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A ‘Great British Bake Off’ episode is getting heat for stereotyping Mexican culture | CNN

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A ‘Great British Bake Off’ episode is getting heat for stereotyping Mexican culture | CNN



CNN
 — 

A latest episode of “The Nice British Bake Off” is drawing criticism from some viewers for its depictions of Mexican tradition.

Within the “Mexican Week” episode of the truth competitors sequence, which aired within the UK on Tuesday and was launched within the US on Friday, contestants are tasked with making pan dulce, tacos and tres leches cake – dishes that critics noticed as cliché and uninspired. The hosts, in the meantime, pepper in makes an attempt at tongue-in-cheek humor that not all viewers discovered humorous.

Within the opening scene, hosts Noel Fielding and Matt Lucas put on sombreros and serapes whereas quipping about whether or not folks may discover such jokes offensive. At one other level, Fielding muses, “So, is Mexico an actual place?” whereas Lucas, in flip, likens the nation to Xanadu. Different scenes embody Lucas shaking maracas and contestants butchering pronunciations for guacamole and pico de gallo.

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The episode’s flippant tone and use of stereotypes rubbed many viewers the flawed approach.

Lesley Tellez, a meals journalist and writer of the cookbook “Eat Mexico: Recipes from Mexico Metropolis’s Streets, Markets and Fondas,” stated that whereas she hadn’t seen the total episode, she discovered the snippets that have been circulating on social media unimaginative.

Regardless of its range, Mexican delicacies will get overshadowed within the culinary world by European cuisines, she added, and the present’s remedy of it perpetuates misconceptions.

“I feel they need to have been much more considerate about it,” Tellez instructed CNN. “It reduces Mexican meals to stereotypes – to being this two-dimensional delicacies.”

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Although it will have veered from the present’s typical format, Tellez stated she would have preferred to see “The Nice British Bake Off” usher in a Mexican chef as a visitor, versus having two White, British judges function authorities.

Alejandra Ramos, host of “The Nice American Recipe” on PBS and a chef of Puerto Rican descent, stated the episode mirrored an absence of range behind and in entrance of the digital camera.

“This might have been an ideal second to herald a Mexican visitor decide or host to guide the discussions on digital camera and to information the contestants,” she wrote in an e-mail to CNN. “There ought to have additionally been consultants with precise Mexican cultural and meals background and experience introduced in to seek the advice of on the story, scripting, meals styling and challenges – in addition to the post-production and advertising.”

Ramos additionally questioned why a baking competitors would problem contestants to make tacos – some extent viewers of the show have additionally referred to as out on social media.

“Mexico has unimaginable pastries, desserts, breads, and even baked savory dishes that they might have made as a substitute,” she stated. “However that may have referred to as for extra precise information about Mexican tradition and delicacies which is clearly missing right here.”

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CNN has reached out to “The Nice British Bake Off” for remark.

For the reason that first episode aired in 2010, “The Nice British Bake Off” – which streams stateside as “The Nice British Baking Present” – has change into a cultural phenomenon, soothing viewers with its spirit of camaraderie and providing them an escape. Nonetheless, it’s garnered complaints of cultural insensitivity earlier than.

Throughout a “Japanese Week” episode in 2020, some contestants devised concoctions that as a substitute relied on Chinese language and Indian flavors, which some critics stated amounted to conflating distinct Asian cuisines. That very same episode noticed Lucas check with katsu curry as “cat poo curry.”

“Anybody who’s watched GBBO additionally is aware of how prickly the judges get after they assume one thing has an excessive amount of spice, how simply they exoticize non-British meals, and the way the usual marker of baker is their potential to make a Victoria Sponge,” Jaya Saxena wrote in a 2020 article for Eater.

Former contestants have additionally spoken out on the present’s range points.

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In an interview with Insider final 12 months, Rav Bansal referred to as for brand spanking new hosts and judges who have been higher versed in non-English elements and recipes, and who may higher replicate the present’s various forged of contestants. Ali Imdad expressed shock that manufacturing workers had allowed sure missteps to happen. Ruby Tandoh referred to the present as a “unusual car for change,” writing in an essay for the meals publication Heated that it had launched the careers of a number of Black and brown cooks whereas being “steeped within the symbolism of an old style, implicitly white Britishness.”

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Movie Reviews

Film Review: The Fire Inside – SLUG Magazine

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Film Review: The Fire Inside – SLUG Magazine

Film

The Fire Inside
Director: Rachel Morrison
Michael De Luca Productions, PASTEL
In Theaters: 12.25

I’m not a fan of combat sports in real life, yet I find that movies about them are nearly irresistible. Whether it’s Rocky, The Karate Kid, Warrior or the upcoming wrestling flick Unstoppable, the underdog who comes out swinging and bests their bigger, more experienced opponent always plays. It’s also nearly always the same movie, and that’s what makes The Fire Inside a knockout.

In this fact–based story, Claressa Shields (Ryan Destiny, A Girl Like Grace, Oracle) is a young woman from Flint, Michigan, who has one skill and one passion: boxing. Despite limited support from her family, Claressa is taken under the wing of Jason Crutchfield (Brian Tyree Henry, If Beale Street Could Talk, Godzilla vs. Kong), a coach at a local gym. As Jason becomes as much a surrogate father as a coach, Claressa trains with a ferocious determination and earns a spot on the 2012 Summer Olympic team —  Claressa “T-Rex” Shields becomes the first American woman to take home the gold in the sport at age 16. From there, Claressa goes from being a poor inner city kid with nothing to … a poor inner city kid with a gold medal overnight.  There are no endorsement deals, no professional career and seemingly no new worlds to conquer. As Claressa fights discouragement, she must find a path to lead her beyond a one time victory into a lasting better life.

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Rachel Morrison, the first woman to be nominated for an Academy Award for her work on Black Panther, makes a strong directorial debut, coming out swinging. She’s ably assisted by a terrific script by Barry Jenkins (Moonlight). The Fire Inside transcends the tropes of the genre by reaching the rush of climactic fight and then daring not to end there, instead delving into the reality that in Shields’  life, one triumph in the sports world doesn’t change your circumstances, especially for an uncouth young woman with no interest in playing the public relations game and selling a softer, more traditionally feminine image. We’ve heard the cliche “this isn’t just a movie about sports, it’s about life,” but such a candid look at a life-changing moment that does nothing to change your life, and learning how to face this, was something refreshingly new and honest. The often bleak and at times stunningly beautiful cinematography by Rina Yang, along with the stirring score by Tamar-kali, lift the sensory experience and go a long way to making this one a winner. 

Destiny shows potential as a breakout star, commanding the screen as effortlessly as Claressa commands the ring. Henry is the highlight of any film he’s in, and The Fire Inside is no exception, with his grounded performance keeping the film moving along and setting the tone for a story about learning that you can still lean on others while you’re believing in yourself. The sizzling chemistry between these two actors drives a poignant and entertaining story to a satisfying and believable conclusion that’s not the one you’re expecting.

The Fire Inside is a breath of fresh air in a genre that far too often settles for stale and dank. It provides enough inspirational warmth to fulfill its duties as an uplifting sports movie, but its got the stamina and the drive to go a few extra rounds and push its own limits. Unlike most boxing films, this champ doesn’t pull any punches. –Patrick Gibbs

Read more film reviews here:
Film Review: A Complete Unknown
Film Review: Babygirl 

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The 2024 Envelope Oscar Roundtables

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The 2024 Envelope Oscar Roundtables

The fear factor behind great art

Adrien Brody, Kieran Culkin, Colman Domingo, Peter Sarsgaard, Sebastian Stan and Jeremy Strong dive into their films, truth-telling and acting alongside your director. READ HERE

The word "Directors" in pink

Doubts, sure. Compromise? Never

6 directors on doubt, compromise and Timothée Chalamet. READ HERE

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Movie review: Reverence to source material drains life from ‘Nosferatu’

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Movie review: Reverence to source material drains life from ‘Nosferatu’

Passion projects are often lauded simply for their passion, for the sheer effort that it took to bring a dream to life. Sometimes, that celebration of energy expended can obfuscate the artistic merits of a film, as the blinkered vision of a dedicated auteur can be a film’s saving grace, or its death knell. This is one of the hazards of the passion project, which is satirically explored in the 2000 film “Shadow of the Vampire,” a fictionalized depiction of the making of F.W. Murnau’s 1922 silent horror film “Nosferatu: A Symphony of Horror,” in which John Malkovich plays the filmmaker obsessed with “authentic” horror.

This meta approach is a clever twist on the iconic early horror movie that looms large in our cultural memory. Inspired by Bram Stoker’s 1897 novel “Dracula” (with names and details changed in order to skirt the lack of rights to the book), “Nosferatu” is a landmark example of German Expressionism, and Max Schreck’s performance as the vampire is one of the genre’s unforgettable villains.

“Nosferatu” has inspired many filmmakers over a century — Werner Herzog made his own bleak and lonely version with Klaus Kinski in 1979; Francis Ford Coppola went directly to the source material for his lushly Gothic “Bram Stoker’s Dracula” in 1992. Now, Robert Eggers, who gained auteur status with his colonial horror film “The Witch,” the Edgar Allen Poe-inspired two-hander “The Lighthouse,” and a Viking epic “The Northman,” delivers his ultimate passion project: a direct remake of Murnau’s film.

His first non-original screenplay, Eggers’ version isn’t a “take” on “Nosferatu,” so much as it is an overly faithful retelling, so indebted to its inspiration that it’s utterly hamstrung by its own reverence. If “Shadow of the Vampire” is a playful spin, Eggers’ “Nosferatu” is an utterly straight-faced and interminably dull retread of the 1922 film. It’s the exact same movie, just with more explicit violence and sex. And while Eggers loves to pay tribute to the style and form of cinema history in his work, the sexual politics of his “Nosferatu” feel at least 100 years old.

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“Nosferatu” is a story about real estate and sexual obsession. A young newlywed, Thomas Hutter (Nicholas Hoult) is dispatched from his small German city to the Carpathian Mountains in order to execute the paperwork on the purchase of a rundown manor for a mysterious Count Orlok (an unrecognizable Bill Skarsgård), a tall, pale wraith with a rumbling voice that sounds like a beehive.

Thomas has a generally bad time with the terrifying Count Orlok, while his young bride at home, the seemingly clairvoyant Ellen (Lily-Rose Depp) is taken with terrifying nightmares and bouts of sleepwalking, consumed by psychic messages from the Count, who has become obsessed with her. He makes his way to his new home in a rat-infested ship, unleashing a plague; Ellen weighs whether she should sacrifice herself to the Count in order to save the town, which consists of essentially three men: her husband, a doctor (Ralph Ineson) and an occultist scientist (Willem Dafoe).

There’s a moment in the first hour of “Nosferatu” where it seems like Eggers’ film is going to be something new, imbued with anthropological folklore, rather than the expressionist interpretation of Murnau. Thomas arrives in a Romanian village, where he encounters a group of jolly gypsies who laugh at him, warn him, and whose blood rituals he encounters in the night. It’s fascinating, fresh, culturally specific, and a new entry point to this familiar tale. Orlok’s mustachioed visage could be seen as a nod to the real Vlad the Impaler, who likely inspired Stoker.

But Eggers abandons this tack and steers back toward leaden homage. The film is a feat of maximalist and moody production design and cinematography, but the tedious and overwrought script renders every character two-dimensional, despite the effortful acting, teary pronunciations and emphatically delivered declarations.

Depp whimpers and writhes with aplomb, but her enthusiastically physical performance never reaches her eyes — unless they’re rolling into the back of her head. Regardless of their energetic ministrations, she and Hoult are unconvincing. Dafoe, as well as Aaron Taylor-Johnson and Emma Corrin, as family friends who take in Ellen, bring a winking campiness, breathing life into the proceedings, while Simon McBurney devilishly goes for broke as the Count’s familiar. However, every actor seems to be in a different movie.

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Despite the sex, nudity and declarations of desire, there’s no eroticism or sensuality; despite the blood and guts, there’s nothing scary about it either. This film is a whole lot of style in search of a better story, and without any metaphor or subtext, it’s a bore. Despite his passion for the project, or perhaps because of it, Eggers’ overwrought “Nosferatu” is dead on arrival, drained of all life and choked to death on its own worship.

‘Nosferatu’

GRADE: C

Rated R: for bloody violent content, graphic nudity and some sexual content

Running time: 135 minutes

In theaters Dec. 25

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