Tanya Gold is The Spectator's restaurant critic.
Dining in catastrophe used to be more interesting: but we must be fair. It was a smaller (and wetter) catastrophe: the Acqua Alta in Venice. That is when the sea rises and you put bin bags on your legs; and people push you off the duckboards while other people waltz in the water, sweetly and
The Compass Group boast of serving 5.5 billion meals a year, so you might think they would be good at it. Rather they walked into the most grotesque crisis of the pandemic with their subsidiary Chartwells: catchphrase ‘Eat, Learn, Live’. I might steal that. I am stockpiling one syllable words. When deputised to provide a
Now, in an anxious time, I have an SUV, and this is apt. There is something very comforting about an SUV if it’s yours (though less so if it isn’t). They are designed to dominate any landscape they can fit inside and, if that is a hollow fantasy of control it doesn’t feel like one
The Corbin & King dining and home entertaining box includes dishes from the Delaunay, the Wolseley and Brasserie Zédel ‘delivered to your home and finished by you’. My husband doubts it, because it comes from London, of which some Brexiters are more suspicious than the whole of France, and because it is not ‘cooked from
Welcome to the sunlit uplands which, for me, contain small plastic tubs of stock, which is just the opening to the year I wished for. Even local restaurants are closed for takeaway now and I cannot face my husband’s excellent British cooking (roasts, stews, pies, like a speaking Regency cookbook). When each day is Christmas
There is straw inside the Fortnum & Mason Christmas Treat Hamper (£100). As the straw drifts through the house, it begins to resemble a stable. I like this. Hampers are dependent on plants for their mystery: without them they would be just a carrier bag full of food. Restaurants are closed to those who live
Cary Grant was a hoax so sublime his creator struggled to escape him. He was a metaphor, too, for the transformative magic of cinema, for its lies; and for the artifice and social mobility of the 20th century itself. His real name was Archie Leach, and he could, the critic David Thomson wrote, ‘be attractive
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On this week’s episode, the Spectator‘s deputy US editor, Dominic Green, argues that if Joe Biden departs from Donald Trump’s foreign policy, American interests will be harmed. (01:00) After, Tanya Gold reads her interview with Belle Delphine, the 21-year-old who earns more than $1 million a month from videos she posts online. (13:25) Lionel Shriver
Belle Delphine lives in a mock Tudor house in a gated community in Hove. It’s necrotic, and soothing. You could be anywhere, and this is apt. Belle lives on the internet, where she entertains her subscribers, who pay $35 a month through the website OnlyFans. She is 21, and she grew up on the internet.
Turnips is an haute cuisine restaurant inside a greengrocer in Borough Market in London. I suspect others will try this conceit soon — it is the sort of dishonest fantasy affluent anti-vax mothers enjoy as they peddle their oblivious self-hatred on smartphones made of minerals hewn by child slaves — but not like this. Turnips
Lockdown is hurting everyone except the chickens. I have bought them a conservatory because Philippa, a Light Sussex, looks like ancient pants in rain. It is really plastic sheeting to hang under the henhouse; they need it because the rain is horizontal. They stare out like chickens from film noir. I have exhausted local take-aways,
When talkies appeared in 1927, Hollywood went searching for talkers to write them. It turned to men like Herman J. Mankiewicz: to journalists. The greatest screenwriters of the golden age were journalists first; unlike novelists, they thrived in Hollywood — at least professionally. Good films and good journalism need brevity; novels don’t. Reading about F.
It’s a good day to stab something and tear out its heart. Elaine Lorys is the only female master fishmonger in Britain. She stands in an apron in the Stevenson fish shop in Newlyn amid the brightness of the autumn sun and signage offering mussels, oysters and clams; bass, bream and red mullet; crab and
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Why does the government think the second wave will be worse than the first? (00:49) Will a Biden presidency restore America’s fortunes? (18:45) And finally, does Covid mark the end for the silver screen? (30:10) Spectator editor Fraser Nelson talks to Carl Heneghan, professor of evidence-based medicine at the University of Oxford; editor of The
Cinema is fading. Borat went straight to Amazon Prime, where he is smaller, and Bond 25 — no time to die eh? — is delayed until next year. In response Cineworld has ‘temporarily’ closed its cinemas and the smaller film houses are struggling. Millennials and Generation Z don’t mind, but I am no such creature:
Oxford is not an easy city to homogenise; but that doesn’t mean you can’t try. I found a vast shopping centre where the Westgate used to be, looking as shopping centres do: lonely, despite its similarity to every other shopping centre. This was confirmed by the signage. New York City loves and misses you, said
Pity the gilded restaurants of Mayfair, if you can: they are dying. Some have reopened; they ache on like men with no legs but a glut of polenta. Occasionally, a brave one will open for customers who simply do not exist and so hangs about like a character in a Vladimir Nabokov novel: interesting but
I think I am supposed to say that Bill & Ted Face the Music, the third in a franchise about two Californian morons who time travel to save the world, is a harmless satire on American teenage good-naturedness and stupidity. I’m not sure about that: I think it is more likely evidence of what American
London is gasping — so where to go but Soho, which is so good at despair? It is often necrotic but now, of the central London districts, it feels the most alive. Mayfair is a pretty corpse — I pity the luxury services industry, for its clients are in hiding — but Soho’s restaurants have
Cuties is the subject of a moral panic and a hashtag #CancelNetflix. It tells the story of Amy (Fathia Youssouf), an 11-year-old Franco-Senegalese girl living in Paris, who learns that her father is taking a second wife. (Polygamy is widespread in west Africa, but you wouldn’t know it from mainstream cinema. You wouldn’t know much
