YYou may think Schitt’s Creek it’s just a show about a rich family who loses everything and has to move to a motel they call a “vomit dump,” but I’m here to tell you that this is also a show about fashion. Not since Absolutely Fabulous has a secondhand clothing program with such humor and precision, wearing crotch pants or dramatic chevrons with meticulous timing of its cutely beautifully crafted lines.
The Rose family’s lavish wardrobes are the last vestiges of their previous life, their clothes being a constant source of joy for their small town neighbors dressed in checkered shirts. The four family members are overdressed but it is Moira and David that make it an art form. Nothing says “fish out of the water” like the helmeted Helmut Lang mohawk sweater that David (Dan Levy) wears for Mennonite farming, or $ 3,000 (£ 2,400) Alexander McQueen frilly mini dress Moira (Catherine O’Hara) wears clothes to wander around in her moldy motel room.
Moira’s identity is painstakingly curated through her clothes, combining clashing patterns that attract attention with jewelery such as armor. There is a learned sense of eccentricity that she adopts even at night, with only her husband as her listener, worn a tailored vest over her pajamas.
During the day she dresses up as a collaboration between Cruella de Vil and Balenciaga. A signature outfit might consist of Marni’s wavy neoprene shirt embellished with a silver swallow, paired with fingerless gloves and a Wonder Woman-style silver cuff and necklace. It’s the opposite of Coco Chanel’s decree on elegance: “Before you leave the house, look in the mirror and take off one thing.” De trop is never enough.
What was even stranger was him a large collection of wigs, with whom she would suddenly transform herself – in a pink Zandra Rhodes bob or an orphan Annie curls – in times of stress, the way we might all groom our clothes before important meetings.
Even this wig storage, pinned to the wall in the corner of the Rose family’s little motel room, feels full. When she was rich, Moira would definitely go to the wardrobe for her headdress; now they are on permanent display, like guinea pig taxidermy collections or gruesome art installations.
But while I respect, and fear, Moira, it is David who owns my heart. Her wardrobe is a staunch recreation of a very special kind of fashion fan, dedicated to gender-influenced forms and streetwear styles by cult designers like Rick Owens. I can’t think of a sitcom character dressed in high fashion accuracy. She looks fabulous in a kilt and cargo skirt and loves directional hoodies with so many layers of intricate pleats that the uninitiated may not know which part to include. Even David’s jumper is cute. She has a ridiculous amount, with lots of OTT knitwear moments including Givenchy doberman, Valentino panthers, giant handprints by Dries van Noten, and slogans like “Icon” and “Indifference”.
It’s no surprise to learn that Levy is a real-life fashion nerd, who spends countless hours filming resale sites looking for designer clothes within her limited budget, or that O’Hara based her character wardrobe on Daphne Guinness – a fashion icon. best known for working with Alexander McQueen.
These people know fashion from the inside out, and their shows celebrate the power of fashion and its vanity. Their crazy outfits are a reminder of their struggle to adapt to their diminishing circumstances. In this city, their refined taste won’t protect them. However, in Isabel Marant’s wrinkled, sequined Dsquared2 lamé, Moira and David continue, despite their neighbors’ jeers, to dress steadfastly for the life they once lived and hope to reclaim.
It’s a passion we might find useful to channel in lockdown 2.0 – during a period previously known as “party season” – as we dress for a glass of mulled wine with friends via Zoom, wishing us the best. Maybe channeling Moira, and wearing a fancy skirt, would help. Surely there is something worth trying right now? After all, I can’t think of a more stylish pair of icons for 2020.
At was the beginning of Explota Explota, a new Spanish-Italian jukebox musical comedyis set on the tail end of Franco’s dictatorship in the 1970’s SpanishMaria’s airport employee was making a delivery at the TV studio when she caught the attention of Chimo, the variety show director. When she told him she was not a dancer, she replied: “No dancer with blood running through her veins can withstand this rhythm.”
She played her Bailo Bailo, a hit by Italian pop star Raffaella Carrà, who, apart from being one of the most famous personalities in her native Italy, ended up becoming a sensation in the Spanish-speaking world of the 20th century. Where Sweden owns Abba, Italy has Carrà, which sells millions of records Europe. Sure enough, Maria couldn’t refuse Bailo Bailo, and Chimo hired him.
Explota Explota – titled My Heart Goes Boom! in English, directed by Nacho Álvarez, and currently touring the film festival circuit – paying homage to Carrà’s hits but not biopics: the songs are performed during the fictional variety show Las Noches de Rosa, and are used during the narrative as characters navigate their life. The film reflects a shifting view of relationships, sexuality, and entertainment in a Catholic country: one of the main battlegrounds is how high the outline of a showgirl’s skirt is, and how to dangle the neckline before fake flowers are affixed to it. them out of courtesy.
From the 1950s onwards, Carrà was a triple performer who could sing, dance, and act equally well, and he had an unrivaled influence on Italian music and pop culture (English was not his first performing language, making him more of a cult figure in the world. English). Technically, Italy has a much more vocally clever singer, who combines range with dramatic flair: Mina, the virtuoso-like mezzo-soprano; Milva, known as Milva “the Red” for her political inclinations and fiery mane, is best known for her interpretations of Brecht and Weill; Patty Pravo, an alto androgyny; and Giuni Russo, who sublimated opera technique to pop, and had a five-octave range. Carrà surpassed them all.
When, in 1968, youth culture became more politicized and his peers gathered in protest, Carrà went to America and saw Hair’s music every night for a month. He returned home convinced that Italian entertainment needed a jolt of energy. “He was the first pop icon, but housewives always liked him. He revolutionized TV entertainment, ”wrote journalist Anna Maria Scalise in 2008. Carrà herself said in 1974:“ I don’t get inspiration from anyone: I talk to children, to fathers who watch sports, to my wives, as well as to watching Italian TV. family. “
Her place to tread is an Italian variety show, featuring a series of Broadway-inspired singing and dancing. She first rose to prominence during the 1970 edition of the variety show Canzonissima, for which she co-hosted: the show incorporated the original song directly into its dance and musical numbers. She sings and dances in the opening piece, Ma Che Musica Maestro who is like a fanfare, wearing a complete two-piece set with a crop top – the first time someone dared exposing their belly on national TV. The Vatican and the conservative management of RAI, the Italian national TV station on which Canzonissima broadcast, have been scandalized. “Ordinary Queen” is how TV host Maurizio Costanzo highlighted her.
However he was reinstated the following year, when, with dancer Enzo Paolo Turchi, he performed jazz-like songs. Tuca Tuca: one player touches another on a different part of the body during the song. They had to film him half-facing the camera to show the Italian family that they weren’t caressing each other or groping. This song is famous for its focus on female agencies. “I want you“, He sings – I want you – and then”I made it up“: I found this dance.
The general public likes to have choreography that doesn’t require much skill, but censors stop the routine after the third time they perform it. Italian film star Alberto Sordi saved the day, demanding that, after his performance at Canzonissima, they bring the dance back, cementing its mainstream success. Still, the press still regarded Carrà as a one-hit miracle, likening him to the champagne that had run out.
However, Carrà didn’t stop hissing. She wears proto-glam jumpsuits with cutouts, a cape, rhinestones, feathers, and a cinched waist (recently the subject of a museum exhibition) Topped with a blonde bob that makes Anna Wintour’s appearance look drab, but what sets her apart from other triple treats is the combination of sex appeal and approachability. She taught women that having agency in the bedroom wasn’t embarrassing, that it was okay to fall in love with a gay man, and that not all relationships are really healthy. “I think Raffaella Carrà has done more to liberate women than many feminists,” said artist Francesco Vezzoli, curator TV 70, 1970s Italian television exhibition for Fondazione Prada in 2017.
In 1976, she sang her major international hit A Far l’Amore Comincia Tu (be the one to initiate sex), a call to action for women to make their lovers understand what they want in bed. In the English version, Carrà’s only entry on the UK charts, at No. 9, he urges women to “Do it, do it again.” In Spanish, the lyrics translate as “in love, to start is everything”, but in German the message is wrong: famous singer Tony Holiday turns the original lewd lyrics into an invitation to dance. You’re probably familiar with the Carrà: version in the Episode Doctor Who, and Jep Gambardella, the central figure in Paolo Sorrentino’s film The Great Beauty, dancing to a frenetic remix at his birthday party.
Surprisingly, A Far L’Amore Comincia Tu was released alongside Forte Forte, a ballad with the opposite message: she enjoys being submissive in relationships filled with rough sex. Carrà recognizes that pleasure can come from leading, and from being led.
Also in 1976, he had great success in Spain. Franco recently died and he’s hosted Raffaella Jam, singing and dancing like he did in Italy. “I’m lucky, my show is shown right after a famous football match, like Real Madrid-Barcelona, hence my success,” he told the Italian newspaper Corriere della Sera in 2018, too simply: the impact on Spanish pop culture is so great that , in 2018, the king of Spain made her a cursed woman, “to the order of civil achievement“, To become a” freedom icon “.
His return to Italy in 1978 came with a heap of new artistic possibilities: Color TV had finally made its way into Italian households, and he hosted the variety show Ma Che Sera (Oh What a Night). The opening credits song Tanti Auguri (Best Wishes) became the national anthem for sex and sexuality. She sang “but turning this earth around I am convinced that there is no hatred, no war when there is love in bed“, Which translates as” traveling around the world, I become convinced that there is no war or hatred when it is hot in the bedroom “. Another sentence states pleasure to have sex anywhere south of Trieste.
“Can you imagine a blonde woman singing this song out loud at 8:30 p.m. on Italian television with 30 million people watching?”, Said Vezzoli. “This is innovative and liberating action! Imagine all the women on the outskirts of Rome or in the province of Brescia who think that making love is an act they can only do with their husbands in a very unpleasant way. “
Another of her Ma Che Sera provocations consists of her wearing a sexy nun outfit while perched on an apple during a mix of some of The Beatles’ greatest hits, while naked male dancers roam beneath her: the entire set is an early special effects trippy masterpiece. She also debuted with Luca’s disco single on the show, in which she talked about feeling sad after falling for a “golden haired man” who, however, had an affair with a blonde man, and that was the last she saw him. “I only date gay men: they’re not going to try to grope you in the cinema,” she told Corriere della Sera in 2017, reminiscing about her teenage years.
Talking about homosexuality so outspoken and mild is unheard of in Italy, the oppressed and pearl-clung Italy, and it’s no surprise to see how Carrà became an international gay icon, to the point that he was awarded the 2017 World Pride in Madrid.
Twelve days after Ma Cha Sera started broadcasting, on March 16, 1978, leftist terrorists kidnapped Italians. prime minister Aldo Moro, and finally killed him. Carrà tried to postpone the show, but because 30 million people watched every Saturday, his request was not fulfilled. He finally left Italy in 1979. “I am so ashamed I didn’t come back for a long time,” he said in 1999.
He became a pop star and actor in South America, but returned to Europe, and in the 1980s had abated his role as a chat show host, which he still did at the age of 77. “More clapping than [president] Pertini, more expensive than [football player] Michel Platini, more magical than [modern saint] Padre Pio, ”that was how the weekly L’Espresso described it in 1984.
Most of her sex-positive pop songs are products of ’70s Italian TV, but they’re not a holdover from the past: Italians still know the lyrics by heart, and sing them as soon as they get a chance (Tanti Auguri is the alarm) voice on my tacky mid-noughties Motorola Razr ). The climax came before the national anthem Donna Summer I Feel Love and the sex-positive disco Take Me Home, nearly a decade earlier. Cyndi Lauper’s Anthem, She Bop, and 15 years before Madonna’s Erotica. The Spice Girls’ “Tell me what you want, what you really want” reminds me of Carrà, who urged countless South European women to become the initiators of sex.
Nowadays, amidst sexually explicit songs like WAP or Side to Side, the urge to enjoy sex sounds quite easy. But he is a pioneer helping people lead more fulfilling lives, using a rhythm that no one can resist with blood in his veins.
In chess, the first move is everything. This also applies to TV – something Gambit Queen, a seductive seven-part play about a talented chess woman in the American midwest, knows it all too well.
In the first few moments, we met our teen hero, Beth Harman (Anya Taylor-Joy), fell asleep in the hotel bathroom wearing a burgundy Pierre Cardin dressing gown from the night before. Moments later, she has transformed into mint green Biba-inspired viscose, which matches the sedative she drinks with minibar vodka. Grabbing her shoes – black pointed flats, so this must be the 60s – she rushes downstairs to play the most important chess game of her career as the drunken mother of all.
Beth’s earliest scenes feature a brave seven-year-old orphan with a badly red bob – short, sharp, Mary Quant before Mary Quant. This sets the tone for the kind of madman we face. Beth is lonely and troubled and soon becomes addicted to sedatives, a theme that haunts her adulthood. His main source of protection was playing chess with the orphanage janitor in the basement of the building. Interested in her predictability, something she can’t replicate in real life, she becomes addicted too. Fortunately, however, he has talent, noted by his adoptive mother, Alma, who agrees to accompany him on his endless ascent to the world of professional chess championships – if he can take a 15% cut of his winnings.
Although Beth ended her reign in Moscow at the age of 20 as a proto-influencer – in 1968, many of her fans began to dress like her – her style didn’t come naturally to her. She entered a Kentucky orphanage wearing a pale linen dress that was embroidered by her mother and barely expanded beyond a 50s wide skirt and scoop neck sweatshirt, even though it was the 60s and her colleagues were all wearing trousers. Yet among his rivals, men in black specs and dull gray suits (except for his flamboyant rival Benny Watts, who prefers cloaks and cowboy hats), he stands out. At the US Open in Las Vegas, she shone in a plaid dress with black trim and a black bolero. Semiotics, too, is striking; his commitment to the chessboard is like he is dressed like that.
Like most of her addictions, Beth’s attachment to clothing stems from a joyless childhood. She is bullied because of what she wears, or rather what she doesn’t – in one instance, a coveted pair of black and white shoes (which she ends up getting and rarely takes off). For Beth, chess boards are becoming an aesthetic form that exists in its own right, as opposed to epitomizing global politics and US gender tensions in the 60s. Chess, it seems to be dressed like, is both a way of life and a way of life.
Much of her show is about how she places too much value on what she wears. In Paris, she’s drunk pastis dressed in a life-changing pre-match night shift dress. Later, she spent all her money on clothes and couldn’t raise the $ 3,000 she needed to fly to an important tournament in the USSR (for plot purposes, she found a way). In cold Moscow’s fragile weather, she once again riots with her wardrobe – first a beige and black checkered coat with patent piping, then a thick all-white wool coat and matching hat, her final act as the white queen herself. (Plus: he tends to win in white and lose in black, which reflects the game.)
For those of us who discover culture and novelty almost exclusively through our TV, The Queen’s Gambit fills the hole for the stylishly prestigious dramas left by Mrs. America, The Marvelous Mrs. Maisel and, of course, Mad Men. Like politics, comedy, and equality at work, chess is not an obvious place for fashion – or for women.
But if Mrs. America, for example, is an entertaining, if superficial, reading of political organizing in the 70s, it all plays out here. After all, The Queen’s Gambit is fiction. The gender gap in professional chess was – and – very wide. If Beth looks amazing – sexy, even – it’s because the show isn’t afraid to cover up the past to continue the plot. Only one woman, Judit Polgár, have reached the Top 10 in the World Chess Federation ranking.
However, the costumes remained true to the period: the dressing gown was borrowed from Cardin; fluted sleeves top and short skirt inspired by Pucci and Biba; and a T-shirt based on one from Andre Courrèges. In a neat reflection of our video-calling world, clothes are designed to be seen on a chessboard, because that’s where the camera takes most of its time. “We want an interesting neckline. Something that stands out, but doesn’t overwhelm, “Binder told the Golden Globes last month.
Alma, possibly depressed and almost certainly an alcoholic, was an attractive coating to Beth. A homemaker with brighter future aspirations, she reads the Ladies Home Journal, plucking her eyebrows and painting her nails ox-blood red. Her layered jacket and pink headdress may seem bizarre, but it doesn’t help much to cover up a man-hungry addict torn between love for Beth and financial exploitation of her talents.
Although the women don’t relate, they dress as if they are, adopting the signature Dior 1947 New Look (full jacket and skirt) – which by the 50s had trickled down to Macy’s and beyond – for their quick tour of Las Vegas, New York. , Mexico and Paris. Alma even sewed her own Dior style dress. One, an almost exact copy of the original from 1955, appears several times. Another one, Alma’s upholstered bed jacket, served as Beth’s safety blanket. The characters repeatedly wear certain parts – not for authenticity, but for comfort.
Even the interior is considered. The house Beth grew up in and later bought has as many distinctive touches and pores as the Wes Anderson film: pastel canopy, Louis XVI-style chairs, sunburst mirrors and checkered wallpaper in pink and green. Beth’s renovation was almost as thorough as her wardrobe makeover. Unable, it seems, to separate herself from her surroundings, she matched the geometric walls with her geometric tops, the neat new furniture with new Francoise Hardy-esque fine crochets.
As Beth began to break down in public with drinks, drugs and the occasional sex, her clothes followed. This isn’t a bad thing – she ended up wearing colors, borrowing some men’s shirts and even getting some jeans. Makeup is also developing. In one scene, still drunk, she applies multicolored lipstick. In another photo, she uses floating eyeliner to distract from her red eyes. At this stage, however, it didn’t matter. He’s already bigger than the shirt on his back.
By 1968, Beth had become “bigger than Monkees” simply “for being a girl” in the world of men. This may seem like a pretty glimpse of the past – working on the premise that by fixing the context you can make something that’s not sexy (chess) sexy – but the reality is (and was) very different. “You can never be a model. You are quite beautiful, but you are too smart, ”said Clio, the model pastis drinker, noting that, no matter how successful they are and how good their clothes are, women will always be put in the box.
If running for the universe’s most stressful election isn’t your thing, there’s another blockbuster event the dynastic family gets involved in this week: the comeback Crown.
The three teasers and the official trailer for season four have been forensically dissected shot from the shot devoured more than a year ago. This is partly because this season focuses on the 1980s, when many core audience demographics remember it well; and partly because this season featured the looming Margaret Thatcher, played brilliantly by Gillian Anderson.
But for the most part, it hangs on the anticipation of seeing Emma Corrin as young Diana. And while the series continues to revolve around Queen Elizabeth’s life, this season – which falls on November 15 – she is beaten by Diana. In Netflix, just like in real life.
The Crown isn’t a documentary, of course: it’s a fiction of what feels like the world’s oldest soap opera, compressed and enlarged for maximum drama.
And this season – The Windsors: Dynasty edition – has it all: the drama behind the royal engagement and unforgettable wedding in 1981; the disclosure of some disturbing Windsor family secrets; the conflict between Queen and Thatcher, and its brutal implications for British society – and the world – as Thatcherism unfolds.
But if you’re looking for some really good stuff, move on to episode six, Terra Nullis, which focuses on Charles and Diana’s 1983 six-week tour of Australia and New Zealand.
It is an important moment in real life, like in the series. For royals, the tour was about Charles being heir in a Commonwealth country with which it has strong ties, and a show of strength for Australians who have begun to do soquestion the need for a monarchy. Whitlam’s ouster by the Queen’s representative, Sir John Kerr, had occurred eight years earlier (a move that Charles personally supported), and the newly elected prime minister, Bob Hawke, pushed for the creation of the republic.
For the couple, this is their first official overseas tour together. They have been married for two years, baby Prince William is taking his first public outing (at Diana’s insistence, and against royal protocol), and the tension between them has been well and truly happened.
For Australians who are there because of it, episode six is a hell of a nostalgia. See the royal couple withering in the heat of the Northern Territory; crowds in Brisbane, and at the Sydney Opera House; joked at a charity dinner in Tasmania. Find Diana’s iconic 80s outfit and remember the bullish Hawke – who played it byveteran actor Hawke Richard Roxburgh excitedly snickered with a grin – sneering at their appeal.
It was also a sweet reminder that the pair were once smitten with each other – when she spun them awkwardly on the dance floor at a charity party at the Sheraton Wentworth Hotel, as they hold hands and laugh happily together in public, with an Australian background. Things may have happened behind the scenes, but it’s great to remember that on this tour they are a dream team trying to make it work while letting us enjoy our happy fantasies forever. Before the tale that was carefully played was shattered, and reality tragically intervened.
As the episode shows, the 1983 Australian tour was about the making of Diana then 21 years old: a demonstration of her star power, as well as her own realization of that power. This seemed a shock to the rest of the royals, not least the proud and bewildered Charles when he realized that his wife shone even more than him. According to Tina Brown’s The Diana Chronicles, when Charles came to the tour alone, he told the crowd: “It’s not fair, right? You better ask for your money back! “Even Hawke realized he had to put his republican plans aside when he saw Australia’s public dedication to Diana.
It also shows that the seeds of the ruin of their marriage have taken root: Prince Charles’ jealousy at being defeated by his young wife, the way he treated her heartless while he was struggling, and their incompatibility as a couple. We see the immense pressure Diana went on to fill a public image of herself as a “fairy tale princess”, and the impact on her mental health and in her battle with bulimia, a disease she would later help to get rid of. stigmatize by talking about it.
So come for drama, 80s fashion, a recreation of so many unforgettable moments – but remember that no one really knows what goes on behind closed doors to public figures, that surveillance takes its toll, and in the end. the fairy tale becomes complete. nonsense.
TThe smallest contestant has taken the biggest prize! Georgia, an 11 year old dynamo with a passion for her grandmother’s Sri Lankan curry, has been crowned the Junior winner MasterChef Australia 2020. He took home trophies, titles and $ 25,000.
A quick reminder: he was only two years old during Junior’s final season MasterChef aired.
What does it really make you think about You have finished with those nine years, right? Or at least if I’m not here to purposely distract you with a goofy joke.
Georgia and the other finalists have really been put to the test in the last few eps. In Sunday’s semifinal pressure test, for example, children were assigned to regenerate lemon meringue coronavirus.
Kids have a little over two hours to make this complex dessert from renowned pastry chef Kirsten Tibballs. They expressed their joy with funny (and very 2020) sentences such as “I am scared”, “I am never stressed again” and “this is a face of hopelessness”.
“This will be, without a shadow of a doubt, the hardest thing you’ve ever cooked in your life,” Mel said reassuringly.
But Georgia isn’t the only one baptized at the source of existential fear!
Carter has a horror cook. He lost so much time at the start; he forgot to put butter in his cookie dough; and at one point she was crying, out of breath, weighing the lemon juice manually.
It was literally a few minutes of truly awful featured TV and perhaps the sweetest show of this the closest to The Hunger Games.
The judges handled it perfectly. Jock is at Carter’s side offering calm, and Mel talks about Georgia as she doubts herself; he looked the 11 year old boy’s eyes and said: “You are very capable.” (fooderati I’ll buy a personalized one Cameo for that effect.)
Unfortunately for Laura and Dev – who have huge flaws in their desserts – these two little legends have completely turned things around. Georgian cuisine is the best of all. Carter’s leftovers were so delicious that the butter problem was okay.
Mel gave Dev a heartfelt farewell: “A creative, humble and inspirational man.” Dan Laura: “Absolutely one of the most capable people I’ve ever met.” (@fooderati, seriously, give me that Cameo.)
But it’s a show about pure joy, so here’s a triptych from Georgia, Carter and Filo knowing they qualified for the grand finals:
Things got more difficult on Monday night. The pressure is on, and the stage is set – literally, because Network Ten has hired an orchestra to play some thrilling music while the kids compete.
It was made even more intense by the fact that their mother was there! This means the kids have a little trouble cooking in the backseat and some light humiliation as parents on national TV.
The final challenge was about being “as fancy as possible”: each contestant had to make two meals for four people. The entree (main and dessert) can be anything; they just have to have a “fine dining” vibe.
In last season of MasterChefMany contestants assume “fine dining” means “French” or, in the broadest terms, “rich white food.” But this candy is too pure for that. They are very proud of their heritage, and they know their culture just fine!
Georgia makes THREE Sri Lankan curries. Filo serves fried prawns and Egyptian spicy rice. Dan Carter, token white, made a complex variation of lamb and peas.
He followed up with vanilla bean panna cotta, raspberry sorbet and chocolate soil. Filo makes hazelnut cake with mirror glaze, crumble, and strawberry sorbet. And Georgia decided on a slice of toasted coconut ice cream with meringue plums and Davidson pearls.
“It’s a mixture of Sri Lanka and Australia – similar to me!” he said, blowing up my ovaries.
Boy did it really well. The only downsides for Carter are minor texture issues in the puree and panna cotta. The only downside to Filo is that the desserts may have used a salty element.
Georgia is actually having the hardest of times. Even though the curries stand out in the main course, the desserts are a complete mess. The base is split, the ice cream is not set properly. He started to lose it. Her mother screamed, “You can do it, my angel,” and she replied, heartbroken, “No ican’t.”
“I’ve always tried to get everything right but that’s not how life works,” said Georgia. After getting a hug from his mother, he managed to get the last element on the plate. And that’s a good thing he did.
“I don’t care what it looks like,” Andy said after tasting. “Your son is a genius,” added Mel, essentially ensuring victory.
The judges said the decision came down to “pure delicacy”. Georgia can’t be beat.
What makes me feel the most inadequate
See all of the above. These kids are not only talented but also very sweet, strong, and kind! When I was their age, my main talent was knowing all the words for Nelly and Kelly. “Dilemma“It’s not as impressive as cooking a fancy meal, and it’s much more age-appropriate.
It didn’t work out for my man Filo but he has a bright future ahead of him. One day I was sure I would eat at his fancy Egyptian restaurant, but until then I would think about it every time I stood in a kitchen that was a little too hot.