This year's chef portraits TheBear and TheMenu showcase two sides of the same tortured artist coin, DoNatoBomb writes:
A toast, dear readers, to the year of “Yes, chef!” Audiences hungry for crispy-seared drama devoured not one, but two tremendous achievements in food-based entertainment. Christopher Storer’sbecame one of FX’s buzziest 2022 programs based on its Chicago beef sandwiches, and Mark Mylod’searned praise as a charred-black Michelin star satire.
“Tortured Artist” stereotypes have existed since the inception of egos and the romanticism of creative professions. “Great art comes from great pain,” proclaims author Christopher Zara in his biographical collection about tormented creators aptly titled.
What’s integral to both chefs’ reaffirmation is that signature dish that tastes, smells, and warms like a comforting hug. Carmy describes a small bite with four different preparations of plums and the army of cooks required for each component, yet it’s a family-style spaghetti dinner that Michael one prepped with canned tomatoes that is his salvation.
Of course, the outcomes of both chefs vary because Julian doesn’t change his mind about scorching privileged Brown graduates with zero loans—Hawthorne still explodes in a fireball, killing the art, the artists, and its audience. No one deserves the Hawthorne, nor does Julian understand why outside his own egotism.
are two tantalizing explorations of the hardships that come from upgrading a high-demand talent to a lucrative career where accolades and praise can be found as much as failure and broken hearts. There’s so much passion behind Carmy and Julian—the passion that propels all creatives—and both characters are examples on opposite sides of the spectrum about what happens when said creatives lose control.
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