Erik Hopfinger came one thin hair away from getting snuffed right out of the box.
I was guest judge, along with Rocco DiSpirito and regulars Padma and Tom. The challenge was to re-create one of a list of midrange-restaurant cliché classics, like shrimp scampi, lasagna, steak au poivre, and duck à l’orange. The contestants drew knives to determine who got what. Erik got the soufflé.
Now, a soufflé can be a tricky thing under the best of circumstances. Most cooks learn to make them in school—and, unless they move on to become pastry chefs, are seldom called on to make them again. Ever. Because of their delicacy and time concerns, and ’cause they just haven’t been in fashion, you rarely see a soufflé of any kind in a restaurant these days. Which means very few cooks—if suddenly called upon to make one without a recipe—could do so. Hell, even with a recipe, I’d guess the greater part of the cooking population would fuck the job up. Me? Maybe. And that’s only because I spent six months doing almost nothing but making soufflés at the Rainbow Room early in my career (and they were a pretty leathery, unimpressive version, made from cement-like bechamel, cheap flavorings, and meringue). Even if you do everything right before you get your soufflé in the oven, there’s still a whole lot of ways to fuck up: pull it out too soon, it deflates by service. Too late? It burns and hollows. Slam the oven door? Forget to correctly grease and sugar the mold? Thermostat fucked? Uneven heat in the oven? Or will the thing just sit too long while they reset the cameras or apply powder to a shiny judge? The soufflé is fraught with peril. And in a competitive, high-pressure situation like Top Chef—where even shit you know how to do in your bones can suddenly sense fear and go south on you—well…a soufflé is a death sentence.
From the relative comfort of my judge’s chair, a freshly poured gin close at hand, I saw Erik draw the soufflé and knew the poor bastard had walked right into the grinder. He looked like he’d been punched in the stomach before he even started cooking.
In retrospect, he says now, Top Chef “looks a lot easier sittin’ on the couch with a joint in your mouth.”
What he came up with was a soufflé only in the most liberal interpretation of the word. It did come in a soufflé mold—intended, I could only guess, as an airier version of cornbread or corn pudding. But like a dog trying to cover its shit with leaves or dirt, Erik had literally piled on every trick—or trope—in the faux-Mex, Southwestern cookbook. The plate looked like the last shot of a bukakke video—filmed at Chili’s. There was some kind of awful avocado jiz squirted all over the plate. Some other squeeze-bottled madness…and, worst of all, the “soufflé” itself had been buried under a fried garnish either crushing the fucking thing or ineptly concealing the fact that it had never risen in the first place. Looking down with no small amount of sadness at what he’d put in front of me, I could only compare it to the work of a first-time serial killer, hurriedly and inadequately trying to dispose of his victim under twigs and brush—inevitably to be discovered by the first passing dogwalker.
What saved him that week was another contestant’s shrimp scampi. While Erik had thoroughly fucked up a hard task, she’d managed to make a hideous botch of a very simple one. Her twist on scampi involved three very basic, very simple elements—all of which she’d botched indefensibly. The shrimp was overcooked. The accompanying “flan” had curdled into an unappetizing, smegma-like substance. And she’d criminally oversalted the dish.
As happens sometime on the show, someone who failed utterly was saved solely by the fact that someone else sucked worse.
Two weeks later, the ax fell. He was sent home over a soggy corn dog.
“Did you ever belong on the show in the first place?” I ask him.
“No. I knew it all along.” He stopped watching the show after he was thrown off.
Was he ever scared? “What scares me,” he says, “is growing up. Having kids. I’m deathly afraid of having kids. Probably ’cause I am a big kid.” He drains his beer, examines the empty pint glass thoughtfully, and offers, “But that would probably make me a good father. I love Disneyland. The whole pirate thing. I love Disneyland. That makes me want to procreate.”
Of his Top Chef experience, he has no complaints. “They didn’t turn me into something I wasn’t.” And of his life and career in general? The good, the bad?
“I’m pretty happy with the way I’ve done things, where I’m at. I’m going down a good path. The quality of life is good. Hanging out…my friends, eating great food.
“Look,” he says, “I love cooking food. I’m not pressing any culinary envelopes. I know that. There’s a few sick fuckers like us who were actually meant to do this.”
“It’s Not You, It’s Me”
A while back, I had the uncomfortable yet illuminating experience of taking part in a public discussion with one of my chef heroes, Marco Pierre White. It was at a professional forum, held in an armory in New York—one of those chef clusterfucks where the usual suspects gather once a year to give away, in the front lobby, samples of cheese, thimble-size cups of fruit-flavored beers, and wines from Ecuador. An unsuspecting Michael Ruhlman attempted to moderate this free-for-all—an unenviable job, as trying to “control” Marco is to experience the joke about the “six-hundred-pound gorilla” firsthand: he sits wherever he fucking wants, when he fucking wants to sit, and fuck you if you don’t like it. Marco was the Western world’s first rock-star chef, the prototype for all celebrity chefs to follow, the first Englishman to grab three Michelin stars—and one of the youngest chefs to do so. Every cook of my generation wanted to grow up to be Marco. The orphaned, dyslexic son of a working-class hotel chef from Leeds, he came up in an era when they still beat cooks. Years after famously handing back his stars at the peak of his career, he’s now got more money than he knows what to do with, has had every woman he’s ever wanted—and, as he likes to say, contents himself these days with the full-time job of “being Marco.”
He may spend much of his time stalking the English countryside with a $70,000 shotgun, contemplating the great mysteries of the natural world, half–country squire and half-hoodlum, but he’s paid his dues. He’s a man who, if you ask him a direct question, is going to tell you what he thinks.
On stage that day, I asked, innocently enough, what Marco thought of huge, multicourse tasting menus—whether, perhaps, we’d reached the point of diminishing returns. I knew he’d recently had a meal at Grant Achatz’s very highly regarded Alinea in Chicago—thought of by many as the “best” restaurant in America. And I knew he hadn’t enjoyed it. I thought it was worthwhile to explore why not.
Achatz, it is generally agreed, sits at the top of the heap of the American faction of innovative, experimental, forward-thinking chefs who were inspired by the work of Ferran Adrià and others. I thought it was a provocative but fair question—particularly given Marco’s own history of innovation, as well as his elaborate, formal, and very French fine-dining menus. He seemed to have had a change of heart on the subject of tasting menus—maybe even about haute cuisine in general—having insisted to me previously that all he wanted these days was a proper “main, and some pudding.”
What I hadn’t anticipated—and what poor Ruhlman certainly hadn’t—was the absolute vehemence with which Marco hated, hated, hated his meal at Alinea. Without bothering to even remember the chef ’s name or the name of his establishment, Marco spoke of an unnamed restaurant that was unmistakably Alinea as if Achatz had shot his favorite dog and then served him the still-steaming head. The way Marco went after him, dismissing all his experimental presentations and new cooking techniques with a contemptuous wave of the hand, came from a place of real animus. Warming to his subject, he went on and on—all of us blissfully unaware that Achatz himself, a beloved and respected figure in gastronomy, was sitting a few rows in—right in front of us.