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    What Sure Thing?

    The unthinkable happens on Top Chef Seattle restaurant wars

    Teresa Gubbins
    Jan 17, 2013 | 2:00 am

    In the history of Top Chef, no season has ever telegraphed a winner more clearly than this one, season 10, Top Chef Seattle.

    From the beginning — and especially since the departure of Dallas firebrand John Tesar — cheftestant Kristen has been the shoo-in, the hands-down favorite, the sure thing. Her dishes so perfect, her flavors spot-on.

    This has left us, the viewers, to numbly tally the other chefs, falling like dominos, until her inevitable victory. But there's no drama there — and that brings us to episode 11, part two of restaurant wars, a.k.a. the day the unthinkable happens.

    Kristen is so eager to take the blame for Josie's crappy bouillabaisse that she practically begs the judges to kick her off.

    Hints are dropped early of the shocking conclusion to come. The two teams — the all-girl French concept Atelier Kwan led by Kristen, and the all-boy Filipino restaurant Urbano led by Sheldon — are huddling when "Benedict Arnold" Josie sidles over to the boys to gripe about micromanager Kristen.

    Their conflict deepens when Josie — wearing a helpful red terrycloth headband that says "CHEF JOSIE" — botches her bouillabaisse. She starts it too late, then flubs the sauce. Kristen must serve it without its all-important gelatin. (Is it rude to ask what kind of $%#! bouillabaisse has gelatin?) Brooke diplomatically calls the Josie-Kristen conflict a "clash of styles."

    Brooke has other things on her mind. Make that one thing on her mind: impressing judge Danny Meyer. He's flat and monotonous as a pancake, with a strange, mechanical delivery that makes your skin crawl. But he's a VIP New York restaurateur. As violins play, he'll spot her across the room in her gossamer hostess dress and see her for the credible, talented chef she is. Oh, Danny.

    The judges like the girls' service, but they like the boys' food. They hate hate hate Stefan's Germanic brusqueness. He fails to describe the Filipino balut that Dallas chef Josh Valentine made and, OMG, the moaning and crying and kvetching. It puts them in a total snit. Judges, he's doing you a favor: It's a 24-day old duck embryo boiled in its shell. You don't want to know.

    Besides, Stefan is responsible for the episode's one good line, when he explains his interest in floral arrangements.

    "Everybody thinks that every European is gay, but we just do like flowers," he says.

    In the end, the boys' team wins. That means one of the girls will go home. Do they boot Josie for crappy bouillabaisse? Or do they ax team leader Kristen, so eager to take the blame that she practically begs them to kick her off? Padma The Witch gnashes her teeth at Kristen, and so Kristen is banished from the forest.

    She pats herself on the back for having integrity and marches on to Last Chance Kitchen. Hey, she won a bucket of cash. And we'll surely see her again. These days, with these shows, you always do.

    Judge Tom Colicchio consults with chefs Josie and Kristen.

    Top Chef Seattle, Josh Valentine, Tom Colicchio
    Photo courtesy of Bravo
    Judge Tom Colicchio consults with chefs Josie and Kristen.
    unspecified
    news/entertainment

    Movie Review

    Jodie Foster brings depth and wit to French thriller A Private Life

    Alex Bentley
    Jan 30, 2026 | 9:41 am
    Jodie Foster in A Private Life
    Photo by Georges Lechaptois
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    Jodie Foster has been a member of the Hollywood community for almost 60 years, first as a child actor on TV, and then branching out into movies. She earned an Oscar nomination at the tender age of 14 for her role in Taxi Driver, and she’s gone on to be nominated five times, winning twice. Now, at age 63, she’s showing she’s still capable of surprises by fluently speaking another language in the French film, A Private Life.

    Foster plays Lilian Steiner, a psychiatrist who sees patients out of her Parisian apartment. When she learns of the death of one of her patients, Paula (Virginie Efira), she’s sad but otherwise unaffected until a few suspicious things start happening. This includes the robbery of her apartment, in which a recording of Paula’s last session with Lilian goes missing.

    With the help of her ex-husband, Gabriel (Daniel Auteuil), Lilian becomes an amateur private detective, tracking the movements of Paula’s husband, Simon (Mathieu Amalric), whom she increasingly suspects of murder. At the same time, Lilian must navigate a tense relationship with her son, Julien (Vincent Lacoste), along with an unexpected rekindling of romance with Gabriel.

    Written and directed by Rebecca Zlotowski, and co-written by Anne Berest, it is a psychological thriller that at times feels like an Inspector Clouseau movie. With little to go on but her own perhaps misguided suspicions, Lilian digs herself deeper into a situation of her own making. And she further clouds her mind by indulging in a tryst with Gabriel, who’s all too eager to help Lilian pursue her criminal theories. While the film is not a comedy, there are elements of humor that pop in to keep the story light.

    Zlotowski plays with the competing tones of the story well, keeping viewers on Lilian’s side even as she indulges in things that might not be the healthiest for her. Lilian’s various eccentricities - an adherence to recording on old-fashioned mini discs instead of fully digital, keeping an emotional distance from her son and grandson - make her a fascinating character whose vacillating motivations keep viewers guessing as to what she’ll do next.

    In a lot of ways, the film is a study of how Lilian needs to try to find ways to heal herself. The possibility of Paula being murdered wakes Lilian up to the idea that she has not been as attentive a doctor as she should be. The sessions with different patients that Zlotowski shows give the impression that there’s a general level of dissatisfaction with her, with one patient outright breaking up with her.

    Foster is no less compelling speaking mostly in French than she is in English language movies. Her fluency is never in doubt, and she fits in seamlessly with the actual French actors in the film. Auteuil is a fun counterpart for Foster, showing an unexpected chemistry with her that keeps their scenes crackling with energy. Amalric, a Wes Anderson favorite, has a relatively small role but still stands out when he gets a chance.

    A Private Life is not the type of thriller that American audiences might be used to, but its slow, methodical storytelling and subtle humor make it an interesting watch from beginning to end. The film is not up for any awards, but Foster’s performance shows she remains a top-tier actor.

    ---

    A Private Life is now playing in select theaters.

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