Elsbeth Season 3 Episode 10 “A Hard Nut to Crack” takes viewers behind the scenes of the Midtown Ballet Company, where an attempt to completely re-imagine The Nutcracker leads to — you guessed it — the choreographer’s untimely, rather bloody, death. It’s an indictment of how some in the ballet world are so opposed to change, they’re happy to do real harm to avoid it. (Although, in most cases, that harm isn’t murder.) Whereas the previous episode satirized the modeling industry in a way that seemed more like an attack on the people it exploits than mere poking fun, this hour takes a much more nuanced and respectful, and therefore much more entertaining, approach.
That’s because there’s such an obvious love for the time-honored ballet and plenty of discussion about what’s kept The Nutcracker on so many people’s must-see lists, year after year, long after any children they went to support in their local company’s production had grown up and moved on. There are Nutcrackers everywhere around this time of year, to the point where if you can’t afford tickets to the big name companies’ performances, there’s always a smaller local company, or even a school, that will bring the magic to you. Or, for folks who prefer the comfort of their own homes, there’s always PBS. (Assuming your local station still exists, of course.) If nothing else, the music is everywhere and instantly recognizable. Many young future dancers will watch The Nutcracker this holiday season and decide they have to do that.
Elsbeth Season 3 Episode 10 shows a clear understanding of all of this, of what it means for a young dancer to get to play Clara, how the ballet’s popularity can fund a struggling company for the full season, and — yes — where all that appreciation can sometimes go too far.
Elsbeth Season 3 Episode 10 goes all in on The Nutcracker & the performing arts
Like with most, if not all, episodes of this series, the opening moments of Elsbeth Season 3 Episode 10 set the stage for what’s to come. So, in an hour that involves a young dancer who’s convinced her life is over if she doesn’t get to dance the role of Clara in The Nutcracker this year, a monstrous take on Mother Ginger, and multiple characters reminding viewers how well loved this ballet is, it’s perfect that the Overture from Tchaikovsky’s Nutcracker Suite accompanies Donovan Chase’s presentation. Similarly, when Harris yells out corrections during a rehearsal (“This is the battle scene! The mouse king is coming! Why are you smiling?”), they apply to both the dancers and the battle of wits he’s about to have with Elsbeth. Fittingly, the right part of the ballet’s score lines up there, too.
And, of course, one of the most well-known parts of Tchaikovsky’s work — the Dance of the Sugar Plum Fairy — also makes its way into the hour when Elsbeth Tascioni herself, dressed all in pink as Sugar Plum often is, joins a baby ballet class. That only comes after another scene that sees Elsbeth getting inspired and dancing through a witness interview. The way she excitedly asks the company school’s Director if she also teaches adults, then tries some steps out for herself, is a make or break moment for this episode. Instead of Carrie Preston’s movement coming across as mockery — which absolutely could’ve been the case and, honestly, often is on TV — it’s just the pure joy of reconnecting with something Elsbeth mentions having quit as a 7-year-old. Not because she didn’t like it, but because of her own insecurities.
It’s so real. Adults do reclaim that love for dance and go all in, in a way that kids maybe don’t. And, on the more depressing side, not all of those little ones who get inspired after seeing The Nutcracker stick with ballet. Some outgrow it. And others, like Elsbeth, get pushed out because of their bodies not being the right “type.” Dance with those knobby knees, folks. If you enjoy it, just do it. Besides, although the technique is…mostly not there, Elsbeth does, actually, do an approximation of the right port de bras for the pliés she’s doing while she talks to the Director. And, later, during the aforementioned class scene, the teacher tells her she’s making good progress. (Grudgingly so.) It’s a really nice touch that continues to fit the theme and, like the battle scene, there’s a double meaning — Elsbeth is making good progress on her case.
(While the episode itself doesn’t end with the music that ends the ballet, the investigation at least does.)
Elsbeth Season 3 Episode 10 also does right by The Nutcracker with its Clara. Willow McConnaughy has been a part of New York City Ballet’s production multiple times and in multiple roles. In 2024, she was a polichinelle and one of the mice — so, the battle rehearsal scene in this episode must’ve felt especially familiar. The year before that? The dream role: Marie. As Elsbeth points out, the costume used in this episode is also pretty on point. (Not pointe — a typo I nearly missed.) McConnaughy isn’t the only dancer in the cast, but as she’s our Clara (eventually), she gets the first mention.
Celestine Rae, who plays the school director and teaches that ballet class Elsbeth attends, also has a dance background. As I’m obsessed with all things dance, the detail in her bio about David St. Charles nicknaming her “Face” (confirmed in her tribute post to the choreographer and Ailey dancer) absolutely deserves a shoutout, above and beyond my original note about me living for her reactions to Donovan’s nonsense in the opening scene. Rae also teaches the Meisner acting technique, so having her character teach dance to a room full of little kids just works in a neat, blending sort of way.
As our murderer, Broadway veteran Andrew Rannells is just the right blend of a stereotypical traditionalist former dancer, an overbearing dance parent, and evil. There are plenty of places throughout this episode where the audience needs to both agree with Harris and realize he’s being entirely unreasonable at the same time. Rannells nails it. He embodies this push and pull between ballet very badly needing to evolve and these story ballets that we all love — especially this one — still having their place and deserving the respect. But also: He’s kind of awful, both in how he discusses Noelle’s lack of acting/performance ability within her dance and when he says Elsbeth is “clearly not made for” ballet. Then again, his reaction to finally being caught is so sad, you almost feel bad for him — especially when his only request is to get to see Noelle as Clara.
Put all of that together, include the little bits of trivia peppered throughout the episode via dialogue…and yeah. Elsbeth Season 3 Episode 10 is a fun one. Not such “A Hard Nut to Crack” after all.
“Something’s not sitting right.”
Unfortunately, Elsbeth Season 3 Episode 10 doesn’t end with our heroine riding off in a carriage with her prince. Instead of “a comforting holiday experience,” Elsbeth’s Christmas episode feels like it cuts off E.T.A Hoffmann’s story at the part where Marie suddenly falls back to reality and isn’t even allowed to speak of her dreams anymore. So much for the happy ending. When Teddy thought he’d found Pete the Sandwich Guy, only for Pete to not recognize Alec Bloom at all, I knew we were in trouble. Indeed, it looks like this particular reaction part of our Episode 7 review was right on the nose: “If the mayoral candidate seems too good to be true, perhaps it’s because he is.” But sometimes, it would be nice to be wrong. This is one of those times.
On the positive side of things, there’s the scene where Teddy confides in Captain Wagner. From a character standpoint, it says a lot that Teddy knows he can trust Wagner and that, once he hints at the search being about protecting his mom from too much heartbreak, Wagner agrees to look into Bloom. (Although, it’s probably too late there. Not to mention, as a fact-checker covering a political candidate’s heartwarming backstory, the news that he’s been repeating a big ol’ whopper all this time ought to be enough for Teddy to care. And, to be fair to him, I’m pretty sure that is enough — but it’s also very, very personal now.) It’s a nice way to build on what they developed together out of shared care for Elsbeth when she was in a toy store hostage situation earlier this season.
That Ben Levi Ross approaches Teddy’s confession with that mixture of vulnerability, guilt, concern for Elsbeth, and maybe a little bit of a fear that this might not be the right thing to do is just icing on the cake. Plus, you know, there’s Wendell Pierce. Can’t go wrong there. Not ever. Here, Pierce delivers lines that might be funny, little quips in other episodes or situations in a way that makes them heavier, somehow. That’s exactly the right approach — this is serious and personal to him, too.
…but including this, and concluding with Elsbeth so…sad after she’d just finally made plans/friends with Grace and looked like she was well on her way to a romance with Alec, is a bit of a letdown. Why not leave us in a hopeful place? Shouldn’t a series like this one, with its main character being such a quirky bundle of joy, leave us with something to look forward to? Some kind of sense that things might just be ok, that new beginnings are around the corner?
There’s enough darkness in this world. It doesn’t necessarily need to come into the holiday episode of a series like this one, where even the murders are somehow…fun. Politicians suck. We’re well aware! But can’t we take the win of our fictional, little precinct’s successful (and winning) toy drive and pretend like Elsbeth is going to marry Drosselmeier’s nephew in a year and a day?
More Elsbeth Season 3 Episode 10 reactions
Ok but I have so many questions, as a dance nerd. Like, how did they get so much right (in an off-kilter, Elsbeth sort of way) but also seem to imply these things don’t get planned earlier in the season? Is the episode title only unintentionally making me think about Mark Morris’ “The Hard Nut”? Or was that on purpose? So. Many. Other. Questions. Too.
“It’s pretty, it’s sweet, it’s tired. It’s time for a change.” EXCUSE ME. No.
“Drosselmeyer’s Revenge: A modern pop-goth ballet about the terror of a young girl reaching puberty.” I mean, weirdly? I’d watch this. All for new productions, especially weird ones. Just not at the expense of old favorites — in addition to them.
Wait. Nevermind. I would, in fact, not watch. Because, uh “…equipped with AI sensors…” The AI slop machine can GTFO.
I know I mentioned this up above, but like. Rannells and Rae in this whole scene. Their faces, his tone when he asks about the CVS doors, and thinking of the children…all of it.
“No Sugar Plum Fairies, no magical Christmas tree? The audience will revolt.” “Christmas is for The Nutcracker. Not some puberty ballet.”
“…and I’ll never dance again, and my life will be over!” This catastrophizing is so relatable. Especially coming from a kid who’s been doing every role since she was six and pinning all her hopes and dreams on this one thing.
“Safety is the enemy of art.” For a guy who’s supposed to be modernizing things, this sure is a vile old school way of thinking.
“…our tired old production.” The snarky air quotes.
Harris did nothing wrong.
“Kevin!” Ok, Home Alone.
WTF is that Mother Ginger?!
“..this is our pas de deux. This is coming of age. It’s horror…” “The creature does his tour en l’air…for the final count of eight…” “…Clara will do her jeté, jeté through the mouth…” I see the vision!
So. Much. Blood. Spatter.
“It was a symbol. of…puberty.” “Ugh. And I thought mine was horrific.” Relatable.
Wagner out here, playing with that little toy police car. Adorable.
Elsbeth already looooooves him, huh? Look how delighted she is to applaud for him! Check out everyone side-eyeing her and her not even noticing because she’s too busy making heart eyes! Get you someone who looks at you like Elsbeth Tascioni looks at Alec Bloom, honestly.
“I hope we win. I’m really not good with failure.” First of all, I feel attacked. Second, great line reading from Mendez. (Who, of course, adds more performing arts credit to this hour by being here, thanks to her Broadway resume.)
“Why should Alec partner with his opponents? What’s the upside?” “More toys for needy kids?” “Exactly. Thanks to Alec. Except he doesn’t get all the credit. Doing good and good politics are not always the same.” “Are they ever?”
Marissa, I loved you so much for most of The Good Fight. Why are you doing this to me?
“I need a coffee.” “You’ll need a dollar.” Ok but her face. Literally me if someone gets in the way of my coffee.
“…in case someone sent something naughty.” She is. Flus. Tered.
“What kind of production is this? The Nutcracker‘s supposed to be a comforting holiday experience.” GET THEM WAGNER.
“…Donovan Chase’s production was dark, and avant garde, and without children. Which makes me sad! Because the dancing children! They’re my favorite part. There must be a looot of unhappy little ballerinas this year…” Her little fingers leaping and dancing around, though.
“If dance moms are anything like sports moms, there must be a lot of unhappy parents.” You mean to tell me nobody here knows that dance moms are, in fact, monsters? (Not all, obviously! But…) There was a whole reality TV show about it! We even have a (superior) spinoff now!
“A traditional production of The Nutcracker can have as many as 100 children in the cast. And all of my students who went on to be principals danced The Nutcracker as children first.”
“They were trying to bring in a new audience, but I agree. Donovan’s Nutcracker would’ve been a grotesque departure from tradition — not that the classical Nutcracker is without flaws…we only phased out the more racist costumes in the last decade.” YES. THIS. GO OFF.
If I speak on how certain out of touch, low key racist people have reacted to those changes…
Ok but I’m way too distracted by that rehearsal to care about this conversation. Sorry to Elsbeth’s investigation.
“I see it now. Wow, you stand up so straight!” Elsbeth’s so real for saying this. The struggle to get that perfect alignment…
“Well. She’s certainly talented, but in a cutthroat world like ballet, there are no guarantees.” That is correct.
“I don’t go to Times Square unless I’m looking at a body.” Detective Deadpan — I mean, um, Donnelly — never change.
“I bet everyone here dances on Broadway. You can just…feel the artistic heartbeat of the city.” When there’s…nothing artistic there. The irony is great…but it’s also kinda true most, if not all, people at that level need regular therapy.
“It’s so glamorous.” I giggled.
“Oh, I get it. I hear the arts are under attack!” Nice throwback to Episode 5 (which also happened to be the episode where we met Alec Bloom.)
Shoutout to whoever decided to place that little hanukkiah in the scene.
Of course Elsbeth has sugar plums!
“That place is a zoo! Literally. They have an entire wing dedicated to The Lion King.”
“I’m Rich.” “I can tell.”
That’s totally Martin from New Amsterdam, isn’t it? Is Mike Doyle destined to always play the husband of kinda awful partners?
“A little disappointment is good for a child. God knows she needs it.” And then, of course, she bursts through the door, the polar opposite of disappointed. (Would also like to, again, point out that McConnaughy having first-hand knowledge of that feeling elevates moments like this.)
Love the scene where Elsbeth’s holding her words in and making a show of how hard it is. Those forced-together pursed lips! Also going to need a gif of her face-planting on Wagner’s desk. Will come in handy for reactions!
As much as I support Elsbeth in rediscovering the joy of movement and all, Noelle’s “…is she ok” was still hilarious.
“It’s called an original cast recording. Even I know that.”
Well. At least Wagner looking sick when he calls Teddy gives us a warning about how this is going to end…
…but I still don’t like it.
“What’s a swing?” “I thought you loved Broadway.”
“Because you were so fixated on your daughter’s ballet career. I guess you could say your dancing is perfection, but your acting needs work.” OMG. Get him.
Compare Noelle’s rehearsal scene to her on stage. Really good work from Willow McConnaughy in creating that contrast. Had to be difficult to purposely be “off” earlier in the episode.
Also: Why did Noelle’s murdering daddy getting to go see her perform kick me so hard in the feels?
“It’s a beautiful ballet. But it is kind of old-fashioned.” Brilliant. Even Elsbeth, who’s been defending The Nutcracker the whole hour, gets this.
“You’re always giving gifts. I…want to give you one.” What if we end the episode right here???
Wait. No. End it here: “But if I pay you back for one ticket, would you…happen to sit next to me?” “Absolutely.” “Yay!”
“Too bad there’s no mistletoe.”
Somehow, Wagner wishing Elsbeth a merry Christmas before he leaves the office makes it worse? I mean, look at her! Merry Christmas after that…how.
Someone hug her!
Also. Interesting that she doesn’t tell Marissa what’s wrong. For all we know, making up a lie was her idea. And if it wasn’t, she probably needs to know this about her candidate. Then again, Elsbeth isn’t processing and so desperately wants to believe the best in people, maybe she’s hoping for a miracle. (As are we all.)
Hear me out: Instead of “happy holidays,” wish the canonically Jewish (even if lapsed, which I think I remember being a thing) character, who once said the traveler’s prayer for her dad in an episode of The Good Fight, a happy Chanukah. The more generic greeting works when you don’t know what someone celebrates. But when you do? Why not just say the thing.
Agree? Disagree? What did you think of Elsbeth Season 3 Episode 10? Leave us a comment!
New episodes of Elsbeth air Thursdays at 10/9c on CBS. The series returns on February 26, 2026.
