This episode of Carême pays off some serious buildup, but the important thing is this is when our cutie hero finally grows up. Antonin (Benjamin Voisin) finally comes to appreciate how his skills as the best cook in France mean that he is not just a pawn on the chessboard of power: he is one of the players, with all the responsibilities and consequences thereof. Suddenly the question is whether his abilities as a power player match his ambitions (those as a chef are not in doubt), and the main joy of this episode is seeing how hard everyone is working to twist the games of power into their favor.
Every year France’s elites throw a cooking competition to determine the best chef in France. This year it’s hosted by Talleyrand (Jérémie Renier) and compered by the delightfully snooty Grimod de la Reynière (Stéphane Varupenne), who has replaced his monkey with a ridiculous hairstyle. The contenders are Antonin of course, but also Laguipierre (Christophe Montenez), Bonaparte’s nasty-ass chef, and a nice older restauranteur named Auguste Larcher (Bruno Henry), in whose kitchen Agathe (Alice da Luz, seizing her chance) got her start. An easy win for Antonin and Agathe, right? Lol. Antonin is being such a jackass in his grief that Agathe volunteers herself as the injured Larcher’s right hand. As Josephine (Maud Wyler) shows up to monitor Talleyrand and the judges, as well as continue her revenge on Antonin, the time pressure of the cooking competition adds a fun frisson to the mood. Not to mention a throwaway gimmick of Antonin’s becomes a major plot point for the whole of France. It’s very cleverly done; director Laïla Marrakchi does a wonderful job pulling all these disparate strands together in a 47-minute episode.
Mr. Renier’s work here is so quietly good it also needs to be mentioned. He uses relaxed body language and a soft speaking voice to show how Talleyrand carries his tremendous power very lightly, and is skilled at keeping his enemies close without ever forgetting they are enemies. Antonin should know all this, but he’s being such a PITA that Talleyrand has to be explicit – he needs to have the best chef working for him so his enemies will want to dine with him, all the better for him to negotiate with and machinate against. Of course Antonin is selfishly unmoved. The loathsome Fouché (Micha Lescot) is not only still alive but also in possession of the evidence of the dastardly work Antonin did at Talleyrand’s behest. It’s a pretty pickle, made worse by Talleyrand’s bagman Courtiade (Dimitri Doré). He’s been sniffing around this whole time, but here sees an opportunity to make his own unpleasant move. And yet he makes the same mistake as everybody else regarding Henriette (Lyna Khoudri). She and Antonin really are an unbeatable team, though sadly the big action is a retread of the story told in “Buy the Crown!” He can think on his feet, and she can plan ahead. Together they should be indestructible. And yet.
The recent very good Steven Soderbergh movie Black Bag was similarly built on the question of whether the central relationship was strong enough to withstand any and all attempts to damage it. Antonin and Henriette’s competing problems are seriously wrecking their vibe. Ms. Khoudri does terrific work here as someone who is pretty good at keeping her own head above water, but who, thanks to this nice boyfriend, hasn’t needed to. It’s a shock for her to realise that she might not be Antonin’s only priority, and it’s a shock for Antonin that this is news. The man has a lot going on!
The unfair resolution to the contest – to which a little laugh of Ms. Wyler’s adds the poisonous authenticity a man never could find on his own – also nicely binds Antonin to a dilemma. Talleyrand the master manipulator is prepared to provide the things Antonin wants most in the world, but all it would cost is Henriette. And this is without mentioning what Liliane (Clotilde Mollet) finds when she goes snooping, and how Talleyrand reacts to what she finds. (Their short scene together in his office is outstanding, by the way; a warm demonstration of a mutually respectful professional relationship going back decades. Mr. Renier here also manages to distinguish between Talleyrand’s genuine calm and respect here with a trusted associate from that which he shows during the competition.)
And yet the real sizzle here is the anger between Agathe, who is tired of being taken for granted, and Antonin, who pretends not to understand why the privilege of working alongside him isn’t enough for her. The way they circle each other in this episode makes it clear their personal and professional relationships have merged. But Antonin is a man [Agathe’s race has yet to be mentioned] and that gives him the advantage. He’s not the type of man to take that advantage, but nevertheless.
After all this Grimod de la Reynière’s monkey would have indeed been too much. But instead we have quality television at its best: making overlapping and pointed observations about the modern world through a historical setting, with all the sexual intrigue you could hope for, wrapped up in a delicious amuse-bouche of watching excellent food being cooked and eaten. There’s some great chewing in this episode, too. Carême is such a joy.
Carême is now streaming on Wednesdays on Apple TV+.
Learn more about the show, including how to watch, on the official site for the title.
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