#russ morash

[trying-to-get-somewhere-real]

This interview is only 10 min long and there are 2 other interviewees and YET Fiona still made sure to get in that Judith Light “is a stunning actress and one of the best people I’ve ever met in my life”🥺🥰 (~7:00-8:00 min mark). I also feel very normal about her saying that “I [Judith Jones] was Blanche’s and Blanche didn’t want me running off to do some cookbook somewhere in Boston.” Fellas is it gay to say you belong to your mentor? 😵‍💫

[dovebuffy92]

Spoilers Below

INTRODUCTION

In Julia Season One Episode Four, directed by Erica Dunton, Julia Child (Sarah Lancashire) struggles to figure out how to deal with fame as a woman in the early 1960s. At the same time, associate producer Alice Naman (Brittany Bradford) attempts to broadcast The French Chef in markets outside of Boston. The Boston Globe publishes a piece praising Julia’s The French Chef but ignoring all the other WGBH public television shows, including I’ve Been Reading. Host P. Albert Duhamel’s (Jefferson Mays) feathers are ruffled because a silly cooking show hosted by a woman receives all the praise. Julia decides to speak as an honored guest at her Smith College reunion to avoid the naysayers.

Julia feels pleasure and discomfort with all the praise she hears at Smith College because of her newfound fame. The chef yearns for a simpler time before all these fans wanted a piece of her. As the now sole producer of I’ve Been Reading, Alice struggles to acquire famous authors for the show. The producer wishes to be back working on The French Chef leading to her cold call public television channels all over the United States. Alice wants them to air The French Chef. She finally convinces San Francisco to pick up the cooking show on their public television channel.

Alfred A. Knopf, Inc book editor Judith Jones (Fiona Glascott) continues to feel split in two. Her boss Blanche Knopf (Judith Light), wants her to drop Julia’s second cooking book. Julia asks Judith to find Alice, a famous author, to interview for I’ve Been Reading to placate Alfred’s ego. Judith impresses John Updike with her notes so much that he agrees to an interview on Alfred’s show. John and Alfred click on I’ve Been Reading while discussing the author’s novel Rabbit, Run.

INNOVATIVE CAMERA TECHINQUES

Daniel Goldfarb and the other writers on Julia Season One effectively reveal the artistic innovation that existed on the sets of early cooking shows like The French Chef. For example, Avis DeVoto (Bebe Neuwirth) stands in for her best friend Julia while director Russ Morash (Fran Kranz) and the camera operators figure out how to film the whisking of eggs. The crewmembers built this special camera rig to capture the whisking, and Avis stands on an apple crate to mimic her best friend’s height. An old television is plugged into the camera to allow Russ to see what is being filmed in real-time. The cameraman operates the custom camera rig as Avis whisks, attempting to film the eggs in the large bowl.

Russ orders Avis around while a fast-moving samba song highlights the fast pace of the television set. The camera operator can’t figure out how to film inside the bowl because Avis’ head is always in the way, no matter how high or low she holds up the bowl. Finally, Avis has enough with cameras in her face and hot stage lights causing her to sweat. She asks for a time-out. The cinematographer explains that they can’t film through somebody’s head. Russ feels discouraged until he sees Avis looking into a pocket mirror as she fixes her makeup. The mirror inspires him to experiment.

The next day, Russ whispers to Avis that he wants to show Julia the “mirror shot.” Avis muses the term sounds “so Hollywood.” After the crew sets up, Russ tells Julia that he has something to show her. He orders Avis to “hit it.”

The three cameras point to the ceiling while Avis whisks the eggs. Julia looks up, spotting a giant mirror reflecting the inside of the bowl where the eggs are being whisked. She grins in awe of the innovation. She jokes that the mirror trick seems like something that Russ came up with based on the honeymoon suite in Niagara Falls. Everybody bursts into laughter. Julia congratulates both Avis and Russ on their invention. These two “Petit Fours” sequences demonstrate how films sets are places of experimentation, especially when figuring out how to shoot something new like a cooking show.

AMBIGUITY AROUND QUEERNESS

“Petit Fours” captures a moment that leaves Julia’s view of queerness ambiguous. Homophobia was quite common in the early 1960s since one could be locked in a mental hospital for being lesbian or gay. As a result, everybody stayed in the closet. This is the historical backdrop for the scene where Julia’s old college basketball friend Iris Wallace (Robin Weigert) comes out to her.

The pair stumble through campus in the dark, totally exhausted by all the hills they walked up. Julia jokes that she could fit the equally tall Iris in her pocket. The two friends share a laugh. Iris talks about how her heart started to palpitate when she saw Julia on The French Chef. The comment makes Julia uncomfortable, perhaps because she remembers a hot summer night that Iris mentions later in the scene. She quickly changes the topic.

Iris tells Julia about her romantic relationship with a woman named Carol, essentially coming out as a lesbian. The camera focuses on Iris walking, so the audience can’t see how the chef feels about her friend’s queerness. She tells Julia that she doesn’t think she would have come to realize her sexuality if not for their friendship. Julia stops walking. She looks genuinely puzzled but not angry or upset. Julia asks Iris about what her comment references. Iris describes their senior year spring break when she and Julia slept under the blankets together naked after skinny dipping. There is some implication that they slept together or at least fooled around.

Julia turns on a poker face, not revealing her feelings at all. The chef says, “Memory can be so fickle,” implying that she doesn’t remember them sleeping together. The two friends stand still for a couple of minutes, not talking to one another. Finally, Iris and Julia continue to walk, wearing confused expressions on their faces.

Julia doesn’t say anything homophobic or dismissive of Iris’ relationship with Carol in the conversation. At the same time, she refuses to recognize that she experimented with Iris. Since Julia only expresses confusion, it’s unclear if she doesn’t remember sleeping with Iris or refuses to admit she may not be entirely heterosexual. When Julia returns to her hotel room, she calls her husband, Paul Cushing Child (David Hyde Pierce), to complain about being famous, implying that she blames her television show for that uncomfortable encounter. The scene makes it unclear if Julia’s viewpoints on queerness align with the times or are at least a little bit progressive. She doesn’t out Iris to anybody else, but that doesn’t clarify her view of lesbians. Either view would be understandable, but the sequence leaves one confused, as Julia seems to be. Though based on the site SFist, the real Julia Child was homophobic. In 1992, she blocked “gay San Franciscan … Daniel Coulter” from the executive director position at an organization she founded called the American Institute of Wine and Food. Throughout Julia’s documented life, she referred to gay men as “fags.” Perhaps the writers made Julia’s thoughts on queerness ambiguous to make her more palatable to modern television viewers without pretending she was an outright ally.

LAST THOUGHTS

“Petit Fours” is a story about accomplished intelligent women figuring out how to function in inherently sexist workplaces that lead them to appease men who feel threatened by their success. Let us know your thoughts on Julia Season One Episode Four in the comments below.

[alaffy]

Julia, Ep. 6 – Breads (Spoilers)

Breads is the perfect title for this episode.  Bread is interesting because, while there’s many types of bread, we never really consider the value of it.  We don’t consider how much these breads can bring a meal together (Except sweetbread, which is just a lie).  Really, though, that’s what this episode is about. How each of the people in Julia’s life fit into this empire she is creating.

We have Russ, who apparently is no longer sleeping because his child has been born.  Russ is a visionary; his knowledge of stage and the ability to think outside the box gave way to the creation of shooting with mirrors, so they can get the angles needed on the food.  

But he isn’t the only visionary, as we have Alice.  If not for her, there would be no show.  Also, there would be no money as she’s the one who thought of selling it to other stations.  

Beyond that, we have Avis and Dorothy.  These two friends of Julia, they’re the ones who shop for the food, help with the meal prep, and hide just off camera to switch out the dishes. And they do it without being paid.

Of course, then we have Paul and Judith.  Two people who assist Julia by providing backup and doing things that Julia might not have time to do.  For instance, when Julia has to re-tape an episode and can no longer work on her Cookbook; it is Paul and Judith who spend time working on a new recipe for bread.  Granted, it takes them a few times (days) to create a good recipe because neither of them are chefs; but they spend the time doing it so that Julia doesn’t have to overstretch herself.  

Now, obviously, this is a dramatization.  Not everything we see on the show is exactly how it happened. However, a number of people on this show are people, or based on people, who were in Julia’s life and it was their contributions that helped make Julia who she was.  That’s not to say that Julia didn’t do a large amount of the work herself; we know that she did.  Still, it’s nice to have an episode the recognizes the ones who helped her as well.    

[cinema-tv-etc]

The joy of HBO Max's Julia Child series, a deliciously affectionate celebration of an icon

Even if you think you've hit your Julia Child saturation point, this series finds a fresh way to win your heart By Melanie McFarland  March 31, 2022

It was the Queen of Sheba's cameo that got me, unexpectedly appearing more than midway through HBO Max's "Julia" premiere. In this telling, Julia Child (Sarah Lancashire) has an uphill climb to win over dismissive male producers at WGBH, Boston's public television station, eggheads who pooh-pooh the intellectual value of a show that demystifies the art of French cooking.

They lacked the vision to see that Child was on to something that would transform the way Americans think about food. The scene in question shows her determination to get them on her page: Julia gaily waltzes into the offices of WGBH, cake plate in hand and ready to negotiate with a side of sugar. Once inside their offices she unveils her small masterpiece, explaining to her greatest fan and future producer Alice Naman (Brittany Radford) that its simplicity is one of the reasons she adores it. That's when my eyes welled up.

The recipe's simplicity also is why I could make that cake in grade school, having copied down the ingredients from a recording of "The French Chef," the very show she's pitching. In the same way Lancashire's Julia arms herself with an extra helping of chocolaty persuasion, I made my share of Reine de Sabas for school occasions and church functions, for gifts to neighbors and friends, as general a token of, as Julia might have put it, bonhomie.

Julia Child's legacy is constructed on a granite-solid foundation of nostalgia unmatched by most because of the place she holds in our memory, whether collective or individual. Reruns of "The French Chef" aired after my local public TV station's children's programming block ended, making it very likely that I was programmed to embrace her from early childhood.Women who held a certain image of her from way back then may see her in another light now. There is no way I would have fully appreciated the sundry social, gender and political subtexts "Julia" explores even a decade ago, for the simple reason of being closer to the age she was when her popularity ascended.

Times have changed since Child's era, but only by increments, as the show demonstrates. Alice, Julia and her best friend Avis (Bebe Neuwirth) and other women are constantly navigating the fragile male egos in their orbit, whether in the form of WGBH's sexist eggheads or Julia's own husband Paul, played by David Hyde Pierce. And one of the main ways Julia succeeds is by acknowledging their misogyny and turning it back on them.

They try to write her off because she isn't conventionally telegenic, but that's disproven when a guest appearance on a dull as dust literary show results in the station getting more positive letters than ever. She pitches a TV pilot anyway; they continue to reject it out of snobbery. But she is insistent.

"One of the advantages of looking like me is that you learn at a young age not to take no for an answer," she coos. Still, station producer Russ Morash (Fran Kranz) isn't convinced. "No offense, but it this what we really think public television should be doing?" he asks the men in the room, ignoring Alice and Julia.

In response one of them eye-humps the Queen of Sheba. "Cut me a slice."

Foodies raised in the era of Rachael Ray and Martha Stewart, likely appreciate Child through documentaries, culinary competitions like "The Julia Child Challenge," and the odd "Saturday Night Live" repeat featuring Dan Aykroyd's famous impersonation.

Through "Julia," showrunner Chris Keyser digs into the humanity underneath the ideal, giving us another ambitious woman that is in some respects the forerunner of Deborah Vance, Jean Smart's unsinkable comedian at the heart of "Hacks." Lancashire's Julia is a stately woman who curses and bawdily describes chicken parts, and she knows she can get away with that because she has no aspirations to be a sex symbol.

And "Julia" lives up to the popular image of Child as a bubbly, matronly professor of joie de vivre while also reminding us that she became an icon through her own effort (and financial investment, as the writers depict), and despite the obstacles placed in her path. She's also revealed to have few hang-ups, some of which are instilled in her psyche by men like her father (James Cromwell), who grudgingly puts up with his daughter's demonstrative self-reliance as he looks down on Paul.

This is another facet of the show's effort to grapple with the way successful women must constantly battle sexism and patriarchal pushback. Yet another surfaces in the form of Child's discomfort with homosexuality despite her devoted friendship with James Beard (Christian Clemenson). Then again, a wild day out they share has the dual role of pointing out Child's privilege as a wealthy white woman arriving on the national stage in time of societal tumult. "America can't love a fat old fairy like me," Beard tells Julia, adding with genuinely affection, "You, on the other hand, make people very happy, including me."

Lancashire, primarily known to American viewers from "Last Tango in Halifax" and "Happy Valley," presents Julia as a combination of savory and sweet, with a dash of bitter melancholy. She is unafraid to bare Julia's calluses and cracks, making her more human and whole in the process.

Like any story sauced with nostalgia, "Julia" folds in passages that are expressly engineered to achieve maximum heartstring-tugging throughout its first season. Some lurk within fictional recreations of scenes based upon Julia Child's life and legend. Other tearjerker moments are products of artistic license, as one is apt to liberally employ in a show like this.

https://www.salon.com/2022/03/31/julia-child-review-hbo-max/

[mariacallous]

thoughts on julia hbo max (hope it’s ok that i’m coming back to ask another)

(It's always okay :D)

I've actually been enjoying it, which I wasn't sure about when I first saw that it was coming out - it's too easy for things like this to veer into parody and cheapness, and I wasn't entirely sure about Sarah Lancashire for the role, only because this sort of thing isn't necessarily her usual forte, and both period pieces and biopic-esque projects aren't easy to pull off. (I've also watched so much of Julia's work and read both about her and her recipes than the average bear and so have a little more knowledge and expectation regarding the background and context to The French Chef and her life.)

But she is doing a really excellent job at inhabiting the role of Julia Child, and not going too far in the portrayal (obviously she's doing The Julia Voice but it's a realistic one, not an exaggerated or comical one).

David Hyde Pierce is awesome as Paul Child, and is also doing a really good job of inhabiting that role without becoming a caricature or a joke (both Paul and Julia were fairly sensitive to the fact that neither of them exactly fit the mold of an ideal normal American couple and were the focus of a lot of jokes and cruel comments, and were also incredibly supportive of each other and very much happy and in love and so I'm glad that that part is being respected).

I was especially pleased with Bebe Neuwirth as Avis DeVoto, both because so many people forget or don't know about Avis and her friendship and role in Julia's life and also because it's Bebe fucking Neuwirth. I will say that I think more could have been done to flesh her out or add more to her beyond being Julia's blunt-talking right-hand woman who third-wheels, because she was also an editor who helped get Mastering the Art of French Cooking published and worked for Harvard and Radcliffe - I'm hoping and thinking we'll get more about and from her, but that's my only real quibble.

I think the guy playing Russ Morash is attractive (quelle surprise) and I'm glad that they show him loosening up and being more positive towards Julia and The French Chef (Morash worked with Julia on several of her television projects over a few decades as a director and producer, and his wife is also a cookbook writer and chef who's won the James Beard Award).

Judith Jones is probably my favorite character on the show, and I think Fiona Glascott's portrayal is amazing. (And of course Judith Light as Blanche Knopf!)

I'm torn about Alice Naman because I think both the character and the actress portraying her (Brittany Bradford) are excellent and I appreciate that with her they're trying to show and do more with the show, but Alice was also created for the show (and based partly on the actual producer, Ruth Lockwood) and it sort of complicates the effort I think - I know that some of the critics have pointed out the way it looks to have this incredibly smart and talented Black woman helping produce and promote a show that, through the background and life of the host and star and the nature of the content and venue, is geared to a very narrow slice of people (predominantly upper-middle class (and up) white people) and (so far at least) doesn't actually engage with that and what it might mean and say, and how much and how little things have changed. One critic said that while the show hints at or touches on complex themes and issues like that, it's "mostly happy to skip along the (admittedly very charming) surface" which I think is pretty valid.

All in all I've really liked it, and the most recent episode involves Julia Child and James Beard in a San Francisco gay bar.

[ljones41]

My Ranking of “JULIA” Season One (2022) Episodes

Below is my ranking of Season One of the HBO Max streaming series, "JULIA". Based on the life of television chef Julia Child and created by Daniel Goldfarb, the series stars Sarah Lancashire in the titular role:

MY RANKING OF “JULIA” SEASON ONE (2022) EPISODES

1. (1.02) “Coq Au Vin” - Facing mounting pressure from Boston’s WGBH station executives, cookbook author Julia Child struggles to figure out how to present a complicated recipe for her first episode. Later, on-set flubs threaten the future of the show and her career.

2. (1.07) “Foie Gras” - While in New York City, Julia and the show receive both accolades and criticism.  As her close friend, Avis Desoto, forges an unlikely friendship with Julia’s husband Paul, associate producer Alice Naman finds an unexpected romantic connection of her own.

3. (1.04) “Petit Fours” - As WGBH reaps the rewards of their new star's efforts, a jealous rival threatens the station's burgeoning success.  Julia struggles with the price of fame, Paul begins to accept defeat, and Alice changes tack.

4. (1.06) “Breads” - Paul and Julia’s book editor Judith Jones experiment with baking for a future episode.  Julia tackled a different kind of "bread."  Sleep-deprived producer Russ Morash tasks Alice with even more work.  And the future of Avis's position on the show is questioned.

5. (1.08) “Chocolate Souffle” - After suffering a mental blow from harsh criticism about her show, Julia's future - and the fate of the show - hang in the balance.

6. (1.01) “Omelette” - In the series premiere, Julia boldly pitches a groundbreaking television series centered on demonstrations for the home cook - despite pushback from male station executives and Paul.

7. (1.03) “Boeuf Bourguignon” - When the show goes over budget, Julia doubles down on her efforts to continue making her dream a reality.  Paul contends with his fearsome father-in-law and Alice struggles with her new assignment.

8. (1.05) “Crepes Suzette” - During a trip to San Francisco, Julia tests the waters of her newfound celebrity status alongside celebrated chef James Beard, leaving a brooding Paul to question the true cost of his wife's fame.

[sexystudio27]

Pranks On the Set of This Old House

Pranks On the Set of This Old House

Shown: Russ Morash, Tom, and Steve Thomas fess up to Sara Ferguson.

Something fishy

At the Concord Barn, Tom and Charlie Silva decided to prank the coffee-making PA. They rigged a 5-gallon water jug with 6 inches of water and bought “the ugliest fish of the right size” at a pet store. They dropped in the fish, taped the spout shut, and set the bottle in the dispenser. “The fish played its role…

[thesimplyluxuriouslife]

In Homage to Julia Child on her Birthday

In Homage to Julia Child on her Birthday

“Julia was good because she was curious.” —Russ Morash

[~Russell Morash a television producer and director of many television programs produced through WGBH and airing on PBS. His shows include This Old House, The Victory Garden, and The New Yankee Workshop. He also worked with Julia Child to produce The French Chef and other cooking programs, beginning in 1963.]

It is no secret that TSLL…

[joeruggieroblog]

Flash Back Friday! Remembering "This Old House" A great experience working with Bob Villa and Producer Russ Morash. This began my first national exposure on Television and I thank Russ for giving me that opportunity at WGBH Boston.

[dovebuffy92]

Spoilers Below

INTRODUCTION

In Julia‘s eighth episode, “Chocolate Souffle,” directed by Scott Ellis, Julia Child (Sarah Lancashire) almost decides to cancel The French Chef because of her disagreeable encounter with Betty Friedan (Tracee Chimo Pallero). WGBH President Hunter Fox (Robert Joy) starts the episode feeling invigorated by the cooking program’s fame. He hands the reign of WGBH’S flagship program to Alice Naman (Brittany Bradford). WGBH’s President promises to hire another female producer to help her with The French Chef. Hunter tells Russ Morash (Fran Kranz) that The French Chef earned the public television channel enough money to finance him producing and directing social justice documentaries. Julia decides to drop out of The French Chef’s second season because she is worried that the program traps women in the kitchen. Julia also hates that she deceived her husband, Paul Cushing Child (David Hyde Pierce), about how she launched the cooking program.

Julia’s decision to cancel The French Chef creates problems for her “chosen” family. Russ and Alice are forced to go back to producing P. Albert Duhamel’s (Jefferson Mays) I’ve Been Reading. Alice feels betrayed by Julia quitting because she thought they were one big family. She leans on her new long-distance boyfriend for support. Alice decides to visit him in New York because of her unhappiness at work. Avis DeVoto (Bebe Neuwirth) plans to wring Betty’s neck because The French Chef gives her purpose. The television program helps keep Avis active rather than spending all day depressed sitting on her couch sipping wine.

Meanwhile, in New York, Judith Jones (Fiona Glascott) confronts her boss Blanche Knopf (Judith Light), over sucking the joy out of the big gala. Unfortunately, Blanche is too preoccupied to make even one jab about cookbooks. Eventually, the company president confesses to Judith that her eyes are deteriorating. Blanche will soon be blind. Judith promises to be Blanche’s eyes, meaning that she will now have double the workload.

Paul talks Julia into not giving up on The French Chef because the cooking program plants smile on the audience’s faces. Everybody in Julia’s chosen family rejoices over her signing a contract for the second season of the cooking program. She plans to spend a couple of months in France working on the second cookbook with her collaborator Simone Beck (Isabella Rossellini) but will be back in time to start shooting the new season. Sadly, Alice cuts off her relationship with her boyfriend because she plans on focusing all her attention on being the lead producer of The French Chef. Julia Season One ends with the main cast watching the “Chocolate Souffle” episode of their cooking program while dreaming about the future.

MARRIAGE BETRAYAL

The Child’s marriage is based on a true partnership that Julia fractures by not trusting her husband from the jump. Paul crawls into bed dressed in his paisley pajamas. He notices that Julia, clad in floral pajamas, is reading The Feminine Mystique. He calls her a “masochist.” Julia sighs dramatically. She admits that The French Chef was all her idea. In the pilot episode, Julia had told Paul that the cooking program was all WGBH’s idea because they loved her I’ve Been Reading interview when she cooked an omelet for Albert. Paul sits there, puzzled. Finally, Julia states clearly that she lied to her husband to get him on board. She feels relieved that the whole thing will be over tomorrow when they tape the last episode.

Julia continues to reveal everything to Paul, perhaps to convince him to support her leaving The French Chef. She tells her husband that she has been paying for significant portions of the television program through cookbook royalties and checks from her late father, John McWilliams (James Cromwell). Julia did all this behind Paul’s back because she didn’t think he would support her creating The French Chef under these conditions. Paul seems more and more heartbroken as she explains further.

Paul’s upset because he can’t understand why Julia wouldn’t be honest with him. He has been her number one cheerleader from the start of their relationship. More than that, Paul believes they are partners who take on the world together. He feels embarrassed by learning that their The French Chef partnership has been a lie. Paul sees Julia’s deception similar to how the embassy forced him to retire after the years of service he dedicated them. He is not angry that Julia came up with the idea for the cooking program or partly financed it. Instead, Paul feels betrayed because Julia lied to him. She didn’t trust him to be her true partner. Paul feels duped by the person he loves and respects the most.

JULIA’S INSPIRATION

Paul forgives Julia, then inspires her to keep creating what brings her and others joy instead of listening to the naysayers. Throughout this episode, Julia is obsessed with the fact that The French Chef upsets feminists. One conversation with Paul turns everything around. Simone calls Julia in the evening to invite her and Paul to live at the co-author’s home in France for an indefinite period of time. This way, they could cook together until they finish their cookbook. Later in the night, Julia senses that Paul doesn’t want to move to France. He tells his wife that he doesn’t want to run away from The French Chef. Julia argues that the television program has been “poisoned” by her lies. However, Paul doesn’t let her take the easy way out.

The husband tells Julia that he still says yes to The French Chef even after learning the truth. As Julia’s true partner, Paul embraces the cooking program despite the financial risks. The only problem is that Julia still believes that Betty might be right. She doesn’t want to destroy any woman’s life. Paul bluntly argues that The French Chef is not that important in the grand scheme of things. The television program means next to nothing compared to their roles in fighting the Nazis during World War Two. Julia won’t save or ruin the United States by continuing to shoot episodes of The French Chef.

More than that, Paul points out that perhaps The French Chef harms or upsets some housewives like Betty argues, but the cooking program is not for them. The series is for the creative team behind The French Chef and for audiences who find joy in being in Julia’s company for half an hour. There is no reason to destroy something that audiences enjoy because it’s not one demographics cup of tea. Finally, Paul states that the world would be dull if criticisms could silence all the artists. Thankfully he breaks through Julia’s protective shell. Once again, she signs up for The French Chef Season Two the next day.

LAST THOUGHTS

“Chocolate Souffle” reminds us that art doesn’t need to be loved by all to be vital. If even one person finds joy in a painting or cooking program, its existence means something. Let us know your thoughts in the comments below.

[alaffy]

Julia, Ep. 4 – Petit Four (Spoilers)

Well, the joke about Van Gough was unexpected and…dark.  Very, very dark.  

There’s been a bit of a time skip, but not too far.  It’s clear that Julia’s show has had at least a few episodes shown by now.  And it’s a hit….in Boston.  And that’s kind of what this episode is about; how something can be so big and so small at the same time.  

The Boston Globe writes an article about Julia’s show and comments about how WGBH has a winner on its hands.  Well, sort of.  It’s a hit on local channels.  Alice, who still wants to be involved in the show somehow, gets the bright idea of selling the show to other networks across the country.  (Not sure why she would do this without permission, but…).  Anyway, even though the show is a hit in Boston, nobody else is interested…except for San Francisco.  Of course, Alice now has to explain to the owner, Hunter, about her deal. Of course, he’s angry as she went behind everyone’s back…but he’s also curious.  See, the deal is that they would make Julia’s show and that San Francisco would pay them to show the episodes.  Hunter wonders if this would work with other shows (of course, anyone who’s watched PBS knows quite a few of their programs would, in fact, be from WGBH).  

Also, just because her show is doing well, that doesn’t mean all of Julia’s ventures are working.  At the same time she was creating her show, she was also working on her second cookbook.  Of course, Judith (her agent) is thrilled; however, the publisher is not. Just like the television world, they don’t see cookbooks as “intellectual” or worth their time.  So, Julia’s cookbook might not come out at all.

While this is going on, Julia is dealing with the price of fame (even if it is a more localized fame). Julia getting her name in the paper has brought out the spoiled child in The Duke (the book reviewer from the first episode).  He’s upset because Julia is getting all the attention and he’s not even getting a mention even though it all started on his show.  Yes, he’s that kind of person.  Anyway, just to shut him up, Hunter tells Julia she should apologize to The Duke.  Of course, Julia isn’t going to apologize for something that isn’t her fault or the fact that he can’t handle her being more popular.  So, she does what anyone does to get rid of a spoiled brat; wave something shiny in front of them.  Namely, Julia gets Judith to convince one of the other author’s Judith edits to go on the Duke’s show.  The author Judith finds to do it is none other then John Updike.  Of course, they all make it seem like Updike wanted to do this show and The Duke forgets all about the article on Julia.

While all of this is going on, Julia also spends the day speaking at a college reunion.  It’s a bit hard on her as the women all seem to wish they had lived their dreams like Julia.  At the same time, it’s clear Julia didn’t realize how much women were starting to look up to her and it’s a bit overwhelming.  There is also this melancholy moment where we find that one of Julia’s former classmates looked up to Julia in a different way.  The reason why it’s so sad is that this classmate had cherished a moment between the two of them in college because it was the moment that she realized that she was attracted to women.  (Long story short.  In college, after a bit of drinking, the two of them decide to go skinny dipping, splash around in the water, and then went back to the house they were staying and fell asleep under the same blanket).  The thing is, as the classmate is talking about this incident; it becomes very clear that Julia didn’t interpret the incident the same way.  

Finally, just a couple of quick notes.  Paul’s art show opens up and is pretty lackluster.  He’s disappointed, but he also takes it in stride.  He may not be the great artist in the family, but he’s glad to support the one who is.

Meanwhile, Russ seems to be getting into the cooking show.  First off, he decides to keep a copy of the article.  Second, he’s starting to think outside the box.  The biggest issue on the show is showing Julia doing anything inside a bowl.  The just can’t get a camera close enough.  However, one look at Avis’ compact mirror and he gets an idea.  Hang mirrors just above Julia to reflect what’s in the bowl and angle them so that the cameras can pick them up.  

[alaffy]

Julia, Ep.2 – Coq Au Vin (Spoilers)

Well, Julia has her chance to a shoot a test episode, but will it work?  (I mean, we all know the answer).  What I’d like to know is, as this is only based on her life, how much of what happened during the pilot is the truth?  Honestly, I’d love for most of this to be true.

I really do love how supportive Paul is in this show.  Especially, when Julia admits she’s going through Menopause and she sees this show as their baby.  I do hope Julia is honest with him at some point that WGBH isn’t as interested as he believes.  After all, he still thinks they sought her out.

Russ’ reaction to all of this isn’t surprising, after all so-called women’s work wasn’t considered worthwhile in those…well, it’s still not consider that way, let’s not kid ourselves. And the way he treats Alice isn’t a surprise either; he clearly doesn’t see her as an equal.  Still, his decision to air the special is clearly going to backfire on him.

I like how this show is, in it’s own way, a movement.  Yes, it’s a cooking show; but it’s more then that.  Russ and the other producers aren’t just against this show because it’s showing something they consider unimportant; it’s also because it’s being hosted by an extremely tall, middle aged woman with a funny voice.  I think it’s important to remember that Julia’s show existed before PBS and, I would argue, is one of the reason PBS became what it is today. I think Julia’s show showed that an educational channel can be just as much about practical learning (cooking) as it was intellectual (literature/fine arts).  Both are needed for a well rounded person.  

[dovebuffy92]

Spoilers Below

INTRODUCTION

In Julia Season One Episode Five,” Crepe Suzette,” directed by Jenee LaMarque, Julia Child (Sarah Lancashire) travels to San Francisco with director Russ Morash (Fran Kranz), her husband Paul Cushing Child (David Hyde Pierce), and book editor Judith Jones (Fiona Glascott) to promote The French Chef. Julia starts to love her newfound fame after a packed book signing in San Francisco for Mastering the Art of French Cooking. Then, she reconnects with the flamboyant American chef James Beard (Christian Clemenson), who takes her on several fun-filled adventures in San Francisco. James lives on the edges of society because of his sexuality.

Paul hopes that the trip to San Francisco will allow him to spend quality time with his wife but ends up feeling left out. Julia spends most of the work trip with James. Alice Naman (Brittany Bradford) stays behind in Boston with Avis DeVoto (Bebe Neuwirth) even though she was the one who convinced the San Francisco public television channel to air The French Chef. She thinks her race and gender get in the way of her career. During a dinner out, Avis confides to Alice about how Julia saved her from depression after her husband died and her children left home.

Judith travels to San Francisco with the posse because she arranged the book signing. She learns from Blanche Knopf (Judith Light) that one of the John Updike’s (Bryce Pinkham) novels that she edited has been shortlisted for the National Book Award. A possible National Book Award and packed Mastering the Art of French Cooking book signing leave Judith feeling on top of the moon. “Crepe Suzette” ends with Julia and Paul cuddling in their hotel room bed, ready to take on the challenges of her newfound professional success together.

OUTCASTS WHO SPARKLE

The two American Chefs were born to perform in front of the camera, but James’ queerness leaves him existing in Julia’s shadow. One San Francisco public television executive expresses shock that a middle-aged big-boned woman like Julia could draw crowds to a local bookstore for a signed cookbook. However, she still fits within the normative box of femininity. James’ obvious queerness makes the same level of fame as her impossible even in liberal San Francisco. However, he and Julia click right away when they meet up during the book signing.

Julia bends down to put away a dessert that a fan baked for her. In a yellow bow tie and striped suit, James tiptoes up to her table at the bookstore. He jokily asks Julia to sign his spatula. Julia pops up from beneath the table. She screams in delight when she spots James. They hug each other tightly, giggling away. James notes their similarities several times during their first meeting. For example, he calls Julia a “sensualist” like him.

After the book signing, James takes Julia, Judith, and Russ out for dinner at his favorite restaurant in the Bay Area. The two chefs spend the night joking around. Julia and James were both theatre majors in college. They still love to perform and make others laugh. James enjoyed inhabiting characters during college because he couldn’t fit in with the other theatre students.

In contrast, Julia could only play herself. A gift that now serves her well as the host of The French Chef. The head chef ends up inviting them both into the restaurant’s kitchen. They cook a soup together while talking about how all the vegetables and herbs grow in the restaurant’s garden. The pair ends the night together, ditching the tired Russ and Judith. James drags Julia to a gay club full of drag queens, where he feels at home surrounded by those who embrace their “colorful” queerness.

James seems like a jovial chef whose fulfilled by his life, but there are hints of sorrow in him. Judith and James admire Julia as she prepares for a meal demonstration on San Francisco local television. James admits to the book editor that he felt jealous when Mastering the Art of French Cooking first came out. He realizes that Judith was behind the many editorial decisions that launched the cookbook into acclaim. James desperately wants her to edit his next one to bring some magic to his limited career. Instead of having sympathy for James’ plight, Judith shuts him down by stating that she is a fiction book editor who only publishes Julia’s cookbooks. In reality, James Beard had already written seminal cookbooks, wrote several articles on food, opened a restaurant in Nantucket, and founded a cooking school. A flick of pain flashes on James’ face before he brushes it away. He acts as Julia’s “knight in shining armor” with a big smile on his face during her crepe Suzette demonstration on live television. James even promotes The French Chef at the end of the show. He refuses to allow his potential jealously to get in the way of their friendship.

The gay chef rides in the taxi with Julia to her hotel to allow him time to speak with her. James tells Julia that a cooking show he launched years ago failed because America is not ready to love a “fat old fairy” like him. She tries to comfort her friend, but he waves her off. James says that Julia makes everybody, including him, very happy. He tempts her with another adventure to a local vineyard. Julia refuses because she wants to spend alone time with Paul. Julia kisses James goodbye, and his face sinks the minute she is out of view. His typically upbeat voice turns dull when he instructs the cab driver on what street to drop him off. The fifth episode presents James Beard’s life as tragic because of his queerness.

PAUL THE ABONANDED HOUSEWIFE

Paul acts like a jilted lover because Julia spends all her time in San Francisco with James instead of with him. He still struggles with the fact that his wife now has the primary career in their household. Initially, the book signing in San Francisco was supposed to last an hour, allowing them to spend Saturday together. Instead, the event turned into a multi-hour signing with the line of fans winding around the block. Paul ends up visiting an art gallery alone. He tells the art gallery owner about The French Chef because that is currently the only thing of note in his life. Paul doesn’t have the exciting existence in the diplomatic core to brag about anymore. Then James takes Julia out until late at night, leaving Paul alone in their hotel room.

There is a pitiful scene where Paul soaks in the bath with a towel on his forehead, listening to opera. He can’t reach a bottle of shampoo that is just out of reach. He calls for Julia to help before remembering she is out. Paul fails to use a towel swan to knock the shampoo off the sink onto the floor where he can reach the bottle. The bottle only ends up further away. Paul acts coldly toward Julia the following day because he didn’t get her full attention. He ditches Julia’s taping to visit with Claire, his ex-girlfriend’s daughter, on the Warf.

Claire reminds Paul how much Julia sacrificed to move all over the world with him. She full-heartedly supported his career as a diplomat. Paul decides to do the same for Julia even if he must share her with the whole nation. They are very much a feminist couple. He reassures Julia that she doesn’t have to give up The French Chef or anything else for him. Paul pledges they will navigate fame together.

LAST THOUGHTS

Julia Child finally discovers the fun nature of stardom, but she learns that she needs to protect her relationship with Paul for their marriage to flourish. Let us know your thoughts on “Crepe Suzette” in the comments below.

[dovebuffy92]

Spoilers Below

INTRODUCTION

In Julia Season One Episode Seven, ” Foie Gras,” directed by Jenee LaMarque, Julia Child’s (Sarah Lancashire) bubble is burst by Feminist icon Betty Friedan (Tracee Chimo Pallero) during a New York-based gala honoring The French Chef.

Julia takes her husband Paul Cushing Child (David Hyde Pierce), best friend Avis DeVoto (Bebe Neuwirth), and book editor Judith Jones (Fiona Glascott) to the public television New York gala. They go along with The French Chef’s director-producer Russ Morash (Fran Kranz), producer Alice Naman (Brittany Bradford), and WGBH President Hunter Fox (Robert Joy). Sadly, Paul develops low-grade flu during their trip, leaving him unable to go to lunch at a fabulous French restaurant with Julia. Thankfully he musters up the strength to attend the gala to support his wife.

Julia dines at the French restaurant with Judith and her boss, President of Alfred A. Knopf Inc Blanche Knopf (Judith Light). Judith spends the lunch trying to prove Julia’s value as a cookbook author to Blanche. However, Blanche finds Julia’s enthusiasm for food annoying. She is not impressed with Julia’s television career, but she sells the importance of the author finishing her second cookbook. The author doesn’t seem bothered by Blanche’s tense remarks but feels the sting of a sexist comment by the restaurant’s head chef Andre. Meanwhile, Avis uses Paul’s sickness as an excuse not to go on her first date since her husband died. Sparks fly during Alice’s blind date with a newly minted lawyer.

Judith confronts Blanche about why she was so rude to Julia. Blanche tells Judith off for wasting precious time editing Julia’s “frivolous” cookbooks instead of focusing on her legacy as an award-winning novel editor. Later they all meet up for the gala, where Julia delivers a beautiful speech about how The French Chef is a “travel program” that allows homemakers to explore new worlds through cooking. Julia hopes that her love for life infects her audience.

IS JULIA A CHEF?

Julia rides an emotional and intellectual rollercoaster throughout ” Foie Gras,” starting with her working lunch at a French restaurant. She revels in her delicious mouth-watering meal when the chef Andre comes over to their table. Andre warmly greets repeat customers Blanche and Judith. Julia compliments the chef’s cooking gushing that it’s as good as any meal she has had in Europe. Andre takes the compliment to heart. Julia doesn’t even have to introduce herself because he recognizes her from The French Chef. He loves the television show—Julia giggles in glee that people in the culinary world know her.

The two joke that because Andre was born in France that he is the real “French Chef.” Julia spreads laughter and happiness wherever she travels. Andre praises Julia telling her how many of his customers ask him to cook dishes from her program. He has even been able to move sweetbread because of The French Chef. Judith pointedly stares at Blanche, delighted that now there is proof of the importance of her friend’s show. Julia feels on top of the world with an incredible chef cheering her on.

Andre poisons the celebratory mood by asking her for a favor. He begs Julia to leave “the real cooking to the men.” Julia’s face falls as Andre argues that women don’t belong in restaurants, no matter their culinary education or accomplishments. Then, he walks away, leaving Julia in a state of shock. The table turns silent until Blanche dryly offers to pay the check.

FEMINIST OR OUTDATED HOUSEWIFE?

Julia Season One executive producers Daniel Goldfarb and Christopher Keyser have stated that one of the questions the series explores is if Julia Child represents feminism or traditional values of femininity. ” Foie Gras” delves into this during her explosive conversation with Betty Friedan.

The eighth episode, in many ways, argues that Julia is a feminist icon. While delivering the speech, Julia highlights all the incredible women she brought with her during her journey into stardom. The television personality invites her best friend Avis to the gala and publicly thanks her for her contribution to The French Chef even though she doesn’t officially work for WGBH. She acknowledges Judith for taking the time out of her busy schedule working with intellectual novelists like John Updike to edit Mastering the Art of French Cooking.

Finally, Julia calls young producer Alice, a future television innovator. She fought for Alice to become an official producer on The French Chef when no one else was awarding the younger woman for all her hard work. Julia advocates for other women all the time.

Julia Child is essentially one of the creative producers of The French Chef. She designs the “menu” for each season, writes all the scrips, takes part in greenlighting editing, and essentially invented the idea of a cooking television show. Julia Child represents The French Chef because her personality and culinary skills are why it’s popular. Julia works hard on her television show while co-writing another cookbook and taking care of her husband. However, Betty Friedan makes excellent points about how the television personality has made it harder for women to succeed.

During a conversation about Betty’s new book, The Feminine Mystique, the feminist shares that she doesn’t think “Julia is a good example” to other women. Betty argues The French Chef traps wives in the kitchen because of the amount of work it takes to create these elaborate French dishes. The thirty-minute television show creates the illusion that these meals don’t take days to cook and hours to clean up.

Betty believes that Julia has made it so that homemakers now must cook dishes worthy of three Michelin stars for their husbands, making it challenging to complete their other domestic duties. These women don’t have the time to travel or even dream of pursuing a career. Betty’s comments bring to light issues that Julia has never considered. Julia leaves the ballroom feeling heartbroken, realizing for the first time that some people hate what she stands for.

LAST THOUGHTS

Does Julia’s perfect 1950’s housewife image make her a symbol of an archaic time? Or does the “French Chef” who heads her own television show make her an ideal example of a 1960s modern woman? Let us know your thoughts in the comments below.

[dovebuffy92]

Spoilers Below

INTRODUCTION

Today, HBO Max launched the first three episodes of Julia Season One, created by and written by co-executive producer Daniel Goldfarb. The other executive producer of this American biographical comedy-drama detailing the rise of Julia Child’s The French Chef is Christopher Keyser.

In Episode One, ” Omelet,” directed by Charles McDougall, both Julia Child (Sarah Lancashire) and her husband Paul Cushing Child (David Hyde Pierce) feel a bit rudderless back in Cambridge after his forced retirement from the U.S. State Department. In addition, the cookbook author feels invisible after a doctor diagnoses her with menopause.

Julia wishes to launch a cooking show after a popular demonstration of how to cook a perfect French omelet on P. Albert Duhamel’s (Jefferson Mays) Boston’s public television channel WGBH interview show I’ve Been Reading.

During Episode Two, ” Coo Au Vin,” directed by Charles McDougall, Julia prepares for and films the pilot for The French Chef. There has never been a cooking television show before, so Julia doesn’t even know how to format it. Director Russ Morash (Fran Kranz) refuses to help her because he feels resentful for having to work on a shallow ” show for women with means.”

Julia, her best friend Avis DeVoto (Bebe Neuwirth), Paul, and other friends spend an entire day figuring out how to cook Coo Au Vin in about thirty minutes. Julia flounders during the shooting of the pilot. Alice wants to fight for The French Chef’s continuation, while Russ celebrates the end of this frivolous television show.

In Episode Three, “Beef Bourguignon,” directed by Melanie Mayron, Julia struggles to juggle the multiple balls it takes to launch an entire season of The French Chef. Julia’s disagreeable father, John McWilliams, Jr. (James Cromwell), comes to visit, adding complexions to an already tense situation. WGBH President Hunter Fox (Robert Joy) loves the pilot for The French Chef, but Russ tries to kill the series by adding up all the expenses to prove it’s too costly to produce.

Julia’s desire to expand America’s palates leads her to agree to pay for all the ingredients and food preparations to bring down the budget. Hunter greenlights the project. Julia struggles to balance everything from raising funds through cooking lessons and writing an outline for the entire season. Thankfully, she finds the money allowing her to drop the cooking lessons by the end.

THE SPIRIT OF JULIA

The series doesn’t work without Sarah Lancashire’s ability to express Julia Childs’s sometimes contradictory personality. She wrestles with insecurities about her age but loves to ham it up. The scene where Julia shows Albert, a.k.a. “Duke,” how to fry up the perfect French omelet reveals her flashy, confident, and highly skilled side.

At the start of ” Omelet,” the author struggles to figure out how she will speak about her cookbook Mastering the Art of French Cooking during the interview. She glances at all the eggs, copper pots, and pans in her kitchen. These items inspire Julia to demonstrate her skills rather than merely talk about a cookbook. She wants to perform.

Julia doesn’t shy away from the bustling world of television. The guest asks associate producer Alice Naman (Brittany Bradford) to fetch her a hotplate without explaining why she needs one. Thankfully Alice loves Julia and had worked hard to get her on I’ve Been Reading as a guest. She fetches her a hotplate from Russ’ office. Lancashire masterfully uses subtle facial expressions throughout the interview scene to show everything from annoyance to pleasure.

The minute Albert introduces Julia, she completely takes over the program. She brilliantly pushes the host off balance by calling him by his nickname, “Duke.” Julia doesn’t care about looking prim and proper. Instead, she crawls around the elevated stage until she finds an outlet to plug in the hotplate. Julia has Duke assisting her within a couple of minutes by stopping the hotplate from falling and eventually whisking eggs. However, he spends a lot of the interview staring at the producers in puzzlement. Finally, Julia charms the television audience while simply explaining the recipe for cooking up a French omelet.

She makes French cooking feel within arm’s reach of the ordinary American. Julia presents the finished omelet to the camera. She quips that both Duke and the omelet are salivating, eliciting laughter from Alice and the crew members. She is a natural performer.

Julia appears relaxed in front of the camera, unlike Albert, whose tense. Both Julia and Duke take a bite of the dish. Albert grudgingly compliments her omelet, proving that even Julia’s critics love her food. She laughs when Albert jokes about the viewers getting cracking on making an omelet. Throughout the sequence, Julia essentially interviews Duke making her appear the natural host.

Julia’s whole face lights up when the camera’s light flashes red stopping the recording. Julia comments about how much fun the interview was. She muses about forgetting to talk about the cookbook but shrugs it off. Albert calls the whole interview silly but keeps on munching on the omelet. Julia Child’s talents are on full display throughout the first three episodes, making it hard for even the vocal naysayers to stomp out The French Chef.

Throughout the first three episodes, FRIENDSHIP GOALS

In “Coo Au Vin, “Award-winning book editor Judith Jones (Fiona Glascott) reveals what a powerful friend Julia must be to inspire such loyalty. Judith first demonstrates her devotion during “Omelet” when she convinces Paul to support Julia’s cooking television show dream arguing she would be elevating people’s minds. Paul respects Judith’s opinion because she edits iconic books like The Diary of Anne Frank. Julia trusts the book editor’s opinion as well. When Julia feels nervous about filming The French Chef’s pilot, the first person she calls for help is Judith. She needs the editor’s guiding hand.

Before rushing to her friend’s aid, Judith sits through an editor’s meeting at Alfred A. Knopf Inc. Judith puts up with everybody cracking jokes about her running to help a cookbook author rather than focusing on serious novelist John Updike. Company president Blanche Knopf (Judith Light) scolds her for putting her energy into solving Julia’s crisis rather than focusing on an intellectual novelist. Judith ignores her boss catching the train to Boston rather than massage Updike’s ego at a luncheon. Nevertheless, Judith refuses to let snobs stop her from assisting a friend because she writes cookbooks rather than the next American masterpiece.

Judith spends the whole day with Julia, Paul, Alice, and Avis, figuring out exactly how to cook Coo Au Vin in thirty minutes before a camera while still explaining the recipe to homemakers. She doesn’t merely dole out advice to Julia but takes part in the prepping and cooking of the dish. All the women and Paul work hard, though occasionally stop to laugh at mildly dirty food jokes. Judith is a book editor, not a television producer or chef. Julia must be an incredible friend to inspire an award-winning book editor to take a day out of her busy schedule to volunteer her time to help invent a new genre of non-fiction television, the cooking show.

LAST THOUGHTS

” Omelet” and the other first two episodes of Julia promise a humorous engaging season to foodies and historical drama-comedy fans. Let me know what you think in the comments below.

[mariacallous]

First, PBS is a “network” in name only. Unlike at a commercial TV network - which dictates that its affiliates broadcast certain programs at certain times across the country, in order to assure continuity for viewers and advertisers - local public TV stations are run as independent fiefdoms. Their programmers air whichever shows they like and whatever time they like. Lacking the ability to promote a single airtime for a national audience, it is an arrangement that practically guarantees internecine rivalry and a certain amount of public confusion. “It’s the Balkanization of the system, like a bunch of independent countries fighting with one another,” explained Russ Morash. “There’s no discipline. *This* guy in San Francisco decides to run Nova at four a.m. on a Wednesday, and *that* guy in Philadelphia runs the same program at six p.m. on a Friday. It makes it very difficult to know what you’re going to get when you turn on the TV. That lack of universal coverage is the weakness that almost killed PBS. It wasn’t a secret. We deplored it. But there wasn’t anything we could do about it.”

Second, local programmers would sometimes promote their own, in-house shows over those produced by rival stations. “They would do their mischief,” said Morash. “There was bad blood - I don’t think there was any question about it.” He pointed to WNET, the New York station behind Nature, among other shows, as an example. “New York was a bunch of arrogant bastards. It seemed they would deliberately not run our [WGBH] programs in prime time. I don’t think they were particularly impressed with Julia, or any of our offerings, despite their good ratings in other markets.” As petty as it sounds, he said, “it goes back to the Yankees versus the Red Sox. Large or small, that old rivalry had a role.”

Third, while WGBH was producing some of the nation’s best educational programs - including performances by the Boston Pops, documentaries about the Vietnam War, Nova, and Morash’s hit shows Victory Garden and This Old House - there were only so many hours of “prime time”, between 8:00 and 11:00 p.m., when the audience was largest. The competition for those precious hours was fierce, and the station was rife with internal politics. In the meantime, public tastes were shifting. “After a while, the whole how-to genre wasn’t a top priority,” recalled Henry Bectob, who ran WGBH’s cultural programming in the late seventies. “Julia may have been feeling she wasn’t getting as much audience reaction as she had hoped for, compared to some of the other shows.”

Lastly, the Company series - and Julia herself - may have been taken for granted by WGBH. Despite the fact that she was the station’s first breakout star, her programs were considered “quirky”, mere afterthought, “some little cooking show” next to the “truly” Important Programming the station was known for, Morash said. “You have to remember the context of the time. No matter what the revisionists would have you believe, Julia’s shows were never, ever *that* important to GBH. Ever.”

By 1980 Julia had confronted these realities and made a previously unthinkable decision: she would quit public television and take her talents elsewhere.

“It’s a twelve-hour day and seven-day week, and I’m not going to go into that kind of thing and have it just lay an egg,” she told Dial. “That’s a damn good book, and there were damn good shows and very original recipes. A lot of places didn’t get [More Company] because [PBS] never announced that it was going out there and they made their fall schedules without it. So I’m through, frankly. It was so good, that’s what annoys me.”

In the seventeen years she had been at WGBH, Julia had produced 250 television shows that were broadcast on 104 PBS stations, had written or co-written five books, and was a major fund-raiser for public TV. But after the bungling of the Company series she was disenchanted.

“As soon as you’re off the television for a year nobody will know who you are, which is fine,” Julia said philosophically. “That makes fame quite bearable.”

She had enjoyed an enviable career and could have slipped into a quiet retirement with Paul, perhaps at La Pitchoune. But that prospect did not interest Julia Child. “I love working,” she would tell the Los Angeles Times when she was ninety years old. “You don’t have to retire nowadays, do you? I don’t even know what it would mean.”

An excerpt from “The French Chef in America: Julia Child’s Second Act” by Alex Prud’homme, a writer and also her grandnephew and co-author of her “My Life in France”. Apart from describing one of the frustrations she experienced professionally (the relative lack of success of her books and shows Julia Child and Company and Julia Child and More Company), and an interesting check-in as to where she’s at during this part of her life and career, the analysis of PBS operations and decisions was also appealing, particularly with the Alabama response to Mr. Ratburn’s wedding in “Arthur”