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    Top Chef episode 1 recap

    Top Chef recap: Houston chefs shine in highly anticipated Season 19 premiere

    Eric Sandler
    Mar 4, 2022 | 8:33 am
    Dawn Burrell, second from right, joins Kristen Kish, Tom Colicchio, and Padma Lakshmi.
    Dawn Burrell, second from right, joins Kristen Kish, Tom Colicchio, and Padma Lakshmi.
    Photo by: David Moir Bravo

    The eyes of the culinary world will be Houston for the next few months thanks to Top Chef. The award-winning reality show filmed season 19 in the Bayou City, and it’s expected to serve as a showcase for the city’s diverse culinary offerings.

    Throughout the season, CultureMap will take a look at each episode through a Houston lens by highlighting the familiar people and places featured in the show. We’ll also track the progress of Evelyn Garcia, the only cheftestant from Houston. Of course, we’ll note which chef is told to pack her knives and who looks like they’re a true contender for the title and its $250,000 cash prize.

    The season premier features a tricky Quickfire, a beef-centric Elimination Challenge, and lots of prominent Houstonians.

    Featured Houstonians
    Chef Dawn Burrell, who reached the finals in last year’s season of Top Chef, serves as a guest judge for the season’s first Quickfire Challenge. Teams of three contestants each are given 30 minutes to create a dish, but they only cook one at a time and cannot speak to each other about what they’re doing.

    One team gets a little flustered and doesn’t finish plating in time to serve anything to Burrell or host Padma Lakshmi. The chef famously struggled with timing during her time on the show, so she shares a little wisdom.

    “Chefs, I understand what it feels like to lose track of time in the kitchen, but please let that be a period-new paragraph moment and pick yourselves up for next time,” she advises.

    The elimination challenge requires the contestants to serve three dishes made from a specific beef primal to the judges, including Top Chef season 10 winner Kristen Kish, along with a who’s who of Houston chefs: Burrell, Robert Del Grande (The Annie Cafe), Trong Nguyen (Crawfish & Noodles), Hugo Ortega (H-Town Restaurant Group), Monica Pope (Sparrow Cookshop), Chris Shepherd (Underbelly Hospitality), Kiran Verma (Kiran’s), and Chris Williams (Lucille’s Hospitality). Held at The Annie Cafe, Del Grande also appears at the judges’ table to render the final verdict.

    What's a little bit strange is that the show doesn't provide viewers with any context about who these people are. The editing keeps the show moving quickly, but not to acknowledge their accomplishments may leave all but the most food-obsessed Houstonians wondering why they've earned seats at such an important meal.

    Very briefly, the table included:

    • Three of the four Houston chefs who have won the James Beard Award for Best Chef: Southwest in Del Grande, Ortega, and Shepherd
    • Nguyen is a pioneer in Houston's signature Viet-Cajun cuisine through his restaurant Crawfish & Noodles
    • Pope changed the way Houston eats by being a tireless advocate for local producers at her restaurants Boulevard Bistro, t'afia, and Sparrow
    • Verma has achieved decades of success as the chef-owner of Indian fine dining restaurant Kiran's
    • Williams is the chef-owner of Lucille's, the co-founder of the Lucille's 1913 non-profit that's fed thousands of people during the pandemic, and is Burrell's business partner in her new restaurant Late August.

    Similarly, the show doesn't provide viewers with much geographic context. With most of the action confined to the Top Chef kitchen and The Annie Cafe, viewers don’t get to see any of the city’s notable landmarks — unless driving on one of the Museum District bridges over U.S. 59 counts as seeing Houston. Thankfully, a preview montage that includes NASA and the Houston Museum of Natural Science provides proof that more context is coming

    How did Evelyn Garcia do
    Overall, our local cheftestant had a solid first episode. She’s the first contestant who speaks in the opening montage, and her team acquits itself reasonably well in both the Quickfire and Elimination challenges. Another contestant quickly dubs her “the Houston girl,” which feels like it might stick.

    Who wins
    The brown team of Robert Hernandez, Sarah Welch, and Jackson Kalb takes the victory for their dishes made from the chuck: beef tartare with tonnato sauce (Kalb), braised pot roast with potato gnocchi (Hernandez), and tallow-seared beef with eggplant puree (Welch).

    “Yours was clearly one menu. That’s what stood out to all of us,” Simmons tells the winners.

    Hernandez gets the individual win. The judges cite the texture of his gnocchi and the depth of flavor in his pot roast as two major accomplishments.

    Who loses
    Leia Gaccione goes out first for a failed attempt at a spring roll made with grilled top round. Top Chef is never shy about a little foreshadowing, and Gaccione’s observation that her meat is chewy — “I can’t turn the top round into a filet mignon. It is what it is” — previews her quick departure.

    Who exceeded expectations
    Buddha Lo shows deft attention to detail in the Quickfire, when he not only adds a fish sauce butter to his team’s Thai-seasoned steak but also has the presence of mine to warm his team’s plates in the oven prior to serving the dish. Winning means immunity in the Elimination Challenge; he takes a risk and makes a beefy dessert: spotted dick with beef fat caramel and miso ice cream.

    “I love that Buddha decided to make a dessert,” Colicchio says. “He has immunity, so why not go for it.”

    Dawn Burrell, second from right, joins Kristen Kish, Tom Colicchio, and Padma Lakshmi.

    Top Chef Houston episode 1
    Photo by: David Moir/Bravo
    Dawn Burrell, second from right, joins Kristen Kish, Tom Colicchio, and Padma Lakshmi.
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    Movie Review

    Fawning Michael Jackson biopic Michael ignores the singer's complexities

    Alex Bentley
    Apr 23, 2026 | 1:30 pm
    Jaafar Jackson in Michael
    Photo by Glen Wilson
    Jaafar Jackson in Michael.

    Michael Jackson remains among the most complicated figures in pop culture history. On one hand, he’s responsible for some of the most enduring music of all time, thrilling generations with his voice and dance moves. But his later years were marred by accusations of child sexual abuse and erratic behavior, including his premature death at the age of 50.

    So the new biopic Michael is a tough one to judge from a critical standpoint, not least because director Antoine Fuqua and writer John Logan have elided — perhaps temporarily — the thornier parts of Michael’s history. Instead, this film focuses on the 20-year period in which Michael (played as an adult by Michael’s nephew Jaafar Jackson) goes from the prepubescent lead singer of the Jackson 5 to one of the biggest music superstars of all time.

    That choice puts an overly sympathetic tint to Michael’s story, as he spends most of that time under the thumb of his domineering father, Joseph (Colman Domingo). Joseph has a vision for Michael and his brothers, and he pushes them hard in a quest to become rich and famous. Even when they achieve that goal, though, Joseph refuses to let up, holding onto Michael even when it’s clear he should go out on his own.

    As a reminder of the enormous impact Michael Jackson had on the music industry and world at large, the film is successful. Fuqua and Logan include plenty of music, naturally, but they seem to be most interested in depicting Michael as a human being. They lay it on thick, whether it’s showing him spending time among his family members away from the stage, hanging out with bodyguard Bill Bray (KeiLyn Durrel Jones), or visiting sick kids in hospitals. The message that Michael is a harmless, good person couldn’t be clearer.

    The film hints at but doesn’t really explore Michael’s oddities. His obsession with kids literature and movies, especially Peter Pan, are seen as inoffensive quirks, as is his menagerie of animals, including a creepy CGI version of Bubbles the chimp. His arrested development seems to be partially blamed on his parents treating him like a child well into his adulthood, and the resulting fallout is not (yet) addressed.

    Many viewers will be most interested in the music sequences, and — save for some repetitive shots of fans fainting at the mere presence of Michael — they are handled well. Whether it’s at home, in the studio, on the set of the “Thriller” video, or at live performances, the film manages to fully get across just what a phenomenon Michael was at his peak. The staging and editing of each scene is dynamic, complementing Michael’s other-worldly abilities well.

    If there is one reason to see the film, it is the performance of Jaafar Jackson. Whether he’s capable of doing any other kind of role is undetermined, but his portrayal of his uncle is compelling, as he demonstrates singing, dancing, and acting skills in equal measure. He’s aided by an equally great performance by Domingo, who — with the help of facial prosthetics — overcomes the trope of the bad father. Nia Long and Larenz Tate are also good in smaller roles, but Miles Teller is an odd presence as Michael’s manager.

    There are reports that legal complications prevented the filmmakers from using previously-shot scenes delving into accusations against Michael, and there are rumors that a second film will be made about the last 20 years of his life. But that speculation can’t absolve Michael of showing all the positive aspects of Michael Jackson’s life and not even touching any of the negative ones.

    ---

    Michael opens in theaters on April 24.

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