Yes chef

I haven’t jumped on The Bear bandwagon. Truth is I’m driving it. And the reason is simple: this isn’t bragging, but merely a statement of fact: I saw it first.

I’d read about it in one of my many showbiz magazines (yes I still get magazines-they make excellent reading in the “library”), and thought it looked interesting. Another plus was it also looked like a fine opportunity to bank some marriage points what with it being a show about a restaurant and cooking. I figured the wife would enjoy it, since she's a trained chef herself and has had the rare honor of cooking at the James Beard House.

Yeah, we eat well around here. Have you seen my 32-inch waist? It was here just a minute ago.

Anyway, The Bear - streaming on Hulu - is the story of a world-class chef, Carmen, Carmy for short, played by Jeremy Allen White. He inherits a Chicago sandwich shop after his brother Michael commits suicide, and comes back to run it, eventually turning it into a fine dining restaurant.

The place is filled with brilliant actors each playing a character that is compelling, flawed, funny, heartbreaking, joyous and relatable as it gets.

His “cousin” Ritchie (Ebon Moss-Bachrach). His partner Sydney (Ayo Edebiri). Pastry chef Marcus (Lionel Boyce). Tina (Liza Colón-Zayas), who’s been working there forever. Fak (Matty Matheson, actually a chef in real life), who plays the handyman/fixit guy. Gary (Corey Hendrix) and Ebraheim (Edwin Lee Gibson). There’s also Carmy’s sister Natalie (nicknamed Sugar) played by Abby Elliott, Chris Elliott’s daughter and Bob Elliott’s granddaughter. Comedy pedigree much?

And last but most definitely not least, Uncle Jimmy, played by one of my all time favorites Oliver Platt, who as I’m certain you recall, I wrote about here eight years ago.

From the first frame of the first episode of the first season, The Bear was magnificent. It immediately catapults you right into the insanity of a restaurant kitchen. But for as great as the first season was, the current second season is even better. In it we get the backstories to all the characters, taking them out of the kitchen and bringing us into their real lives. The more we learn, the more we come to love them.

Not going to give anything away, but I challenge you to find better written, acted, directed and moving television anywhere than guest star-packed episodes six (as intense as it gets) and seven (absolutely heartbreaking, ultimately joyous) of season two.

The show and cast are deservedly nominated for a slew of Emmy’s. I hope they take them all.

Enjoy it over and over-surprise!- like I do.

And make sure you’re not interrupted when you’re watching. After all, every second counts.

My compliments to the chef

The happy gentleman in the picture is Michel Richard, a French chef and former owner of Citrus, which was and will always be my favorite restaurant in L.A.

Citrus was novel for many reasons. Location was one. On the northwest corner just one block off Highland on Melrose, Citrus was at the end of an unassuming residential block. It had a closed in patio, with large umbrellas and a roof that could be drawn back, although it rarely was.

Instead of hiding the kitchen in the back of the house, Richard was one of the very first who chose to separate it from the dining area with a wall of glass, turning it into a gallery where diners could watch their food being prepared.

They could see the chefs at work. The attention to detail. The timing. The skill. And, vicariously, they could experience the pure joy of creation.

Citrus was also the home of my favorite restaurant dessert ever. Michel Richard's raspberry tart. Now, I'm not a fan of raspberries, and I'm not crazy about tart flavored items. But the way this dessert was made, the blend of flavors, the impossibly smooth texture, the thickness of the crust, the balance of flavors. It was perfection.

Citrus was around during the years I happened to be doing a lot of commercial production in Hollywood. And as any creative team will tell you, there's no lunch like a production company lunch. Or a post-production house. Or music production. If you had a good idea and a budget, you were wined and dined at the restaurant of your choice.

And since all the production companies and editorial houses were within five minutes of Citrus, the choice was easy.

I'm not saying I took advantage of that as often as possible. But I'm not saying I didn't.

Here's the thing. I can remember a lot of great meals I've had and restaurants I had them in: Jeremiah Tower's Stars in San Francisco. Emeril Lagasse's NOLA in New Orleans. Laurence McGuire's Lambert's in Austin. George Lang's Café Des Artistes in New York. Great meals and chefs to be sure.

But for me, none of them match the feeling of adventure, comfort, happiness, camaraderie and satisfaction of eating on the patio at Citrus.

Sadly, all good things come to an end. Citrus closed in 2001. Another incarnation opened at the Hollywood nightclub Social (cleverly called Citrus at Social- go figure). But the experience was never the same, and that version shuttered in December of 2009.

Michel Richard is no longer with us—he died of a stroke in August of 2016. But he did what every great chef aspires to.

He left me wanting more.

Limited menu

I'm married to an insanely great chef. She has a degree in Culinary Arts, she's cooked at the James Beard Foundation in New York and she was a pastry chef at an upscale, white tablecloth restaurant called Amis. She's one of those frustratingly creative chefs who can open a cabinet, see a box of rice, a bottle of syrup and some week-old crackers and whip up a spectacular meal from it. Including dessert.

Needless to say we eat pretty well around here.

You'd think with all the meals she's made for the family, and all the years we've been married, some of that culinary know-how would've rubbed off on me. You'd think that. But you'd be wrong. Cooking wise, I'm still pretty much at the same skill level as when I came into the marriage. One thing I know how to make, and make pretty damn well, is meat squares.

Hang on, I'll tell you.

First you go to the market and get some ground beef. A pound, two pounds, three pounds depending on how many people you're feeding. Then you mix it up with ketchup, onions and some salt and pepper. Mix it up good, and flatten it into a square Pyrex dish. Place in oven at 350 degrees for twenty minutes, then serve to a grateful, hungry public.

I know meat squares isn't the most appetizing name. It even sounds like a euphemism for something far less savory. But when you bring that hot meat square out of the oven—I prefer using the Hello Kitty oven mits—I guarantee mouths will be watering. They may be watering for something else, but still.

The other dish in my pre-marriage repertoire is a little item I like to call the open-face, reverse turkey melt. Here's how it goes.

Take two pieces of bread, I prefer sourdough. Then squirt the ketchup of your choice into a design of your choice on each of the slices. Sometimes I'll make a happy face, other times it'll be the sun with ketchup rays emanating from the sides. One time I tried to do the comedy and tragedy masks, one on each slice. Let's just say tragedy won out.

Next, put a couple slices of turkey on each slice of bread, and sprinkle some shredded pepperjack cheese over each slice. Then put them your toaster oven for four and half minutes at 275 degrees.

When the little bell dings, out comes a hot, cheesy, delicious, almost real tasting meal.

Of course, the good news is I don't have to make a meal for myself very often. It's intimidating being married to someone who can cook anything when I'm only limited to a couple dishes of my own. Don't get me wrong, I can do a few other things. Eggs scrambled or over easy. Put pasta in boiling water. If I'm feeling particularly healthy, even steam some broccoli. But those things aren't my creations. I just know how to do them.

As a gift the wife gave me two cooking classes at Sur La Table not too long ago. I took the first one, which was called The Ten Things Every Chef Should Know.

In my cookbook, number eleven is meat squares.

The pleasure that is Platt

There's an entire class of actors I feel are underrated. They're usually something more than character actors, yet somewhat less than lead actors.

It's in this sweet spot that Oliver Platt lives. He's been one of my favorites for years.

Whether it's White House lead counsel in The West Wing, Warren Beatty's nervous, cocaine-fueled campaign manager in Bulworth, acidic restaurant critic Ramsey Michel in last year's Chef or Cameron's gay bowling adversary on last night's Modern Family, Platt's characters are fully realized, unique and completely organic. He couldn't make a false move if he tried.

Full disclosure: years ago I started writing a television show for Platt before my complete lack of discipline did me in. Again. I'm working on it, okay? Back off.

Anyway, it was about two lawyers who were also brothers. One went to prestigious Harvard law school, and the other went to the Saul Goodman law school in Samoa. Through a series of events, they wind up in practice together, and the néer-do-well brother winds up teaching his Harvard grad broheim a thing or two about the real meaning of the law.

Along the way, hilarity ensues.

Like so many other projects of mine languishing in a drawer or on a disc somewhere, I never finished writing it. But each time I see Oliver Platt onscreen, my muse is rekindled and I start thinking about maybe easing into working on it again.

He deserves a great show of his own, and I'd like to be the one to create it for him.

Like Phillip Seymour Hoffman, Gene Hackman, John Cazale, Jon Polito, Michael McKean and a dozen more, Oliver Platt's presence in a project elevates it far beyond where it would've been without him.

Of course now that I've spilled the beans on the lawyer/brother idea, I'll have to come up with something else.

I'll do my best to make it worthy of him.