While OAD’s survey-based rankings offer a valuable counterpoint to fine dining’s entrenched powers, the organization’s legitimization of social media self-aggrandizement represents the very peak of competitive conspicuous consumption. Chefs who cater to this globetrotting cabal do so to the detriment of their own communities, impeding the development of an inclusive, distinctive regional taste.
Diversity, the death of insight, and the necessity of playing nice.
With more and more restaurants embracing the world’s most popular culinary genre, it pays to know just which vision of “Italy” one will be exploring in a given dining room.
Featuring: Alla Vita and a Bellemore Post-Mortem
The “Mickey Mouse factor” refers to the phenomenon in which children who are picky eaters at home are willing to try all sorts of new foods within Disney’s theme parks. If you extricate the concept from its theme park setting and apply it towards dining writ large, the mechanism actually proves quite enlightening.
While it is too early in the restaurant’s lifespan to write a full review, you thought–just for fun–you would put Rose Mary’s seven different pasta dishes through the ringer. Given that Joe Flamm is something of a wizard with the form–anyone who has tried Spiaggia’s truffle gnocchi can attest to that–and that his pastas form the most distinct core of the menu at present, you think this ranking can prove instructive in the interim.
Milk Bar, in its current, dysfunctional state, is nothing but a scourge to the American food system. It snares consumers with style over substance, fails to educate them in any manner of pastry appreciation, and, ultimately, leaves them high and dry with neither cake nor money. You hope you have given some voice and sense of permanence to the many complaints of consumers whom have been wronged by Tosi’s lust for profits.
The dark days of the pandemic–a reality managed, throughout the meal, unerringly by Alinea’s team–have led the restaurant back towards the fountainhead of its inspiration. No “smoke and mirrors,” just creative cooking–just the drama of the table. Alinea “3.0” is the return to the source from which Achatz–during the decade he helmed Alinea 1.0–made his name.
You cannot say you have eaten at Le Francais or Charlie Trotter’s in their prime, but you feel no fear in saying Smyth is the greatest restaurant Chicago has ever seen. And, by all accounts, the Shieldses are only getting started.
Sadly, Kim’s attacks work to slow the process of cultural exchange by which the next generation–standing on the shoulders of all those who have struggled before them–finds the acceptance he sorely lacked. The real shame is that Chicago’s food press has indulged in Kim’s narrative of victimhood, incentivizing the sort of tantrum that seeks to suffocate the generation of new recipes–without inhibition–in utero.