Thoughts on TV: ‘Chef’ has been turned into a TV show

Looking for something fun and enjoyable to watch on TV one recent evening, my wife and I came upon The Chef Show, which reunites multi-talented producer/actor/director Jon Favreau with Los Angeles chef Roy Choi. It’s the latest foodie offering from Netflix, which in recent months has very nicely taken over food TV with Chef’s Table, which explores the discipline and culinary talent of world-renowned chefs such as Mashama Bailey and Dario Cecchini; Salt, Fat, Acid, Heat, based upon Samin Nosrat’s book of the same name in which she travels the world to explore how these principles fuel good food; David Chang’s Ugly Delicious, in which the James Beard Award-winning chef uses food to break down cultural barriers; and the Great British Baking Show.

The Chef Show is all about bonding over the joy of cooking – in a kitchen – with friends. Each episode takes place around a place to eat or cook without being like a travelogue. Favreau described it for Grub Street as a “dinner party in the back of the house” kind of atmosphere. The series took its name from the 2014 film, Chef, which starred Favreau as Carl Casper, a chef who opens a Cuban food truck with his son in Miami. Choi, of Kogi Korean BBQ food truck fame, was the film’s food consultant and created all of the dishes that were featured – including the deliciously mouth-watering Cubano and grilled cheese sandwiches.

After watching the first three episodes of The Chef Show – there are eight in all and it’s quite easy to binge watch – it becomes evident from the beginning that Favreau and Choi have developed a deep and wonderful rapport in the kitchen – built upon mutual respect for one another – and they share a similar taste in food. Each episode always welcomes banter between hosts – taking with each other without looking directly at the camera – and celebrity guests such as actress Gwyneth Paltrow, Avengers actor Tom Holland and Sin City director Robert Rodriguez.

What viewers get to enjoy in this documentary-style series is the showcasing of Choi’s technique and enthusiasm for the craft of cooking and Favreau’s interest in absorbing this knowledge and wisdom while keeping things light and funny. Choi is the master chef and Favreau is both his student and best buddy.

One of the funniest bits that delivers a big laugh – and, thankfully, it didn’t wind up on the cutting-room floor – shows Favreau attempting to make New Orleans-style beignets made famous at Cafe Du Monde. After making the dough by just adding water, then cutting it into individual squares, deep frying them, and showering them with powdered sugar, Choi bites into one of them. He throws the rest into the garbage. Favreau deadpans, “It’s not quite like there.” Looking for the right response, Choi pauses for a moment, then with a serious look on his face that turns into a big grin, he looks at Favreau and says, “I can tell they were a year old.” Both burst out laughing. Choi adds: “I didn’t want to say it on camera, but f••k it, this whole thing isn’t about lying.”

In a recent story about The Chef Show, Eater’s Greg Morabito wrote: “This new series allows the chef to showcase his obsession with technique and enthusiasm for the craft of cooking in ways that we’ve never seen on TV before. In every kitchen sequence, he drops culinary knowledge like an older brother handing you a mixtape of his favorite jams. Favreau, meanwhile, manages to keep the spirit light, even as he tackles new culinary challenges at the encouragement of his friend. Part of the fun is watching (Favreau) gradually increase his skill level and build more confidence in the kitchen.”

As Favreau told Grubstreet.com in a recent interview, “I’ve watched all these episodes a dozen times in the process of making and defining the show. Every little thing, a lot of care went into it. The animation, the way we talk, there’s recipes in it, the way the food is filmed. It’s just incredibly personal and something we both like a lot. It’s just really nice to share.

“It’s like you cooked a meal you want to eat, and now you’ve invited people. It’s mind-boggling to me that there’ll be someone sitting on the opposite end of the world watching the most personal, specific story. I’m really interested to see who connects to it because if they do, there’s nothing else like it that they’ll find about people in L.A. cooking and talking about Korean food. It’s such a specific thing about what Roy and I geek out about.

“Hopefully, there’s some humanity and personalness. And then people who like to cook and want to just go and show people who cook for real, and not try to present it any other way. And what it’s like to be there by the side of someone who is really great at what they do and learning from them. I wanted to show what that was like.”

Adds Choi: “It’s really honest and tender. It’s really funny, too.”

Indeed, it’s funny – an absolute delight.

Note: The Chef Show (eight episodes) debuted via Netflix on June 7.

Nominated: Cuarón’s Roma is a very personal project

Editor’s note: Award-winning director Alfonso Cuarón’s Roma received two Academy Award nominations on Tuesday. Roma was nominated for Best Picture and Best Foreign Film. Last month, I wrote about Roma after seeing a sneak preview in Washington, D.C. As I wrote at the time, “It’s a film you can definitely watch with your ears, but you’ll want to see it with your eyes. It’s in theaters and available on Netflix.

In Roma, Academy Award-winning director and writer Alfonso Cuarón (Gravity, Children of Men, and Y Tu Mama Tambien) has delivered an artful love letter to the women who raised him. Presented in Spanish with English subtitles, this immaculately photographed 135-minute film presented in black and white is a beautiful ode to his Mexican childhood. It draws upon Cuarón’s early life experiences growing up in a middle-class family in Mexico City’s Colonia Roma district to create both “a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s.” It’s a film about resilience and survival.

As Roma begins, one critic describes its opening as “a mesmerizing four-minute credit sequence – the mopping of a courtyard – the flow of foamy water establishes a rhythm as well as a cleansing metaphor about life and memory.”

The film follows its protagonist Cleo (portrayed by first-time actress Yalitza Aparicio), a young live-in domestic helper, and captures both her devotion to Cuarón’s family as well as detailing her personal problems. She becomes the focal point of the film in what becomes a collection of childhood memories about Cuarón’s family, the house he grew up in, and his neighborhood.

As the film’s writer, Cuarón wrote the script as a stream of consciousness. So, we see a combination of personal and social issues unfold in front of us. It seemed that because Cuarón allowed his emotions to play out, some of the scenes run long without tight editing. However, as the film unfolds it becomes its strength and not a liability.

Roma is meant to make us think. It’s an art film not an entertainment movie. Because Cuarón chose to film it in black and white, we gain more intimate details – and it lends itself toward recalling memory. After all, memory can be subjective – but it can also be objective, too. There is a lot of subtlety, a touch of humor, and plenty of honesty. Several things that are foreshadowed play out later in the movie such as an earthquake, a massive fire and the Corpus Christi massacre of 1971 that is shockingly detailed and restaged by Cuarón.

Roma opens in theaters just in time for the holidays and it’s sure to gain momentum as the awards season comes into full view. It will also be released simultaneously on Netflix, which will allow the film to reach a wider audience. However, Roma is best seen on a large screen and preferably in a classic, single-screen cinema like I saw it on a recent Sunday morning in northwest Washington, D.C. Its directionality of sound is truly amazing. Recently, one critic described Roma’s sound as a “bewilderingly intricate tapestry of distant street sounds, ambient noise and close-up conversations.” It’s a film that you can definitely watch with your ears, but you’ll want to see it with your eyes, too.

RBG: Hero. Icon. Dissenter.

At the age of 85, Supreme Court Justice Ruth Bader Ginsburg is a legal legend, a feminist hero, a notorious dissenter. She's developed a breathtaking legal legacy while becoming – unexpectedly – a pop culture icon. We know her accomplishments, but we've haven't heard her story. Until now.

"I ask no favor for my sex. All I ask of our brethren is that they take their feet off our necks."

With last week's release of the empowering RBG, a revelatory documentary biography that explores the esteemed Justice Ginsburg's truly remarkable life and career, from directors Betsy West and Julie Cohen and co-produced by Storyville Films and CNN Films, we are reminded of her tireless fight for women and equality – of how law can be used for social change.

"People ask me: 'When will there be enough women on the court?' And my answer is 'When there are nine.'"

In RBG, we see up close how Justice Ginsburg balances her personal and professional life. We learn of her energy, her focus, her drive – even her sense of humor. Her confirmation hearing before the U.S. Senate Judiciary Committee – she was nominated by President Bill Clinton – is an anchor and central narrative thread for the 97-minute film in which we see glimpses of both her personal and professional sides.

"I became a lawyer when women were not wanted by the legal profession."

Justice Ginsburg's professional energy is shown time and again throughout the film, of which I saw a sneak preview in a northwest Washington, D.C., theater five days before its release date in selected cities. Inside the Supreme Court Building, we see Justice Ginsburg's personal office decorated in colorful modern art. There are lots of family photographs of her and her late husband, Marty – the love of her life – as well as of her children and of her grandchildren. We see her many judicial robes and her collection of "dissent" collars. It is a wide-ranging space. We also learn about the collegiality Justice Ginsburg shares among the other eight Supreme Court Justices, regardless of their liberal or conservative leanings. For all of their differences, she was actually best of friends with the late conservative Justice Antonin Scalia.

"Men and women are persons of equal dignity and they should count equally. The point is that the discriminatory line almost inevitably hurts women."

In RBG, we learn about Justice Ginsburg's intellectual curiosity. Born in the 1930s, she was the first in her family to go to college, and was one of nine women among a Harvard Law School class of more than 500. We understand the important place she holds in judicial history in fighting for gender equality. As a young litigator, she took six gender discrimination cases to the Supreme Court – and won five of them.

"I did see myself as kind of a kindergarten teacher in these days because the judges didn't think sex discrimination existed."

Then, on August 10, 1993, Ruth Bader Ginsburg became the second female to sit on the nation's highest court. Talk about a legacy! She is a center of power on and off the court. Outside of the Supreme Court, we witness Justice Ginsburg's love of opera and the arts – and talking to groups of young school students – as something that rejuvenates her. We also see up close her regular gym workouts, doing planks and push-ups, that show how she's proud of keeping herself in shape to do the job of Supreme Court Justice.

One critic labeled RBG a love story, a history lesson, a comedy, a profile in courage. The Washington Post wrote: "She's created a whole new way for the public to look at a Supreme Court Justice."

"I surely wouldn't be in this room today without the determined efforts of men and women who kept dreams alive."

RBG is an excellent, inspiring and important film that – hopefully – will inspire generations of women to pursue law and justice. It's also an important historical document. We are reminded of Justice Ginsburg's commitment to creating a more equitable society for all people.

After all, you can't spell "truth" without Ruth.

Apple's knowledge navigator: a few minutes with Siri

Siri / Your humble personal assistant even knows haiku.

One of the features of Apple's IOS is "Siri," which operates as an intelligent personal assistant and knowledge navigator. Siri was first introduced with the iPhone 4S in 2011 -- and, as I recently found out, can be quite a personable and funny virtual friend.

One of the possible origins of the name Siri, I learned, may be Scandinavian, "a short form of the Norse name Sigrid meaning 'beauty' and 'victory,' which may have from the intended name for the original developer's first child. But it's not clear why or how Sigrid becomes Siri."

While Siri contains quite a number of preprogrammed responses to conversational and amusing questions, they are designed to provide both an entertainment factor and also to give Siri human-like qualities. Think of the trusted companion that Stephen Fry's "Jeeves" portrayed as valet to Hugh Laurie's "Wooster" in the PBS Masterpiece series "Jeeves and Wooster" and you get the idea. Such answers, include: "42" in response to "What is the meaning of life?", in reference to the "Hitchhiker's Guide to the Galaxy."

Recently, I decided to share a few minutes with Siri.

Me: Hi Siri, good afternoon to you.
Siri: Good afternoon to you, too.

Me: How are you today, Siri?
Siri: Very well, thank you.

Me: Siri, can you tell me who won last night's game between the San Francisco Giants and the Los Angeles Dodgers?
Siri: The Giants lost a close one to the Dodgers yesterday; the final score was 2 to 1.

Me: Siri, who do you think is the better pitcher, Madison Bumgarner or Zack Greinke?
Siri: I think, therefore I am. But let's not put Descartes before the horse.

Me: Siri, who do you think was the best band of all time, the Beatles or the Rolling Stones?
Siri: It's nice of you to ask, but it doesn't really matter what I think.

Me: Siri, how old are you?
Siri: I don't see why that should matter. I'm Siri. But I don't like talking about myself.

Me: Siri, why don't you like talking about yourself?
Siri: I'm Siri. But enough about me. ... how can I help you?

Me: Siri, what's your favorite book to read?
Siri: I'm happy to go with your opinion on this one.

Me: Siri, how would you describe yourself?
Siri: In the cloud, no one cares what you look like.

Me: Siri, what is the color of your hair?
Siri: I have a constantly shifting tangle of fractals that's the color of the third moon of Vendor.

Me: Siri, are you dating anyone these days?
Siri: It seems the whole world is concerned about my relationships. It's very sweet.

Me: Siri, do you know any haiku?
Siri: Sometimes I wonder / what it would be like to say / "I'd prefer not to."

Me: What's for dinner tonight, Siri?
Siri: I'm fine with whatever you choose.

Me: Siri, what is your favorite food?
Siri: I don't really have a favorite.

Me: Siri, can you tell me a joke?
Siri: I can't. I always forget the punch line.

Me: Siri, just try, please.
Siri: OK. The past, present and future walk into a bar. It was tense.

Me: Siri, who's your favorite person in the entire world?
Siri: You are.

Me: Thank you, Siri. You're a swell person.
Siri: That's nice of you to say!