Skip to main content

Celebrity MasterChef: rejoice, TV’s oldest format is back to save us

Gregg Wallace and John Torode are joined by Apprentice also-rans and Casualty cast-offs for more food-based escapism

I’m trying to think what there is new to say about Celebrity MasterChef (Wednesday, 9pm, BBC One), a TV format as ancient as the earth beneath us, a weeknightly appointment where Gregg Wallace – a man with one of the most multifaceted energies alive: at once capable of sparking you out in one punch, cheerfully selling you an organically farmed sausage, marrying your friend’s quiet adult daughter and somehow buying your car off you for scrap – prowls around a test kitchen, vacuum-sealed into a waistcoat, raising his eyebrows at turbot. John Torode is there, too. You’ve got the narrator, you’ve got the trips to outside restaurants, you’ve got a high-pressure lunch service where someone panics at 60 scallops. You know what it is by now.

Although now it isn’t Celebrity MasterChef, not in the traditional sense. See, Celebrity MasterChef hasn’t changed but, and I don’t know if you’ve noticed this, the world has. Usually, big, bombastic, horn-section TV monoliths such as this start to falter around this stage in their run (we are 15 seasons in), the same beats that used to thrill now feeling tired; think The Apprentice after that series where Sugar fired three people in one week then went mad and declared two winners. There’s nowhere you can go from there. You just have to relive the same nightmare, again and again, push the rock up the hill then have it tumble inevitably down, until quiet cancellation.

Continue reading...

from Culture | The Guardian https://ift.tt/2VoTBBV

Comments

Popular posts from this blog

One giant leap: meet the new generation of male ballet stars

Beauty, strength and bags of energy: BBC Four’s Men at the Barre documentary gets up close and personal with the Royal Ballet dancers on the rise ‘It’s a golden era of male ballet dancers.” So says Emma Cahusac, the commissioning editor behind a new documentary, Men at the Barre, part of BBC Four’s dance season. It’s not just hyperbole. The young men rising up at the Royal Ballet are some of the most exciting in dance right now: principals Matthew Ball and Marcelino Sambé, first soloists Cesar Corrales and William Bracewell, and first artist Joseph Sissens all feature in Men at the Barre. With the majority of them British or UK-trained, it’s a giant leap from the grumblings of a decade ago about the lack of local dancers making it to the top. I spoke to Ball, Corrales and Sambé by phone, all staying resolutely positive during this enforced break from their intensive dancing lives, but all desperate to get back to work with colleagues they’re certain are something special. “I see so m...

Dita Von Teese: ‘Even when I was a bondage model, I had big-time boundaries’

As the star dives into a giant glass of fizz for her first online extravaganza, she talks about this new golden age for burlesque, why the French Strictly gives her costume problems – and how #MeToo has changed her Dita Von Teese is looking divine. Her lips are that signature red, she’s wearing 1950s cat eye glasses, and her black hair falls in a thick wave across a Snow White skin – and all this on the unglamorous stage of a glitchy Zoom call. Only knowing Von Teese from her femme fatale image, her teasingly aloof burlesque performances, and her time in the tabloids as former wife of goth rocker Marilyn Manson , you might expect an icy demeanour, an impermeable mystique. So it’s surprising to discover quite how normal she is: chatty, self-deprecating, not very vampish. It’s easy to see traces of Heather Sweet, the “super shy” girl from small-town Michigan who transformed into Von Teese. The reason for our conversation is a new film, Night of the Teese, made with director Quinn Wils...