ballet

“Everyone is at least a dormant ballet nerd,” declares 22-year-old Eden Lim, while sitting for an interview in the suburban Dallas studio where she and her sister, Jordan, 24, film and edit their popular YouTube channel “Ballet Reign.”

Judging from the near-universal backlash to Timothée Chalamet’s recent bad-mouthing of ballet, Eden’s summation of the central tenet of their show may be true. With 67,000 subscribers in 166 countries and growing, the Lim sisters are mixing Gen Z humor and exuberance with astounding erudition to bring ballet to a new generation and fire up older, longtime fans.

With episode titles such as “Addictive Ballet Moments to Alter your Brain Chemistry” and promises like “This will increase your lifespan and double your morale,” they are on a mission to ensure that ballet not only survives but thrives.

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Mirthfulness is the Lim sisters’ medium, but their message is serious. During each show, they parse video clips of great performances, often by explaining the history of the piece and giving detailed behind-the-scenes stories. They dissect the most famous pas de deux with trenchant insight and introduce their audience to the greatest dancers, including Natalia Osipova and Roberto Bolle. With signature, irrepressible enthusiasm, the sisters help viewers see precisely what makes the shows and dancers so extraordinary.

Eden, left, and Jordan Lim of YouTube channel “Ballet Reign” trained as professional dancers before deciding to focus on their show full time.

(Larsen & Talbert / For The Times)

A video clip featured in the “Addictive Ballet” episode shows New York City Ballet principal dancer Ashley Bouder launching herself into a jeté so high she seems to leave Earth’s gravity. In midair she manages to turn herself 180 degrees before being caught by her partner, despite her momentum seeming to drift into his arms like a feather blown by a breeze.

While watching the singular feat, Eden exclaims, “Call the news channels! We found a person who can actually levitate!”

Jordan says the goal is to make viewers feel equipped to say, “I understand what’s going on, and I can appreciate it, and I can appreciate that this was done well.”

“Ballet Reign” launched three years ago with modest hopes. The sisters sought a mere toehold in the YouTube universe, aiming for a narrow niche audience of fellow ballet fanatics (“ballet nerds”) ages 16 to 25. To their initial astonishment, they have attracted a far wider viewership spanning all ages, even followers who hitherto had only scant interest in ballet. They have drawn in many young children and older adults, with those 65 and up now their third-largest subscriber group.

The show has rapidly won acclaim from within and outside of the ballet world — perhaps because the depth and breadth of their knowledge makes it hard to shake the suspicion that they secretly are Ivy League professors.

The Lim sisters speak with sophistication about classic ballets and dancers they love — delivering their message through a whimsical show that has attracted fans of all ages.

(Larsen & Talbert / For The Times)

They comment with equal sophistication on ballet steps, choreography, history, musicology and the minute details of costume design. Eclectic references pop out of nowhere — a metaphor from quantum physics, an aside that the flute is the instrument whose sound is closest to a sine wave, that a serinette is an 18th century music box used to teach caged canaries to sing.

Even actual professors laud the show.

Nicolas Krusek routinely shows “Ballet Reign” episodes in his classes for adults on ballet history at Simon Fraser University in Vancouver. Krusek says what makes the show compelling “is the spirit of the videos, just the sense of joyousness and benevolence that they communicate, and a real sense of reverence for the art and the artists.”

John Meehan, a Vassar College professor of ballet and former principal dancer with American Ballet Theatre, calls their episode on Igor Stravinsky’s “The Firebird” ballet “amazing,” adding that it conveys at least as much information in much more palatable form than a “dry” university lecture.

Julie Cronshaw, director of the Highgate Ballet School in London, says even for learned, longtime balletomanes the show opens up a whole new realm of understanding and appreciation. For those weighed down by adult concerns, watching an episode leaves them feeling uplifted.

This is why Jordan believes “Ballet Reign” has attracted a significant older audience — and also because the sisters honor tradition.

“They’re looking at the content and saying, ‘These are pieces that I grew up watching. And these are the dancers that I adored when I was younger,’” Jordan says.

Eden says she hopes “it’s because our content, and the way we deliver it, is able to touch hearts.”

The Lim sisters keep a disciplined schedule, turning out polished, deftly produced episodes 52 weeks a year.

(Larsen & Talbert / For The Times)

The show also benefits from its high production values, with expertly edited clips from performances, clever blurbs of text and quirky cutaways to, say, a pole vaulter as an allusion to how high a dancer jumps.

Episodes generally begin the same way, with the sisters sitting behind a table with an old-fashioned radio-days microphone nicknamed “Mike-elangelo” between them. Eden kicks things off by announcing, “Ladies and gentlemen, this is Ballet Reign.”

A flash of superimposed text identifies them as “*Very certified*, extremely serious ballet experts.”

Jordan and Eden revel in each other’s company, finish each other’s sentences and play off each other with insightful or witty interjections.

“We grew up best friends from the beginning, and that’s never changed,” Jordan says.

They keep a disciplined, grueling schedule, turning out polished, deftly produced episodes 52 weeks a year.

Comments validating their efforts come in frequently. “You really helped me through a dark time,” reads one. Another notes, “I was going through a really difficult life transition and having your videos helped me get through.”

Jordan says, “That’s a sort of impact that I genuinely did not see coming.”

The sisters are openhearted and enjoy revealing ballet’s best-kept secrets, but they have kept a remarkably mysterious online profile. Until now, they have never even disclosed their last names, let alone anything about their background, education or experience.

There is also nearly nothing on the internet, and fans have long wondered about their credentials, including whether they are professional dancers themselves.

On the show the sisters certainly come across as if they were. Surprisingly, the answer is no — with an “almost” caveat.

The oldest of four siblings, Jordan and Eden spent nearly all of their childhood in Ottawa. From the time they were small the sisters beelined toward becoming professional ballet dancers. Jordan says when she was 4 she got up at the crack of dawn every day and put in a VHS tape of a ballet class that her mother, Mary Lim, had bought. With fierce determination, she performed tendus and relevés along with the older students on the tape.

Eden’s ballet fascination quickly followed. Mary says she soon realized she had no choice but to send them to ballet school.

“Obviously, if you look at a 4-year-old doing ballet at 7 a.m. every single day, you’re like, OK, let’s try lessons,” Jordan says.

Eden, left, and Jordan Lim of “Ballet Reign” are the oldest of four siblings and spent nearly all of their childhood in Ottawa before relocating to Texas to pursue their careers.

(Larsen & Talbert / For The Times)

By 2015, the girls needed a better ballet school than was available in Ottawa. Their parents packed up the family and moved to Dallas, where the pair enrolled in the Ballet Academy of Texas. Aside from ballet classes they were entirely homeschooled, but they had plenty of experience dancing in school performances, ballet competitions and with real companies.

Mary says the intent was “to give them an opportunity to move and carve their own path … We wanted them to find their passions.”

The moment the sisters had worked for all their lives arrived in 2020, when the time came to set off around the country — and the world — to audition for ballet companies. But the COVID-19 pandemic hit just as they got started, and almost everything in the ballet world shut down.

Jordan says the hiatus led them to reflect for the first time on whether their lifelong ambition was truly what they wanted. At the same time they groped for a way to put their passion for ballet to temporary use.

For years the sisters had fantasized, half-seriously, about having their own YouTube channel. Eden convinced an initially reluctant Jordan it was time to make the daydream real, and “Ballet Reign” premiered on Dec. 21, 2022.

The sisters say they convinced themselves they were using the show to take “a gap year” while waiting out the pandemic. As the first months passed, and their audience widened and sent glowing feedback, they began to realize they were having a big impact and touching lives. It dawned on them that this wasn’t just an interlude but their calling.

In an agonizing twist, just as the show had gotten underway, Jordan received word she had been accepted by a professional ballet company. She turned down the offer.

“It was one of the hardest decisions I’ve ever had to make,” Jordan says, but in retrospect the right one.

AUSTIN, Texas — One of the most anticipated events at this year’s SXSW Film & TV Festival wasn’t a movie at all, but a speaking appearance by director Steven Spielberg. The talk, a live taping of the podcast “The Big Picture” lead by co-host Sean Fennessey, covered many aspects of the Hollywood legend’s career, with a through line of sci-fi and space aliens in conjunction with Spielberg’s upcoming alien invasion thriller “Disclosure Day,” due June 12.

Though no real details about the new film were revealed, references to it peppered the conversation as if it were very much on Spielberg’s mind — the film he was ostensibly there to promote.

To an audience that included filmmakers Robert Rodriguez and Daniel Kwan, the event began with a clip reel that served as a reminder (as if anyone in the packed hotel ballroom needed one) of just how influential the 79-year-old filmmaker is. A selection of Spielberg’s work plays like a trailer for the idea of movies themselves; this one included “Jaws,” “Raiders of the Lost Ark,” “E.T.” “Schindler’s List,” “Jurassic Park,” “The Sugarland Express,” “Catch Me If You Can,” “Munich” and many more.

Fennessey noted that Spielberg wanted to make 1977’s “Close Encounters of the Third Kind,” his first sci-fi movie about the existence of aliens from other worlds, even before making 1975’s “Jaws.” Spielberg went further, saying he had actually wanted to make “Close Encounters” — then just referred to as “The UFO Movie” — even before 1974’s “Sugarland Express.”

Asked about President Obama’s recent comments about the possible existence of intelligent life elsewhere in the universe and how his own feelings may have evolved over the years, Spielberg said, “I think that for one thing, when President Obama made that comment, I thought, ‘Oh my God, this is so great for “Disclosure Day,”’ and then, two days later, he stepped back the comment and said what he believed in was life in the cosmos, which of course everybody should believe that because no one should ever think that we are the only intelligent civilization in the entire universe. So I’ve always believed, even as a kid, that we were not alone. So that just goes without saying. The big question is: Are we alone now?”

He added this interest was “reinvigorated” by a 2017 New York Times article about U.S. Navy pilots seeing unexplained aerial phenomenon, then by a 2023 Congressional subcommittee hearing on the topic.

“I don’t know any more than any of you do,” Spielberg said, “but I have a very strong, sticky suspicion that we are not alone here on Earth right now. And I made a movie about that.”

Spielberg and “The Big Picture” co-host Sean Fennessey taping a live podcast at SXSW on Friday.

(Tibrina Hobson / Getty Images)

As to how he feels about that possibility, Spielberg added, “I’m not afraid of any aliens, there or here. I have no fears about that, whatsoever. I think our movie does take into consideration, without giving too much away, the social dislocation that could occur, theologically, if it would be announced that there’s evidence — not only evidence, where it’s interaction that’s has been going on for decades, that we are not just now finding out about. It is going to cause a disruption in a lot of belief systems, but I don’t think it’s a lethal disruption at all.”

Among other topics that were discussed, Spielberg revealed he is developing a western that would shoot in Texas, though he was reluctant to discuss it in any further detail except to say it would contain “no tropes.”

He also said he is not on any social media, but did install Instagram on his phone once for two weeks and felt as if he had been abducted by aliens for the amount of time he lost.

To that end, he also noted, with comic frustration, how he himself has never had any sort of alien encounter.

”I made a movie called ‘Close Encounters of the Third Kind.’ I haven’t even had a close encounter of the first or second kind,” Spielberg said. “Where’s the justice in that? If you’re listening out there, I’m talking to you.”

There was a brief moment of confusion when Fennessey asked Spielberg for his thoughts on AI and Spielberg wasn’t clear if he was asking about his own 2001 movie or the broader topic of artificial intelligence.

Once that was cleared up (Fennessey meant the latter, a serious labor issue in Hollywood), Spielberg noted he has not used AI on any of his own films. “I don’t want to go into a whole rant about AI because I am for AI in many different disciplines. I am not for AI if it replaces a creative individual.”

Speaking to the theatrical experience, Spielberg made a brief allusion to the flare-up around comments by Timothée Chalamet regarding the popularity of opera and ballet in relation to the movies.

He noted that he does not decry the at-home streaming experience and that he works with Netflix, but that “for me, the real experience comes when we can influence a community to congregate in a strange dark space. All us are strangers and, at the end of a really good movie experience, we are all united with a whole bunch of feelings that we walk into the daylight with or into the nighttime with. And there’s nothing like that. I mean, it happens in movies, it happens at concerts and it happens in ballet and opera.”

Here there was a round of applause from the audience. “And we want that sustained and we want that to go forever.”

Spielberg noted how many of his favorite filmmakers, including David Lean and Billy Wilder and more recent examples such as Paul Thomas Anderson and Christopher Nolan, are always making films that feel different from what they have done before. He sees himself as part of that same school.

“If we’re just not making the same sequel over and over and over again and they’re not the same Marvel title over and over and over again, we all get a real chance to experience something, which is freshness,” Spielberg said. “And that is why I don’t judge my accomplishments based on a single film.”