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    Top Chef Recap

    Starved for drama, Top Chef trumps up Tesar's spars

    Teresa Gubbins
    Jan 20, 2017 | 9:13 am
    Top Chef, John Tesar
    Top Chef finds drama in the Restaurant Wars episode.
    Photo courtesy of Bravo

    The worm turns on the latest episode of Top Chef, as Dallas chef John Tesar gets backed into the villain box on the fittingly themed Restaurant Wars segment.

    The official plot line for this episode 8 centers on a battle between Tesar and fellow contestant Katsuji Tanabe. But there's a covert campaign by the show's producers, as they shift their portrait of Tesar from amusing goofball to the role of the guy you love to hate.

    The scenes all present Tesar in an increasingly unfavorable light. Is that who he is? Or is he just the fall guy because it's the only narrative they can find in a cast that's otherwise a bore?

    The other chef who gets drubbed is Emily, and they start in on her right away. The episode opens on her crying, ugh, about last week's outcome when Jamie gave up his immunity, thereby allowing her to stay. On Top Chef, the unspoken rule is that crying is strictly for losers. You can feel the scorn behind the camera.

    With Restaurant Wars, the contestants split into two teams who must open a mini-restaurant. Everyone greets this challenge with strange glee, like it's free soft-serve. Tesar is pumped, since he missed out on Restaurant Wars the last time he was on Top Chef.

    "I was one episode away from Restaurant Wars, and it's haunted me for the last four years," he says.

    The leader of his team is Katsuji, who wants to go big by making three dishes. So Tesar is executive chef. He'll expedite orders, a task he takes so seriously that he dons one of those little rubber finger condoms you use if you're counting money or stacks of paper. They're called cots. Ex-Dallas chef Casey Thompson will do front of the house.

    "I like a woman in the front of the house, and I'm not being sexist," Tesar says, seemingly unfamiliar with the very definition of the word sexist. "I could do front of the house, but I get a little kinetic."

    But Casey doesn't mind. She cockily declares that she'll run a tight ship. On Top Chef, brags like that are always a red flag.

    The other team, the team that does not brag, goes first, and everything's hunky dory. Not the case for Tesar's team. The kitchen is chaos, and Tesar and Katsuji spat. "I need tomatoes," Katsuji says. "I'm doing your tomatoes," Tesar says. Argue argue argue.

    Teammate Sheldon referees, with a line destined for tweetness: "You cannot cook with hatred in your heart, the food will suffer for it." Right?

    Tesar can't expedite — that cot is no help — and his odd crab pimento cheese is a bust. Casey flubs the front of the house, and Sheldon's dish is covered with a forest of edible flowers, like little purple pixies.

    But it is Katsuji's over-reaching that turns out to be the fatal mistake. He wants to be the star. Judge Tom Colicchio says some ego is okay, but not that much ego. There's no I in team, people. Naked ambition cannot be tolerated. Katsuji must go.

    He's a good sport about it. He probably knows that, without him, next week's episode will be irredeemably dull.

    celebritiestvchefs
    news/entertainment

    Two-Five-Eight

    Deaf performers and audiences get spotlight in new Dallas variety show

    Lindsey Wilson
    Aug 15, 2025 | 4:17 pm
    Rebekah Covington
    Photo courtesy of Prism Movement Theater
    Rebekah Covington is one of the hosts of '258.'

    The Dallas-based Prism Movement Theater is reimagining what accessible performance can look like with its upcoming 258 (Very Interesting) Deaf Variety Show, a cabaret-style celebration of Deaf performers, Deaf culture, and visually captivating art forms.

    Directed by Alix Gavin, Rebekah Covington, and Jeffrey Colangelo, the show promises an evening of dance, circus, clowning, fire performance, and ASL poetry, all intentionally designed with Deaf audiences in mind.

    “For years, we’ve had the feeling that Prism’s unique approach to wordless theater would work excellently for the needs of Deaf audiences,” says Colangelo, Prism’s artistic director. “After collaborating with Deaf artists Rebekah Covington and Alix Gavin, we discovered we had the chance to create something that didn’t just make theater accessible, but truly centered Deaf experiences.”

    That focus drives every element of 258. Too often, Colangelo explains, “Deaf-accessible” productions require audiences to glance away from the action to watch an interpreter, an arrangement that can cause them to miss pivotal moments. This time, the interpreters aren’t off to the side translating for Deaf audiences. Instead, they’re there for the hearing crowd, translating a show that is performed entirely in ASL and visually rich movement.

    “With our upcoming Deaf Variety Show, we’ve designed the performances so the audience will never have to turn away from the action to enjoy it,” Colangelo says. “ASL becomes the movement art we focus on, with our hosts, Alix and Rebekah, speaking entirely in ASL to introduce the acts. It’s truly a show designed by Deaf artists for Deaf audiences.”

    Still, hearing audiences are more than welcome. “We highly encourage them to attend as well,” Colangelo adds. “They’ll get to immerse themselves in Deaf culture, while enjoying a night filled with poetry, fire, clowning, and circus.”

    The show’s name — 258 — comes from ASL slang meaning “very interesting.” It’s an apt descriptor for a production where every act, from Deaf dancer Kenjuto Jerome to Deaf comedian Sabrina Mercado, has been curated for maximum visual and cultural impact. Clowns Shanthany Wilkerson and Jonah Gutierrez bring physical comedy into the mix, while the glow of candlelight and the intimacy of the cabaret format create a communal atmosphere.

    Performances will take place at multiple Dallas venues:


    • Artstillery Building – August 22 & 23 at 7:30 pm
    • Bachman Lake Recreation Center – September 5 at 7 pm
    • Dallas Children’s Theater – September 13 at 7:30 pm

    Tickets are $15 and available at prismmovementtheater.org/tickets.

    For Prism, 258 is part of a larger mission. Since 2017, the company has expanded its work in underserved Dallas communities, producing original movement-based theater that blends inclusivity, artistry, and community engagement. With 258, which is supported by a Moody Fund for the Arts grant, they’re taking that ethos further, ensuring that Deaf audiences aren’t just accommodated, but celebrated.

    accessible performanceasldallas childrens theaterdeaf and hearing audiencesdeaf artistsdeaf audiencesdeaf comediandeaf communitydeaf hostsdeaf performersdeaf variety showdeaffriendly performancesmoody arts fundprism movement theatertheatervariety show
    news/entertainment
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