OMG. What a coincidence. It’s Amazing. Two days after I post my VIP (who would have thunk it?) invitation to pay for the privilege of working as an extra on yet another televised kitchen-schlacht with celebrity chefs, tension and bad music, Chris Cosentino’s MAD Symposium presentation goes viral. Cosentino recounts food show abuse and exploitation of chef- gladiators and the judges who kick them off their island. It’s pretty grim. It includes endoscopic images of Cosentino’s tortured stomach. That’s ironic considering he launched the American fascination with offal, nose to tail, snout to ass cuisine.
I’m not crazy about television culinary competitions. The concept of chefs as competitors rings false, the voice overs are unnerving, and then there’s the music. If I were one of them and they played that the tracks during my prep, my final dish would be friend producer’s heart and liver with onions with a side of sound engineer’s ears. I wouldn’t hold out watching people I respect forced to down bowls of hot chile peppers. Side by side demonstrations – fine. White coated frenzy: disturbing, so I may be a bit biased, but it I do believe everything he says.
Cosentino is not the only one to report odd practices on gladiator cooking shows. Here’s what I’ve been told by other chefs who have participated in one show or the other.
- Reality schmeality – much is staged, and real kitchens don’t work that way. There’s nothing exciting about chopping vegetables in a real kitchen. The gold standard is order, not adrenaline. The gold ring of reality TV is drama, not food. Gladiators vs lions. Bread and games.
- Compensation is poor. The lure is fame, possible money, exposure to people who will either eat at the restaurant and come there. That works for some. Not for others.
- The contracts are restrictive and demanding. The producers have attorneys and the contestants generally don’t.
- The game is rigged. The winner is frequently per-determined according to my chef friends. They set the users up to fail by artificially creating insurmountable stress situations: shortening their prep time, the food basket or the backup staff at the last minute. When you see a chef blow his top on a food show, it’s because he’s been set up to fail.
- Contestants, even the losers, are committed to appear where and when the production desires for a long time following the show, which makes finding a regular job a challenge.
After a half year flirt with the show Restaurant Headhunter and a few dealings with production companies looking for talent, I have a few insights to add.
The producers and their minions don’t seem to know or care much about real kitchen reality. The only information on potential candidates they request is a head shot and a screen test. Whether they can cook is immaterial. .
They don’t seem to have the money you would think they do. I thought Hollywood was awash with the stuff. Apparently not. Maybe it’s all come up to Silicon valley to fund sharing sites. Pointing out that I find talent for a living and thus would charge for the service generally results in stunned silence of stammering. I suspect the minions who call are unpaid star struck interns, but this being the age of the fourteen year CEO, who knows.
The Rival VIP invite to participate as an unpaid – nay paying – extra in a show with “celebrity” chefs (they asked a few candidates of mine who are definitely not celebrity, just chefs) through a Kickstarter campaign would suggest that Valley new billionaires are not throwing wads of cash at start up food shows.
Perhaps there have been too many. Perhaps the shows are going too far afield from the first one, Japan’s “Iron Chef”. Too many games, too much circus, too little substance. But then, Iron Chef was created by the people who make Toyota. We make Chevy’s.
Never having been a fan of extreme competition I find the entire chef as gladiator / food as blood sport bizarre for a world where teamwork and camradery have long been the norm and respect the gold standard, but then the food component is has become another vehicle for suspense and team partisanship: Who finds the treasure first, which sexy girl gets to bed the millionaire or which millionaire gets to bed the sexy girl, who stays on the island. Chefs are glamorous, even the homely ones are gorgeous in white and everyone eats. Obviously “Top Chef” draws better than “Star Plumber” or “Celebrity Mortician.
One of the strange impacts of the celebrity cooking contests was a rash of young people taking out large loans for cooking school with the intent of becoming TV chefs. Maybe that’s why nobody can find good cooks these days. I’m thinking, though, I think that things are changing.
Chefs I recently approached for a show I was asked to staff flatly refused.. They tell me they’ve been “warned”.. When I was considering Restaurant Headhunter, experienced food media people warned me: They don’t care about you. They will try to make you look bad, to trip you up. They will try to make the people you get involved look bad. Your reputation can’t use that. Eventually the producers reached out to me again and asked me to provide candidates and a restaurant as a favor, as the more media appropriate “Head Hunter” they hired hired knew nobody in California and didn’t know how to recruit them. Guess the answer.
And there is Jon Favreau’s non reality but very real movie, “Chef The Movie” , released earlier this year, which portrays the work of a chef as chef. Favreau’s characters are so realistic, that’s I’d send them out to kitchen jobs in a heartbeat. I know the model for his first employer. I know his sous. I’ve met him a dozen times. Favreau’s knife work is as dramatic an act as I have ever seen. Without music. The passion monologue to his son – This is what I do, this is my passion – is inspiring. The movie, aside from the tiniest pinch of fantasy or two, is really reality restaurant media.
I have no doubt Favreau’s movie has made an impact. For the past decade or so I have had many, many aspiring culinary stars asking me what my media connections are. “I don’t want to work in a kitchen. I want to be on Television and have my own show.” . For the past six months, however, I’ve had requests for information on owning a food truck. My friend Micah Martello went that route, and he tells me he hasn’t looked back.
Obviously food trucks are not the essence of cooking, but cooks are being inspired to work in kitchens, rather than on stages. Media is always going to be part of any chef’s life, but the kind of dysfunctional circus my chef friends and Chris Cosentino describe is at least being put in perspective.
As Bud the Pieman says, “Make Pie, not War.” I like that.
Chris Cosentino suggests he’s worried about his future. I am not. He’s smarter than the people who used him and he’s got more class. As for the autism issue, join the club. At least half of kitchen people are autistic. In the right setting it’s a gift. Good luck to him, but he probably doesn’t need it.