' has been cancelled, but no one blends dance and humour as brilliantly as Marguerite Derricks
One of the most devastating entertainment losses of the year is certainly the cancellation of the show Étoile after just one season, from Gilmore Girls, Bunheads and The Marvelous Mrs. Maisel creator, Amy Sherman-Palladino, and her husband Dan Palladino. But with that puzzling move from Prime Video, there's no better time to celebrate all the talent in the short lived series. That includes Marguerite Derricks, an incredibly beloved and impressive choreographer who's worked on Palladino's previous projects. Additionally, she's contributed her talents to the series Behind The Candelabra and movies including Showgirls, 13 Going On 30 and the Austin Powers franchise. But in terms of what makes the Palladinos such effective collaborators, Derricks stressed that they way they shoot dance in their shows is done in a way where there's a real "marriage of the camera with movement." "For a choreographer, there's nothing greater than that," Derricks told Yahoo. "On Bunheads I started to play with them that way, and it's carried on through four different TV series." "It's just made me such a better choreographer. ... I wish every choreographer would find collaborators like Amy and Dan, because there's nothing like it." One example of how Étoile really makes the dance in the show an integrated part of the story is the Swan Lake moment with Tiler Peck in Episode. It's a dance moment, but written in a way that's injected with humour. "That was written by Dan Palladino and ... when they sent me the outline for the script I literally was laughing out loud," Derricks shared. "I couldn't wait to attack that and to have Tiler Peck be the one that got run over by the swans, it was just such a gas." "Their comedy genius is always on the page and then I just put it into motion. I've worked with comedians my whole life, so it's something that I really, really enjoy, but it's always there on the page. There's never, a question mark for me with Amy and Dan, they're so clear." Another highlight is a piece choreographed by Gideon Glick's character Tobias Bell in Étoile. A character that's hysterical with his quirkiness, brought out in the character's choreography as well. "That was my big voice in the show," Derricks said. "I love Gideon Glick. He is the coolest, craziest human being. He would come and watch me and he thought I was funny because I kind of stalked the dancers like a lion. And so he wanted to pick up on that." "And I studied him and I like his quirks, and I wanted to make sure that that's what was driving me a lot with the choreography. So I the two of us, we kind of became one, we became Tobias together." While Étoile certainly isn't a show that requires the audience to have a dance background to enjoy, there was still such a commitment on the show to make its dance spaces and dancers feel real. What the dancers are doing before classes, what they're doing in the hallways, every detail was thought of to make these moments look authentic. "That was the first thing [Amy] talked about with every department head, we all knew that was our marching orders," Derricks explained. "I kind of had a little bit of a sense of that from working on Bunheads with her, but now we were going from a young kids school to the professional world, and so ... we did our research to make sure that everything was really up to par." "Tiler Peck was a student of mine. I would call Tiler and ask her questions, and it was very important to us that, when this show came out, that the ballet world would give us a thumbs up on it. ... There's been so many shows out there that have been done in a way where it's not authentic. So for me right now, the feedback I'm getting from the ballet world is the greatest thing that I could have ever hoped for." Much of what happens in the "Hollywoodization" of dance, specifically ballet in film and TV, largely sees talented dancers be nameless and on the periphery of the project. But in Étoile, Sherman-Palladino made wanted to use there dancers to their full potential, and crediting them for their work. "That was the most exciting thing for me," Derricks said. "Every single dancer that came into our show, [Amy] read them for parts. She wanted to cast the dancers. She wanted to hear their voices. I want to scream from the rafters, because that's happening more and more, but it really happened on [this] show. ... Dancers are so great at telling stories without speaking, so just get comfortable with talking as well. I'm very proud of that. ... The dancers were getting lines, they were so excited." A core element of Étoile is that dancer was very much used to tell the story, it's an integral part of the narrative. But it also immerses the audience in a dance world many haven't had any exposure to, portraying ballet dancers in a different light and as more fully formed characters, held up by brilliant and unique choreography from Derricks. "Ballet is sexy, ballet is strong. Ballet dancers are like football players, the athleticism that they have," Derricks stressed. "I want people to see ballet in a whole different way." "There's a lot of wonderful choreographers out there now doing out the about box, beautiful work, but for somebody that doesn't know ballet, I hope that we can reach a greater audience and turn them on to all sides of ballet."
Yahoo
10-06-2025
- Entertainment
- Yahoo
'It's Just for the Pure Love of This Art Form': ‘THR Frontrunners' Panel With ‘Étoile' Showrunners Amy Sherman-Palladino and Dan Palladino
Amy-Sherman Palladino and Daniel Palladino have dabbled in the world of ballet before — their 2012 series Bunheads focused on a ballet school and their Gilmore Girls character of Miss Patty (Liz Torres) was a dance teacher. But with Étoile, the showrunner couple wanted to explore the art form even deeper. 'I was a dancer, so I grew up in that world,' Sherman-Palladino said at a recent THR Frontrunners panel. 'Most of the stuff that I've seen done around the ballet world, it's usually like, 'Oh, they're so pretty and fluffy onstage,' but then offstage they push each other off buildings and murder each other. I'm kidding. But there's just so much more to it than that. They are actually a really interesting group of people, and it's the one art form where you're guaranteed to never make a dime. You're going to die poor and then your career will be over at 25 and you'll be teaching Pilates and you're giving up everything because it's just for the pure love of this art form, and I find that miraculous.' More from The Hollywood Reporter 'Nobody Wants This' Season 2 Premiere Date Set at Netflix 'Awards Chatter' Pod: Sissy Spacek on Her Collab 'Die My Love,' the 'New Hollywood' of the '70s and the Penises in 'Dying for Sex' HBO's 'Harry Potter' Series Finds Its Harry, Ron and Hermione Étoile follows two ballet companies in New York and Paris that swap their most talented stars in an attempt to boost ticket sales. Luke Kirby and Charlotte Gainsbourg lead the main cast, with Lou de Laâge, Gideon Glick, Ivan du Pontavice, Yanic Truesdale and David Alvarez rounding out the ensemble. The Palladinos, known for their rapid-fire dialogue across beloved series like Gilmore Girls and The Marvelous Mrs. Maisel, saw an added challenge to the writing of the script when they decided to incorporate the French language. 'We went through many translators,' Palladino admits. 'We used Charlotte Gainsbourg and Lou de Laâge mainly as our judges because they were familiar with what we had done with Maisel and Gilmore Girls, and they knew about the snap [referring to the cadence of the Palladino dialogue] and they really wanted to do that, and they really wanted to do it in English. But neither of them had really done comedy in English before. But we kept getting head-shaking when we asked, 'what about these translations?' and they were like 'NO!' The worst thing they said was, 'well, it is the words.' … We finally found this really great lady, who really knows both languages, and she was on set with us.' Once the scripts were ready, the Palladinos knew casting would be an extra challenge due to the fact that they had to hire dancers who could act and vice versa as well as professional dancers for the performance sequences and body doubles for certain actors. 'The casting took forever,' says Palladino. 'For the dance companies, we basically had to put 20 professional grade dancers in each country, and that took a long time. … We tried to give all of them something to say at some point because they wanted to and we wanted to do that for them.' 'And this show is about the dancers — it's not a dance show — it's really about them and their lives and their work,' adds Sherman-Palladino. 'And so when we went to them first to say, 'we come in peace,' we wanted them to understand that they weren't window dressing to us, they were real characters. We got to know them and their voices so that when we gave them dialogue, it was something that was akin to who they were.' For de Laâge's character Cheyenne, the premier ballerina in the world, the duo knew that they wouldn't be able to 'find a dancer who could take on a role as complex as Cheyenne,' says Palladino. 'Here, the acting came first, so we did cast Lou, who was not a dancer, but as Amy said, because dancers give off being a dancer by walking, sitting in a certain way, we went through very, very vigorous training, but we also had a dance double come in. … I know a lot of people didn't know that [Lou] was not a dancer.' Of course, Taïs Vinolo, who plays Mishi, is a dancer in real life, as is Alvarez, who plays Gael. 'David was Bernardo in West Side Story, and we saw him when he was 14 in Billy Elliot,' says Palladino, to which Sherman-Palladino adds, 'Gael was not in the show. We were looking for at least two or three ringers that we could have as actors who also did their own dancing. He's an interesting guy: He was on Broadway; he won a Tony; then he danced at ABT [American Ballet Theatre] for a while; then he joined the army; then he backpacked across Mexico for two years. … And so we thought, well, that's kind of a fun character and we asked him, 'Do you mind if we steal your entire life for our evil purposes?' And I don't know if he knew we were serious until he saw the script [and who Gael is in the series].' The show, almost three years in the making, received a two-season order from Amazon in 2023 — and while the season one finale ended with some twists and turns, Sherman-Palladino says there's been no progress on a second season so far. 'Let's talk about Hollywood a little bit,' Sherman-Palladino says. 'When they say two-year pickup, they don't mean it. They mean one year and then we'll see who's still working at Amazon by the time the second year comes around to be greenlit. So as of yet, there is no second season pickup. So what I'm saying is if you want Étoile, please go home and buy a lot of toilet paper on Amazon. I know Amazon loves selling toilet paper. So if you watch Étoile and go buy 40,000 things of toilet paper, they'll be like, 'wow, look at all the toilet paper that we sell when people watch Étoile.' And then maybe we'll get a second season.' This edition of THR Frontrunners is sponsored by Prime Video. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise
Yahoo
09-06-2025
- Entertainment
- Yahoo
‘Étoile' creators on ‘secret weapon' choreographer Marguerite Derricks
If there's a common thread to the Palladino-verse (beyond the fast-talking), it's dance — the actors in shows created by Amy Sherman-Palladino and Daniel Palladino glide across our screens as if performing on a stage, as do the cameras tracking them. That's credit to choreographer Marguerite Derricks, who's been part of the Palladino pack for years — but with Étoile, she gets to strut her stuff. 'I've done a lot,' she says, referring to her long career, 'and I finally feel like Étoile is my thing.' Gold Derby: Marguerite, tell me your origin story. How did you first connect with Dan and Amy? More from GoldDerby 'Only Murders in the Building' Emmy odds for Selena Gomez, the Martins, and all those guest stars 'Dune: Prophecy' showrunner teases the Fremen and which books Season 2 could cover Eriq La Salle on developing 'On Call's' 'imperfect' hybrid style and returning to acting Marguerite Derricks: I first connected with Dan and Amy on the TV show Bunheads. That was our first. Étoile is our fourth show together. So we did Bunheads, which was heaven, absolute heaven. And then they wrote a bunch of dance in the Gilmore Girls reboot. And then Amy reached out to me after the pilot of Maisel was released and told me to look at it because she wanted it to leap and swirl around the screen. And then here we are with Étoile. Dan Palladino: And we have eight more that we're going to do, Marguerite, so get ready, get some sleep. We have eight more shows that we're going to do together over the next 20 years. You didn't realize this was a lifelong contract. Derricks: I'm ready, I'm always ready. I always have two suitcases in my front room because it's always jumping on a plane and I would do it in a hot second for Amy and Dan. Palladino: Marguerite has a go bag for fires and for us. I really appreciate that. Amy Sherman-Palladino: We call Marguerite our secret weapon because it's so deeply obvious what her value is, but the thing about Maisel is she did so much that people don't even realize. Obviously, when we got into like the Wolford or the strip clubs or the Catskills dance number, that's obvious to people that that is choreography and that a choreographer came in and did that. But I did a big shot of Rachel walking down what was supposed to be Christopher Street in the Village, and that was all staged and choreographed. We did a whole thing through the garment district and that was all staged and choreographed, even though it wasn't necessarily jetés. Marguerite would come in and anything where we had group scenes or movement because our camera moved so much. We needed to be able to have somebody who had that eye and who could keep an eye on things, especially in these big group numbers. She was seeing something that we weren't seeing. So she's been a part of us, whether you knew it or not, all the way through Maisel. And so now on Étoile, it's front and center. So what did it mean to you to finally get to a show that's all dance? Derricks: Well, the first time Amy whispered in my ear, I think it was two years before we even started, she whispered ballet and Paris into my ear. And I lost my stuff then! It's a dream. My son said to me a couple of years ago, 'I don't think you've had your thing yet.' I've done a lot. I think Étoile is my thing. I really feel like it's my thing. I started off as a young girl in ballet and my dream was to be a ballet dancer, but I'm short and that didn't happen for me. I played a ballet dancer on Fame, one of my first jobs, but I never got to fulfill that. I really felt like I got to fulfill that dream. It started with Bunheads, but really escalated on Étoile. And to work with those world-class dancers, for any choreographer, it was just a dream. How did you all work together in deciding what ballets you were going to include? I read that it was 29 ballets altogether. Sherman-Palladino: Wow. Was it? Holy moly. That was a lot! We should keep track of that s--t. One of the greatest things that I think sets her apart from a lot of choreographers is she really understands story and she understands comedy and she understands camera. She can do any beautiful dance in any style that you want her to do. And she can do it in a hot second, but it's different to do something that is feeding the story and is pushing the story forward or is pushing the comedy forward. She'll have worked with 20 dancers, and then Dan and I will come in and we'll go, "Yeah, that's great, can you turn it all sideways?" And she's like, "Yes, all right." And in five minutes, General Patton has redone the entire thing. And it's exactly what you need for camera. It's terrifying to watch because it's like, "OK, where do I go?" But it's that understanding of story. Every time we put a piece of dance into Étoile, it needs to push the narrative forward or it needs to say something about the story. We didn't want to be just a show that stopped for a pretty ballet. So if you're going to see a Tobias ballet, Gideon Glick's character, the ballet had to say something about what Tobias was going through or what he was pushing or what his style was, which tells you who he is as a character. So it's not enough just to do a cool ballet. Marguerite had to step back and think, what motions feed Tobias's brain? What rhythms are in his head? He's a guy who has his headphones on, so he's actually listening to music other than the music that is in his head that he's choreographing to. So what is that madness all about? And so what comes out as these really great, cool ballets, the thought process that went into them was actually much more intense than 'Let's do something with tutus.' Even the phone call in the pilot, which is the union guy talking to Genevieve as they're in the phone negotiating whether they're going to go and strike or not, we needed to see something in the background of what they were going to lose of who these dancers were, of what they were striking for, of what the point of this was. So we needed something that was motion and the dancers could come on and off and on and off and be part of it because it was about their story. So even the smallest little piece of dance, the discussions were quite elaborate just in terms of what was the story it was feeding into. Marguerite, how did you weave your dance into the story? Derricks: Amy and Dan, they put it all in the script. For a choreographer, I've been doing this for a million years, and usually it says, 'And they dance.' There's nothing there, and they dance because people don't know what they want. They don't know how important dance is and how it can drive the story forward. So for me, it's really, really easy. I love when they challenge me. I love when I see those marbles coming across the floor and they want to change something around because the direction is always there. It's always on the page. Amy and Dan always lay it out. I wouldn't want to do dance just for dance anymore. Dance driving the story is just magic. It's really magic. I feel bad for any choreographer that does not get to work with Amy and Dan. Palladino: Balanchine, sorry, dude, you are out of luck. Is there a moment that you're proudest of, given the amount of dance that's in it? Derricks: Gosh, I couldn't even say. I can't stop watching the show because I am just so blown away by what we all did and how beautiful it is. Sherman-Palladino: I'll blow Marguerite's horn for her. I'll blow it for you, young lady. We had a dance in the pilot that was supposed to introduce Cheyenne as a dancer and a personal dance that was emotional. And we did it and it was fine, but none of us were really, really happy with it. Our time was ticking, and we were coming to the end of our shoot. And Marguerite and I looked at each other and it's like, we need something else. We're telling people how great Cheyenne is. We've seen Romeo and Juliet, but that was really from Jack's point of view and how he viewed her. We need the audience to meet Cheyenne the dancer. And I threw her 'Big in Japan,' this Tom Waits song that's been in my head, in a hot second and she came up with this thing. I don't know if it was even overnight that she came up with this dance that tells you everything you need to know about Cheyenne, a woman who can't channel her emotions or frustrations in any other way but dance. The other dance we could have left in, and it would have been fine. But there was something about this moment that elevated this character so that you got her completely, and that was me throwing her a piece of music at the last minute and saying, 'What do think about this?' And Constance came in, who's Cheyenne's dance double, and she killed it. I said to McConkey, 'Strap on your Steadicam, let's go.' Marguerite and I dragged him around the room and we got that thing in record time, and it's exactly what we needed. Marguerite, how much of Tobias is based on you? Derricks: We became one! Gideon and I became one. Even reading Tobias, I auditioned eight pillows when I moved to New York for [Étoile]. All of his quirkiness, I just connected with. Gideon would come to rehearsals and he would stalk me and I would stalk him. So I always tell Gideon that we literally became one on the show. For me, Tobias is my biggest voice in the show. It's where I really got to strut my stuff and do something different with ballet that I've been wanting to do for a long time. Sherman-Palladino: 100 percent. It was the hardest thing to do because you're creating a character through dance. Because Tobias is all about the dance. He can't talk at all. He's the worst people person on the face of the earth. Maybe even worse than Cheyenne. So his whole vocabulary is dance. So if the dance didn't fit who we were trying to tell the audience he was, the character wouldn't have resonated at all. Watch our other recent Dream Team stories featuring Amy Sherman-Palladino and Daniel Palladino, plus the two creators with star and cinematographer . This article and video are presented by Prime Video. Best of GoldDerby 'I'm very happy to be busy': O-T Fagbenle on his trio of Emmy-eligible performances Everything to know about 'Alien: Earth' as trailer drops: Timeline, cast, premiere date Jane Lynch on her 'funny and touching' final scene with Steve Martin on 'Only Murders in the Building' Click here to read the full article.
Yahoo
27-05-2025
- Entertainment
- Yahoo
Muses Creative Artistry Project presents Broadway-style performance with classic Disney songs
TEXARKANA, Texas (KTAL/KMSS)—The Texarkana Regional Arts and Humanities Council (TRAHC) is bringing a Broadway-style, Disney-inspired show to town. The Muses Creative Artistry Project will remix classic Disney songs to showcase the talents of their own singers, dancers, and instrumentalists in a 'best of' performance. Disney, like you remember, but not exactly what you remember. TRAHC Executive Director Jennifer Unger said, 'We are thrilled to welcome The Muses back to Texarkana. The Muses always put on a spectacular show, and we love having them fill Cabe Hall with their beautiful voices.' The Muses, based out of the Muses Cultural Arts Center in Hot Springs, Arkansas, tour the region. They present over 30 multi-art programs per year. Performances incorporate visual art, vocal and instrumental music, dance, poetry, and drama. Misty Copeland's new picture story, 'Bunheads, Act 2,' will be out in September General Director of The Muses Deleen Davidson considers their mission as, '…to preservethe Classical Arts through performance and education, making each performance enriching toyour Community, accessible and enjoyable for all ages.' Tickets are on sale for Broadway: Disney Cabaret by The Muses will take place on Thursday, June 12, from 7 to 8:30 p.m. at the Regional Arts Center. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
