This article is part of the “Beyond the Track” series, a dive on the surrounding scene, glamour and culture that makes a Grand Prix.

LAS VEGAS — A dash of dancing fountains, a sprinkle of star power supplied by a collection of celebrity chefs, and even something to chase it all down with champagne. Welcome to the Bellagio Fountain Club, a perfect recipe of the trappings the Las Vegas Grand Prix offers that makes it the most unique race on the Formula One calendar.

At first taste, a who’s who of chefs coming together just hours before qualifying might be hard to swallow. Ah, not so, says Wolfgang Puck, explaining there are parallels between performing at a high level on the track and concocting a gourmet meal in the kitchen.

“A restaurant is exactly the same as a Formula One team. Both are like an orchestra,” Puck told The Athletic. “It’s exactly the same. Because everybody has to work together and everybody has to help each other. You have to really bring it on because it is also all about timing. In a restaurant, if you have three or four different stations and one order has this or that and you have five different dishes coming out for one table, you can’t have them all coming at the same time. So it’s organization and a lot of training.”

Puck is no F1 novice; he closely followed the European-centric sport as a boy in Austria. Naturally, his favorite driver was fellow Austrian Niki Lauda, who later became a good friend. The mere mention of the three-time world champion’s name causes Puck to smile, with him immediately reminiscing about watching Lauda race whenever F1 visited the street circuit in Long Beach, Calif.

Back then, Puck was a rising chef, on the precipice of becoming one of the first chefs to crossover into the mainstream culture, while Lauda was already recognized as an F1 legend. A friendship was formed, and each time Puck attends a grand prix, it brings back a flood of memories of watching races around the globe.

Puck was also here a year ago attending the inaugural Las Vegas Grand Prix, and he is wowed by how this race became an event, a word he emphasizes because how can a setting like this — the famed Bellagio fountains behind him, and a purposely constructed street circuit that winds through Las Vegas’ famous landmarks — be a mere race.

“I think (the grand prix) shows Las Vegas really in a good way because they race at night,” Puck said. “I really think it’s really an amazing thing to finally have it here. People can come from all over the world. There are more hotel rooms so close by, like I go to the Formula One in Budapest and they have very few hotel rooms, you have to stay 50 miles away in a little donkey hotel. Then, you need to get out of the parking lot. Like this year, we waited two-and-a-half hours to get out of the parking lot. That doesn’t happen here.”

Although champagne toasts and caviar dishes have always been synonymous with the globetrotting sport that races in exotic locales, there is no denying that F1 is presented much differently than it was even five years ago.

Propelled by the “Drive to Survive” effect, the boost in U.S. interest in the sport often credited to the Netflix docuseries, races have become such a spectacle that a gathering like this one featuring nearly 20 name chefs doesn’t feel out of place on a grand prix weekend.

And just as Puck is an example of a more traditional F1 fan, another attendee here represents the other side of the spectrum.

“My daughter. All my daughter,” Mark Wahlberg said, explaining how he discovered F1.

Like so many, “Drive to Survive” was the entry point for Grace Wahlberg becoming infatuated with the sport. In particular, she was drawn to McLaren teammates Lando Norris and Oscar Piastri. Before too long, her newfound interest piqued her father’s own curiosity, eventually leading to Mark, the famed actor, pulling some strings so that Grace could get the chance to sit inside one of Norris’ older cars.

“She has a big crush on two of the guys, Oscar and Lando, and so she wanted to meet them,” Mark Wahlberg told The Athletic. “So me being a dad who likes to make things happen for my kids, I figured out how I could track Lando down and get a car sent to the house. It was cool for us to be able to spend some time together and enjoy something.”

How did actor Mark Wahlberg get into F1? “All my daughter,” he says. Daughter Grace is a fan of Lando Norris and Oscar Piastri. (Christopher Trim / Cal Sport Media via AP Images)

Donnie Wahlberg nods his head and smiles as his younger brother describes how he got into F1. It’s the kind of nod that implies, “I told you so,” because Donnie has long been a fan, discovering the sport and learning its intricacies when they toured Europe during the heyday of the boy band New Kids on the Block.

Donnie has lots of opinions on F1 but little time now to express them all. He has to jet to meet his wife. But before he departs, he wants to make one thing known: He loves Michael Schumacher. And while the debate among fans of who is better often centers on Schumacher, Ayrton Senna or Lewis Hamilton, Donnie leans in a different direction. His vote: Max Verstappen is the GOAT.

Mark gives his own smile as Donnie makes his point, though he prefers not to wade into the debate. Maybe Mark’s devotion to McLaren isn’t quite yet to the level of Grace’s or Donnie’s, though it doesn’t appear far off. Nor is his support mere lip service, instead it comes from a genuine place. He may be here at the Bellagio supporting his other brother Paul, a chef who’s worked in the restaurant industry since he was a teenager, but he’s also here because he’s a fan happy to be immersing himself in the event.

And here on a Friday afternoon atop a structure purposely built so fans could watch cars speed down Las Vegas Boulevard, F1 fans old and new intermingle. The event is all anyone is talking about.

“It’s a global event now,” Puck said. “Back then, Americans didn’t know Formula One. It wasn’t that popular. It’s not like today.”

The Beyond the Track series is part of a partnership with Chanel.

The Athletic maintains full editorial independence. Partners have no control over or input into the reporting or editing process and do not review stories before publication.

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(Top photo: Jordan Bianchi / The Athletic)