“My approach has been, ‘Let’s make a movie about a great character,’” says filmmaker David Gelb, the creator and executive producer of the acclaimed Netflix series Chef’s Table. More than anyone else in recent memory, Gelb — who rose to prominence with the 2011 documentary Jiro Dreams of Sushi — has successfully drawn audiences into the emotional landscape of chefs, and in the process, weaved food documentaries into the cultural landscape. Part of that success lies in Chef’s Table’s savvy subject selection, which in the past, has included Francis Mallmann, Jeong Kwan, and Massimo Bottura. “When we’re selecting a character, we think about, ‘Could you make a scripted film about this person?’” Gelb told me back in May.
At the time, he was speaking about a casting process that had come under fire when the Chef’s Table: Pastry’s lineup — featuring three men and one woman, all white — was revealed. As many pointed out, the series to date featured mostly white male figures; the outcry led to many publicly asking, “how do we fix food TV’s diversity problem?,” while others developed tools designed to help fix it.
And it seems as though Gelb and Netflix heeded the calls: This week, Chef’s Table announced that several people of color, almost all of whom are women, would be subjects in Seasons 5 and 6. Season 5, dropping on September 28, will feature Cristina Martinez, Bo Songvisava, Musa Dağdeviren, and Albert Adrià. Season 6, airing sometime in 2019, highlights Mashama Bailey, Sean Brock, Asma Khan, and Dario Cecchini. More than past seasons, there’s potential for a smart, layered, and enlightening exploration into the context in which each exist as chefs.
In that May conversation, Gelb admitted that he and his co-executive producer, Brian McGinn, would select the most dramatic or cinematic stories out of a large list of researched names, and that they didn’t think too hard about representation and diversity. “(It) was never a conscious decision on our part,” Gelb says. “But it’s something we see now that has happened.” Now that Gelb and McGinn have become more aware of their decision-making process — conscious or otherwise — we have a measurable level of progress. For example: There has never been a black chef featured on Chef’s Table, and now Bailey, whose Savannah, Georgia restaurant the Grey was Eater’s 2017 Restaurant of the Year, will have the opportunity to take center stage.
But this progress, while exciting, does not negate the conversation that preceded it: It further proves how much it needs to be had.
I’ve been a producer for just over a year, and while most people are vaguely familiar with the role of a director, the “producer” title confounds. This is fair, given the range of responsibilities that are tucked under it: a producer can be anyone from the person who funded the entire project, to the researcher, to the person stuck in a tiny room with the editor. It can seem like a catch-all term for the person who has input of any kind.
For most producers, the dream is to tell the stories you’re most interested in. Ideally, autonomy, limitless funds, and complete creative control leads to the exact end product you envisioned. In the real world, factors like logistics, costs, access, and how an idea fits with a company’s brand all come into play. These are all addressed during the pitch process, during which researchers and associate producers present ideas that are either approved or rejected by executive producers. Production work is the machine that keeps tinkering at a low hum, and it’s only noticed if it stops working properly. But many producers don’t get into this work to be applauded — we do it because we love storytelling, the act of finding a story thread and spinning it into a beautiful visual narrative.
The reality is that a lot of this work, which is intricate and susceptible to failure, can happen in a silo: You become so enveloped in the granular details that resolve into a final product, that you don’t realize how it looks once all the pieces have fallen into place. It can exceed expectations, fall short — or miss the mark completely.
The silo isn’t just personal. When a production team like that of Chef’s Table has a pitch process for who they want to feature, the first line of attack is consulting the experts that already exist — food critics, writers, other chefs, reporters, Michelin, World’s 50 Best. This creates a secondary silo that plays out on-screen: Of the 42 Chef’s Table talking heads so far, 24 have been white men, 12 have been white women, and five have been men of color. Up until now, there has never been a woman of color in that “expert” role.
But more importantly, a process that’s partially designed for efficiency also emerges as one that keeps dissenting voices and opinions to a minimum. It’s a process that’s prone to rehashing the familiar stories of the past: The food world and its obsession with “male genius” narrative goes back decades, and is familiar enough to the producer to feel like a “sure bet.”
I understand how opting for the smoothest possible route to get a project done saves time and alleviates a great deal of stress. On our team, it’s a constant struggle to think about what is equal parts feasible and creatively ideal. That push-pull is always on my mind: It’s a part of my creative process, and integral to my decisions regarding what to pitch, and what is worth fighting for. In my experience, the reward of seeing that pay off has always been worth it.
Cinematic narratives are an integral part of storytelling. Showing moments where a character is actively searching for something, hoping to prove or gain something, or risking losing everything creates tension and drama. Those moments capture the subject’s deepest insecurities, most influential memories, and (if they’re not media-trained) even their ugly side. They allow the viewer to see themselves in a subject. This is how producers (and viewers) define what’s compelling.
No food documentary follows this trope more than Chef’s Table. In its now-familiar style and structure, one chef is the focus of each episode. There are two or three talking heads — other respected chefs or esteemed food writers — that speak to that character’s skills, story, reception, and personality. The penultimate arc showcases standout dishes that reflect or represent the preceding points, shown in beautiful visuals.
Race and gender — two things that are hindrances or helpful to someone’s employment success, are unfortunate but real tension points that often act as roadblocks, and would naturally fit into the criterion of what makes a “compelling narrative.” But until this recent casting announcement, those arcs were largely absent from Chef’s Table: As many pointed out, only five out of the first 26 subjects were people of color. Much of the argument for more representation on-screen, then, is not just about seeing the face or filling a quota — but about who gets to have their narrative qualify as compelling “enough.”
Gelb admitted to me back in May that both he and food media in general have to “dig deeper and look further beyond what’s presented in front of us.” The new cast demonstrates that Gelb and his team have attempted to do just that, and like many instances where a call for representation is met, the fix has been easy and certainly something to celebrate — albeit embarrassing that it took this long.
Unfortunately, this process is all too familiar to people of color; spending time and effort educating their white peers. “I feel like white people, white men especially, have the privilege of not having to worry about diversity, because they are not victims of a lack of diversity,” says Quincy Ledbetter, video director at HuffPost. When others call them out, Ledbetter says, “It’s like a blindside to them, because they don’t even think about that. They don’t have to.”
Ledbetter, on the other hand, has had to think about it plenty. As a black creative in the world of video production, he’s been in the stark minority. Although he is content with the diversity of the team he’s on now, landing a staff position took him 15 years of freelancing, and he found that the biggest lack of staff diversity has been in leadership. This, he says, has been a constant in his past workplaces. Even when diversity is at the forefront of the hiring process, it still isn’t enough. At one of his previous roles, he recounts a story where the company was looking to hire an editorial director and a host. “The communication to everyone in the company was, ‘For this host, we need a person of color, we need diversity. It would be great if they were LBGTQ as well.’ That was not the same communication for the leadership position they were looking for.”
For a field that prides itself on being innovative and different, the creative industry suffers from the same, uninspiring ills as almost every other field: with fewer people of color in decision-making positions.
Back in the spring, when I asked Gelb what actions he was hoping to take to ensure that Chef’s Table would provide a richer, diverse viewing experience, he said his team would be more cognizant. “It will make for a better show,” he says, “and it will be a better representation of what the food world should be.” Gelb confirmed that he would be looking closer at not just diversity in front of the camera, but behind it, too. When asked at what level, he answered that they would be looking at the staffing as a whole.
To that end, the next eight episodes feature the work of two women directors, Zia Mandviwalla and Abigail Fuller; Fuller has directed two previous episodes, while Mandviwalla’s episode marks her first for the series. I reached out to Gelb to see if there were any other behind-the-scenes updates to report and will share those if and when they become available.
Producers and storytellers often acknowledge that we have the power to dictate who gets attention, who gets empathy. The underlying danger — and one that should constantly be on the mind of producers — is that the absence of a story leads to the absence of humanization. All producers, from up-and-comers like me to seasoned ones at Netflix, are romantics that breathlessly talk about needing to tell stories that aren’t being told. Commitment to “the story,” but failing to lead in finding them, is a disservice not only to the the viewers, but to what creative production hopes to achieve.
As someone who has also critiqued the lack of diversity in Chef’s Table, the Season 5 and 6 announcements impressed me. Many of the subjects are on my dream list, and I am truly excited to watch these episodes. I’m of Turkish descent, and Musa Dağdeviren’s episode gives me an opportunity to examine the cuisine I was raised on, and to watch it as I bond with my parents. Mashama Bailey’s episode reaffirms black Americans’ rightful place in the American culinary narrative, as will Cristina Martinez’s for Mexican Americans. Bo Songvisava’s episode demonstrates how truly global Chef’s Table’s production is, and how necessary it is to indulge in that luxury. The fact that the first Brit to be featured on Chef’s Table is a Desi woman, Asma Khan, gives authority to a community that has only ever been brushed under a colonial carpet.
I wish I wasn’t this impressed, or excited, to hear these stories, because I wish it hadn’t taken this long for it to be a reality. As we continue the conversation about diversity in food media, we talk about structural changes — namely, hiring processes. All eyes are on the Los Angeles Times and San Francisco Chronicle in their searches for new food critics, and many calls have been made to have a person of color fill the legacy roles. Internally, food organizations like the historically sexist and Euro-centric World’s 50 Best are attempting a change of pace, too. Whether or not this is posturing cannot be answered, but it is exasperating that it took a bout of public beration for it to be addressed.
Even if we give Gelb — and many like him — the benefit of the doubt, do we want to educate people that should have known better, or do we want to uplift those that already know? When will we graduate from merely trying to be better, and instead expect it? As established filmmakers play catch up, those that are hoping to be heard will wait with their stories.
Pelin Keskin is an associate producer at Eater.
Editor: Erin DeJesus
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Author: Pelin Keskin
Mega-DJ Steve Aoki Wants to Be the Next Big Player in the Pizza Delivery Game
With “Papa” John Schnatter going through a months-long meltdown and his eponymous company suffering the consequences, there appears to be an opening for a new player in the celebrity-fronted pizza-delivery market. Enter Pizzaoki, a new business co-founded by famous disc jockey Steve Aoki, who happens to be the fourth-highest paid DJ on Earth. Pizzaoki launched in Los Angeles, and, according to Forbes, it is poised for major expansion across the country, and, maybe someday, the world. Here are some questions you may have about the burgeoning celebrity-owned pizza delivery operation, plus all the answers.
Who is Steve Aoki exactly?
As previously mentioned, the 40-year-old is an extremely successful DJ. Aoki’s accolades include Best Set of the Season at the 2007 DJ Awards and Best Mix Album of the Year at the 2008 Billboard Awards. He’s been nominated for one Grammy, which he lost out on to Skrillex in 2013. Aoki has also appeared in several television episodes and movies, typically playing himself, as a famous person often does in such cameos.
Also, his late father, Rocky, founded the ubiquitous Japanese steakhouse chain, Benihana, which is so revered it was the setting for the greatest Christmas episode in the history of the American Office. One might not think a DJ has the required skills to run restaurants, but as he tells Forbes, Aoki already counts himself as an investor in five other restaurants, including a partnership with his brother in Bluetree Cafe, which boasts three locations in Hawai’i. He has the business in his genes.
What’s the Pizzaoki business model?
It actually has pretty low overhead. Since coming online July 9, the restaurant has operated out of Los Angeles’s Cloud Kitchens, which provides cooking space for multiple LA restaurants. It’s delivery only, with pies arriving at customers’ doors via third-party apps such as Postmates and UberEats. As a DJ, Aoki is no stranger to late hours, and Pizzaoki is appropriately open late: Sunday through Wednesday from 4 p.m. to 2 a.m. and Thursday through Saturday from 4 p.m. to 4 a.m. Of all Aoki’s restaurant investments, this is his first foray into the delivery-only sector.
Aoki is attempting to forge ahead where others have failed. The delivery-only model for restaurants has been pegged as The Next Big Thing in recent years, partly due to the success of third-party restaurant-delivery startups. However, execution of the idea may be more difficult than conception. In May 2017, New York City-based delivery-only establishment Maple, which counted celebrity chef David Chang as an investor, shut down. Less than a year later, Chang’s own delivery-only spot, Ando, followed suit. Last year in San Francisco, Young Fava’s delivery-only experiment lasted less than two months. This came on the heels of another Fog City delivery-only business, Sprig, going under.
So, Aoki may be facing a tougher path to delivery-only glory than he realizes, but, in his favor, chain pizza has been perceived by Americans as a delivery-only food for decades.
What’s on the menu?
Pizzaoki serves eight pizzas, with names that reference Aoki and his music career, and ingredients that reference weed — the base of each pie is his “lit herb-infused” dough. The sauce is his purportedly his mother’s homemade recipe. The most elaborate pizza is Aoki’s take on the supreme. Officially known at his restaurant as “mayhem” — that’s the name of a Steve Aoki song, by the way — it’s topped with mozzarella cheeses, sliced pepperoni, ground sausage, meatballs, mushrooms, black olives, red onions, sweet onions, red bell peppers, and green bell peppers. Purists will be disappointed to learn there is a pineapple pizza, the “turbulence,” which also comes with mozzarella cheese, sliced pepperoni, and homemade garlic ranch sauce. No doubt, Guy Fieri will be stopping by to proclaim this creation as “totally out of bounds” in the near future.
Does Pizzaoki have any celebrity endorsements?
Of course Pizzaoki has celebrity endorsements. Just take a look at this Instagram video featuring actor and famous weed-smoker Tommy Chong, enjoying a slice with his own personal stash of “oregano.”
What do the customers think of Pizzaoki?
So far, the business is receiving generally positive reviews. “I love the music, but the pizza is AMAZING!” one satisfied customer writes on Facebook, where Pizzaoki has garnered 4.3 out of five stars. Yelpers have been a little more critical, doling out a 3.5-star rating. “It was good the next day when I ate a cold slice, like a heathen, after coming home through LA traffic,” opines one diner. “It was even a decent price. But, in the end, this was pizza.”
Are there haters?
Of course there are haters. Nobody wants to believe in a DJ-turned-pizza entrepreneur. “I love Steve Aoki but even he would be disappointed in what his pizza chefs are sending out to people,” says a less-than-enthused Yelper. Nevertheless, Aoki is undeterred.
“We faced the skepticism issue from the start, and it was one of the first conversations that we had,” he tells Forbes. “I already faced skepticism as an artist coming out of the gate. Of course, I still have the haters out there that want to bring me down on just the music side. I remember when I got my first Grammy nomination with my first album, and some of the music community were skeptical of a DJ coming into that space. The only way to battle it is by turning out quality content, quality service.”
What is Pizzaoki’s expansion plan?
Aoki and his business partner, Lawrence Vavra, are looking to ride the momentum that has come from their buzzy introduction in Los Angeles. The two reportedly want to open as many as seven more locations around LA and Southern California before the end of this year. Next year, they’ll add a San Diego establishment; head north to set up shop in San Francisco, Oakland, and Berkeley; and look beyond the Golden State to markets in Boston, Chicago, Miami, and New York City, totaling 15 to 20 locations around the country, by Vavra’s estimates.
What’s more, Aoki is already thinking about expanding across the Atlantic Ocean.
“Well, it’s kind of funny because I’ve been touring all summer and Pizzaoki is doing incredible, incredible numbers and getting an incredible response in LA, and all the interviews that I have been doing here in Europe and every single journalist wants to know when we’re bringing Pizzaoki to their country,” he tells Forbes. “When LV and I first sat down, we decided to conquer LA first then California and then the United States, that was the plan, but now the world is asking for it too. It’s so exciting to think I could bring Pizzaoki to Germany, Spain, France, and Italy, I mean, that’s the home of Pizza so who knows where we’ll end up going.”
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Author: Chris Fuhrmeister
Beloved Food Magazine ‘Cooking Light’ Is Ending Regular Print Issues
Some of America’s most reliable lifestyle and healthy-recipe magazines will disappear from mailboxes at the end of 2018. Less than a year after devouring Time Inc.’s collection of 22 food and lifestyle magazines, Meredith Corp. is scaling back two of its Birmingham, Alabama-based titles — Cooking Light and Coastal Living.
The publishing giant announced today that it will merge Cooking Light with fellow healthy-cooking title EatingWell under the EatingWell brand name. Both Coastal Living and Cooking Light will transition at the end of 2018 from subscription-based magazines to special interest publications available only on newsstands. Meredith also plans to outsource the work at its nearly 40-year-old hard-cover book division Oxmoor House.
Staff were informed of the major changes today and roughly 200 people were laid off at the publications as a result of the consolidations. The company is providing the employees who lost their jobs severance packages and outplacement benefits. Reached by Eater, a representative for the publisher said that there were no plans “at this time” to merge more Meredith titles. “We will continue to evaluate marketplace needs,” she added.
Cooking Light had been in circulation since 1987. The magazine gained a loyal legion of fans during its tenure thanks to its reliable stockpile of healthy, accessible recipes, published 11 times a year. The December 2018 issue will be Cooking Light’s final subscription-based issue. However, Cooking Light diehards will still be able to find their favorite recipe mag online and six times a year on newsstands beginning in 2019. Meredith’s food publication headquarters, which includes Food & Wine and Southern Living in its portfolio, will continue to operate in Birmingham, Alabama, with Hunter Lewis and Sid Evans serving as editors-in-chief.
The shutterings aren’t especially shocking. When rivals Time Inc. and Meredith merged last year, some acknowledged that with seemingly overlapping titles such as My Recipes and All Recipes, cuts and consolidations could be in the cards. Prior to the merger, Time Inc. made the major decision to relocate the New York headquarters of Food & Wine to Birmingham, closer to Cooking Light and Southern Living, and turn Lewis’s role into a dual one.
Meredith estimates that by combining EatingWell and Cooking Light’s subscribers, it will reach 1.775 million readers — about 80 percent of whom are women — making it the largest circulation in the epicurean magazine category. The new EatingWell will publish 10 times per year beginning with the January/February 2019 issue.
It’s been a notably tough few for food and lifestyle magazines. Lucky Peach shuttered in March 2017. In January, Saveur was effectively gutted in a round of layoffs that included the departure of its editor-in-chief and deputy digital editor.
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Author: Brenna Houck
At Least One Waffle House Has Closed in Anticipation of Hurricane Florence
For anyone still harboring any doubt about the ferocity of Hurricane Florence, hear this: At least one Waffle House location in the storm’s path is now closed.
The 24-hour chain restaurants rarely close, so news that the Waffle House in Myrtle Beach, South Carolina has shut its doors until after the storm passes is a clear indicator that this one’s going to be a doozy. Local news station WMBF reports the restaurant on Myrtle Beach’s Frontage Road is now “eerily empty” ahead of Florence’s expected arrival.
Waffle Houses close so infrequently that the Federal Emergency Management Agency uses the restaurants as a barometer for disaster recovery, utilizing an informal “Waffle House Index” to measure the severity of tropical storms and hurricanes in a particular area. Essentially, if a Waffle House closes that’s a sign that a storm was — or in this case, is anticipated to be — severe.
The Waffle House Index
Green: Waffle House is serving a full menu and electricity is on.
Yellow: Waffle House is serving a limited menu, may be low on food supplies, and is likely using an electrical generator.
Red: Waffle House is closed. (This is probably a good indication that it’s time to evacuate.)
The National Weather Service has dubbed Florence “the storm of a lifetime”; news outlets are warning that the storm, which is expected to make landfall as a Category 4, will be “catastrophic,” and it’s projected to cause massive inland flooding across the Carolinas and Virginia.
As NPR reported in the wake of Hurricane Harvey, Waffle House does its damnedest to stay open even when natural disasters strike, sending “jump teams” of restaurant managers from other regions to keep restaurants running, often serving a limited menu. And with numerous locations in Florence’s projected path, the restaurant chain is keeping a close eye on this storm:
Eater has reached out to Waffle House for information on any additional restaurant closures and will update with any further intel.
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Author: Whitney Filloon
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