Good Eats Television Show: A Deep Dive into Alton Brown’s Culinary Comeback
Watching Alton Brown effortlessly explain complex scientific concepts on the original Good Eats might have misled viewers into thinking culinary science is simple. However, behind the puppets and costumes was a meticulous cinematographer and a creative wrestling with self-doubt. With the return of Good Eats: The Return, Brown navigates a changed media landscape, technological advancements, and his own evolved perspective.
Alton Brown needs to find a balance between entertainment and education in the revival of Good Eats, considering the vast amount of information readily available to viewers today. “It comes down to the simple act of storytelling,” says Brown. “We can be bombarded with information from every angle, but a good story remains captivating.”
Brown also acknowledges the advantages of his television longevity and the trust he’s built with his audience. “I’ve been fortunate to gain a certain level of trust, and perhaps due to my age, I’ve taken on the mantle of an authority figure,” he says.
The current culinary field is crowded with established shows like America’s Test Kitchen, innovative ventures like Modernist Cuisine and Milk Street, and influential figures like J. Kenji López-Alt, all dedicated to making in-depth food science accessible. This shift has liberated Brown’s approach to incorporating science into the new show. “I’m not as hesitant to use complex terminology anymore,” he admits. “We’ve gone full throttle.”
While acknowledging his enthusiasm for science, Brown emphasizes that he’s not a scientist by training. Good Eats: The Return benefits from the expertise of Dr. Arielle Johnson, a former resident scientist at Noma and current member of the MIT Media Lab, who serves as the show’s science advisor. “I’m an enthusiast, but now I have a PhD on the team. If I don’t understand something, we work on it until I do,” Brown explains. “We’re exploring territory made possible by social media and the advancements in food science.”
The resurgence of Good Eats raises the question of whether it’s a reboot or a continuation. Brown himself is conflicted, initially calling it a reboot before clarifying, “It’s not. It’s like the BBC; they can wait five years for a new season—that’s what this is.”
In planning the new show, Brown considered several factors: the evolution of media consumption, the internet’s impact on food accessibility, and advancements in film technology. With the rise of streaming services and binge-watching, viewer expectations have changed. “We’ve made this show for binge-watchers who want to immerse themselves deeply,” Brown says. “I’m hoping some will wait until all episodes are available and then watch everything.”
Streaming also allows Brown to tap into a broader cultural knowledge base and play with viewer memories. “I can reference things in the cultural zeitgeist in ways I couldn’t before,” he explains. “Because of binge-watching, I can rely on the audience being familiar with references that might have been obscure in 2005.” He even acknowledges the delightful exchange of references between Good Eats and Breaking Bad.
The sophistication of television production has significantly increased over the past decade. Good Eats, however, maintains its low-fi aesthetic, favoring traditional techniques over CGI. “We use analog devices like mirrors and magnifying glasses because I find CGI cold and impersonal,” Brown states. “We use theater craft and camera craft. It’s a very physical set, and I think people will respond to that honest visual language.”
In producing Good Eats: The Return, Brown considered how viewers would experience the show on various screen sizes, from iPhones to high-definition televisions. He strove to create visuals that were compelling on both small and large screens. “I had to compete with commercials in the original Good Eats. Now, I’m competing with shows on Netflix, Amazon, and Hulu,” he explains.
Brown pushed his team to explore unique camera angles and visual flourishes, drawing on his cinematography and stage experience. “You’ll see cameras go places and in ways that cameras just can’t normally go,” he teases. “I’ve learned from theater to stage longer, more elaborate scenes. Lighting technology now allows complex lighting changes mid-scene, enabling me to combine scenes into single shots.”
Despite acknowledging changes in viewer habits, Brown remains committed to his meticulous filmmaking approach. “I’m still an old-school filmmaker using prime lenses and big cameras,” he says. “We’re far too meticulous in our scene crafting. If I didn’t love the production process, there would be no reason to do this.”
