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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

    Movie Review

    Death stalks a new generation in gory Final Destination: Bloodlines

    Alex Bentley
    May 15, 2025 | 3:49 pm
    Kaitlyn Santa Juana in Final Destination: Bloodlines
    Photo by Eric Milner
    Kaitlyn Santa Juana in Final Destination: Bloodlines.

    On the surface, the Final Destination films really shouldn’t work. There is no villain other than the concept of death itself, and nearly every death that occurs is foreshadowed so heavily that it removes the normal suspense that comes in horror films. And yet the franchise was successful enough to spawn five films over 11 years in the early 2000s, and now a reboot, Final Destination: Bloodlines.

    A fantastic opening sequence set in the 1960s sets both the tone and the plot of the film, in which Stefani (Kaitlyn Santa Juana) has a recurring nightmare about a disaster that her grandmother, Iris (Gabrielle Rose), helped to avert. A visit to the reclusive Iris convinces Stefani that she and her family should not exist, and that each one of them is destined to meet a grisly end in the near future.

    Met with resistance from her family members, Kaitlyn is unsurprisingly proven right as the film goes along, with different people dying in a variety of bizarre ways. A visit to William Bludworth (the late Tony Todd), a mortician who’s been the one constant in the series, provides a glimmer of hope that they can cheat death. But will they figure it out before it’s too late?

    Directed by Zach Lipovsky and Adam B. Stein, and written by Guy Busick and Lori Evans Taylor, the film does not try to reinvent the wheel for the concept. The entire point is to get as creative as possible with the death scenes, and the filmmakers take that mandate seriously, with each successive death becoming increasingly gruesome. The Rube Goldberg-like manner in which each death occurs makes the scenes come off as entertaining instead of off-putting.

    The idea of Death hunting down an entire family line due to the actions of the family elder is a solid twist on the series’ central premise, and that change keeps the film from feeling repetitive. The story also introduces the possibility that the entire series is connected due to Iris’ actions, with the character possessing a scrapbook that references well-known incidents from previous films, a fun Easter egg for longtime fans.

    The creativity of the kill sequences does not carry over to the overall story, though. Almost every character in the film only exists in order to meet a horrific end, so anything that they have going on outside of being stalked by Death is purely window dressing. Consequently, it’s hard to really care about anybody, even if they are all related to one another.

    Because characters are so easily dispatched in the film, the cast is devoid of well-known actors. This is by far Santa Juana’s biggest role to date, and she does well enough to want to see more of her in the future. Adults like Alex Zahara and Rya Kihlstedt are character actors who bring some history with them, while the younger group is composed of people still trying to make names for themselves.

    Final Destination: Bloodlines is a solid return for the franchise, even if it feels more like a one-off film rather than a justification for more stories in the future. But given how easily the concept can be adapted into new circumstances, don’t be surprised if another movie pops up in a couple of years.

    ---

    Final Destination: Bloodlines opens in theaters on May 16.

    moviesfilm
    news/entertainment
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