If memory serves me right (as Chairman Kaga used to say), once upon a time the Food Network used to bend over backwards to avoid referring to Top Chef by name. I first noticed this begin to change in the waning years of Iron Chef America, when competitors started to call on people with TC experience more and more often to serve as their sous-chefs. Then, of course, TCS4 winner Stephanie Izard actually became an Iron Chef prior to the show’s final season. Today Top Chef veterans are everywhere on the channel: last week, for instance, Antonia Lofaso (S4 + S8) became the fourth to win Guy Fieri’s Tournament of Champions in six seasons, which is even more impressive when you consider that she beat Sara Bradley (S16 + S20) to do it, who in turn had to get past Lee Ann Wong (S1, S15, S17) in the semi-finals. Meanwhile, you couldn’t make it through a single commercial break without seeing an advertisement for shows hosted by Eric Adjepong (S16 + S17), Brian Malarkey (S3 + S17), and other alums.
This makes sense when you consider that while there’s a lot of overlap, the skillset of a successful chef isn’t exactly the same as that of a television cooking competition champion. Bravo figured out early that compelling back stories, diverse cooking styles, and telegenic personalities shine brightest in an evenly-matched field and has made an artform out of balancing these attributes with traits like the ability to handle adversity and work quickly, endurance, and familiarity with emerging cuisines and techniques likely to impress the judges week after week. As their casting improved, it created a virtuous cycle whereby appearing on the show has opened doors for a higher and higher percentage of people, giving Bravo an even more impressive field of applicants to select from, resulting in an even bigger hit rate, etc. Couple this with enhanced vetting introduced after allegations of sexual harassment against Gabe Erales surfaced shortly after he won season 18, which at least so far has worked as intended, and Top Chef is basically doing the Food Network’s job of identifying rising stars for it.
The elevated standard has had a discernable impact on the show. Most gratifyingly, with total duds now far less frequent, a decision was finally made to start showing every dish prepared in the Quickfire challenges starting in season 19, and I think this year’s new prize of getting to cook an exclusive dinner at the James Beard House is also a product of increased confidence that whoever wins will be worthy of the honor. It has likewise enabled Top Chef to survive the departure of longtime host Padma Lakshmi without skipping a beat by providing the producers with a deep bench of highly-qualified replacements to choose from (Kristen Kish, the one they chose, also deserves a ton of credit for rising to the occasion, of course) and providing a chance to introduce enough sensible tweaks to things like how “immunity” is awarded to create the sense that the show is continuing to evolve without moving too far away from what made it a hit in the first place.
It has, however, created a bit of a dilemma for me as well. Like Tyler Cowen and Matt Yglesias, I consider the opportunity cost of watching television to be substantial relative to that of movies and thus allocate the overwhelming majority of my viewing hours to the latter. After season 19, I wondered for the first time if a consistently high floor might actually start to get boring at some point and mentioned this again on X last year following S21E3 in a thread that also referenced the Top Chef “eras” I came up with in 2018. Here they are again in a revised version that I’m about to add to:
- Seasons 1-3 = Early Top Chef
- Seasons 4-8 = Classic Top Chef: “I suspect these are the seasons most fans of the show consider to be the best, but upon second viewing the top contenders benefit from less competition than the winners who will follow them.”
- Seasons 9-10 = Baroque Top Chef: “It’s almost like the only way they could think of to top All-Stars was by going as big as they could with the challenges and setting, and then of course S10 features the biggest cast in series history. It’s all just too much.”
- Season 11-15 = Neoclassical Top Chef: “You could drop S11, S12, and S15 into the Classic era and they would fit right in. S13 very intentionally reflects on the show’s history, and S14 of course brings back eight former contestants.”
- Seasons 16-20 = Modern or “Nice” Top Chef: “As described by Michelle on S16, ‘We don’t bully each other, we lift each other up. We’re all extremely talented and we’re above all that.'”
At the time I thought season 21 fit into the final category, which would have made it the longest in duration in the show’s history. I now think that S20, the second All-Stars season, served a similar function as its predecessor S8, though, which was to put the capstone on an epoch. And so I give you era number six:
- Seasons 21-present = Professional Top Chef. The final positive evolution of the show. TC now functions in reality as well as rhetoric to usher chefs into the national spotlight by funneling people into the competitive cooking circuit and, to a lesser extent, by providing national exposure for future industry thought leaders like Kwame Onwuachi. Minor tweaks to the rules to optimize entertainment value are welcome, but if it changes significantly again, look out for signs that it has “jumped the shark.”
This isn’t just a matter of deciding once and for all where to slot the most recent seasons in my schema–it represents a significant change in the way I’m thinking about it. Just as I’m not expecting the NBA or NFL or any other professional sports league I watch on TV to change from year to year, nor am I looking for Top Chef to continue to evolve. And while I still feel great about my decision to stop tweeting out reactions to each individual episode last year in favor of one or two blog posts per season, I’m no longer worried that I’ll eventually have nothing at all to say about each one. The Top Chef Pick’Em game I run for family and friends (and friends of friends) is now eight years old, and I can easily see it still going strong at twice that age if Tom Colicchio and company stick around that long.
It would be silly to publish a post about Top Chef on the very eve of Restaurant Wars without saying anything specifically about the current season! Tristen has established himself as the prohibitive favorite in my eyes, especially now that he has immunity going into the challenge which has been the bane of many a frontrunner in the past. Behind him César’s pickle dessert from episode six is the dish from this season that I’d most like to try, and I still consider Lana a contender even though she hasn’t actually won anything yet; however, there’s a big gap after that which no one except maybe Vinny has shown they might be able to close. I like this year’s challenges, which have showcased Ontario and given the chefs every opportunity to excel, and the production design is typically first class, if not necessarily noteworthy in any obvious way. In other words, long live “professional Top Chef“!
Links to previous posts about Top Chef can be found here.
